Surround Broadcasting in Japan

Masaki Sawaguchi,* Masaakl Fushiki,* and William Meadt

*NHK,Tokyo,Japan
tDolby Laboratories,Inc., San Francisco, California 94103-4813, USA

Surround sound has penetrated the Japanese consumer electronics market mom fully than any other. Nearly 45% of all TV sets sold
in Japan in 1989 incorporated built-in surround decoders, over and above many elaborate surround systems and components. Japanese
television and radio broadcasters have rapidly increased the number of surround broadcasts to keep pace with consumer demand for
surround products. This paper describes how they have learned to best u 'tllizesurround for sports events, concerts, and both TV and ra-
dio dramas. Various microphone and other techniques am described, as well as caveats derived from experience. The elaborate sur-
round mix created for an hour-long NHK radio drama broadcast in May of this year, "The Ears of the Earth", is described in particular
detail.

1. Conditions favoring market acceptance consumer products incorporating Dolby Surround

Bonsai is a unique, traditional Japanese hobby
which miniaturizes living trees and plants for
appreciating nature inside the home. It requires
devotion and involvement that go far beyond simply
arranging flowers in a vase. Similarly, there is in Japan
today a strong demand for recreating within the home
the natural sonic atmosphere of concert halls, jazz
clubs, movie theaters, and other locations. This demand
is augmented by the very existence of the new
technology, for which Japanese consumers have an
extraordinaryappetite,
As a result, home systems combining relatively
large-screen TV sets (30 inches or more) with "AV-
amps" that feature built-in surround processors have
become very popular for enjoying high-quality
playback of prerecorded video cassettes and LaserDiscs.
In addition, in the past two years integrated "surround
TV sets" have become popular, and some of these are
now even equipped with sophisticated Dolby Pro Logic
decoders,
Going out to a movie or concert is expensive in
Japan, and consumers therefore depend heavily on
broadcasts and readily-available rental software for
entertainment. For the same reason, they also tend to
invest in high-quality hardware, and find a sound field
that goes beyond conventional stereo particularly
appealing. So do broadcasters, including those involved
in direct broadcast satellite transmissions, EDTV
("Clear Vision") and HDTV ("Hi-Vision").
2. Market penetration of surround hardware
The increasing popularity of surround is
exemplified by worldwide sales of more than 3 million
decoders as of December 1989. Although Dolby
Surround was introduced initially in the U.S., it was
first marketed on a large scale in Japan. As a result,
worldwide sales of Dolby Surround products for the
moment are divided between Japan, the U.S., and
Europe in a ratio of about 6:3:1.
Surround was first adopted by video enthusiasts,
then gradually established a position as a more broad-
based home entertainment system. In 1989, 46% of all
Dolby Surround decoders sold worldwide, and 65% of
those sold in Japan, werebuilt into completeTV sets,
indicating increased acceptance by less technology-
oriented consumers. Today nearly all large-screen TV
sets popular in Japan incorporate some sort of surround
circuitry, if not always Dolby Surround in particular.
This rapid market penetration is shown in Chart 1.
3. Sports programming in surround
Chart 2 is an overall view of surround
programmingin Japanas of November1990.Live
sports coverage is an obvious use for surround, making
it possible for listeners at home to experience stadium
"waves", cheers, and crowd noises like those in such
Dolby Stereo films as "Major League" and the various
"Rocky" episodes.
Where in the U.S. the first broadcast uses of
surround was for NBC and CBS coverage of
SuperBowl football games, the very first application in
Japan was an Osaka baseball game broadcast by MBS
(Mainichi Broadcast Station) under the supervision of
Hiroshi Hamada in April 1987. They used a simple
resistive matrix to create a L-R reverse-phase surround
component, and a consumer Dolby Surround decoder

AES 9th INTERNATIONAL CONFERENCE 163

 SAWAGUCHI
for monitoring. Figure 1 shows the mic arrangements
and system set-up for this first broadcast.
In April 1988, Fuji TV made the first Delby
Surround TV broadcast, the special soccer event "Kick
Aids '88" (Figure 2). The next Delby Surround
broadcast was of an All-star baseball game in July by
NTV, another Tokyo station. However, it was not until
August 1988 that surround was given national exposure,
when NHK-Osaka broadcast the National High School
Baseball Tournament in Delby Surround. This annual
56-team tournament is followed closely by the Japanese
public, and an average of eight hours a day coverage
over a two-week period provided a unique opportunity
to experiment with various microphone types and
placements, and with mixing techniques ensuring
compatibility with conventional mono and stereo
reception (Figure 3). This extended coverage also had
the benefit of familiarizing announcers with the
surround concept. In previous broadcasts, they had
changed the word "surround" to "sound"!
1989 saw greatly increased surround activity,
including coverage by NHK-Tokyo of Sums wrestling
that continues for 15 days every other month,
Capturing the ambience of a large gymnasium has
proved to be one of the most effective uses for surround
(Figure 4). In November 1989, another large-scale
surround program was undertaken by a network
affiliated with Fuji TV: the nearly month-long series of
World Cup volley ball matches played in Tokyo, Osaka,
Nagoya and Hiroshima.
4. Surround techniques for sports coverage
The best use of surround for broadcasting sports
events is for continuous, atmospheric information, such
as natural stadium sounds, and not for sudden,
unexpected special effects as happens occasionally on
movie soundtracks. While the ear naturally becomes
less sensitive to continuous subtle surround during long-
term listening, the temptation to raise the surround level
to offset the insensitivity should be resisted, as too high
a level is very tiring,
The key to a good surround mix for sports coverage
is the use of just a few elements, beginning with a firm,
consistent three-dimensional sound-field. This is best
established by the combination of a stereo mic and an
omnidirectional mic for the surround channel. "Spice"
can be added to the surround channel by spot mics
placed to pick up some close-in crowd sounds, but these
too should be used subtly, except when the crowd gets
really loud. Although not practical all that often,
switching the audio mix when the scene changes, as in
movies, is well worth the effort. A different mic set-up
in a post-game interview room, for example, refreshes
164
listeners' ears with a distinctly different sound field.
Another consideration is the compatibility of the
signal with the generic surround decoders offered in
many TV sets. Unlike Delby Surround decoders,
generic surround decoders are usually optimized for
single-ended use with conventional stereo sources.
They derive an artificial "surround channel" from the
out-of-phase elements of a stereo signal, without further
processing. The result on some sources, particularly
those encoded with Delby Surround, can be excessively
high crowd noise in the rear masking the commentary at
the front.
A further concern is crowd-noise "pumping".
Excessively high peak levels in the commentary can
audibly modulate the level of otherwise continuous
background crowd noise in the surround channel. This
occurs when the excessive peaks actuate a limiter in the
transmission channel after the surround encoding.
Although not very perceptible with front-only stereo,
the problem can be occasionally aggravated by the
steering logic in surround decoders. It can be virtually
eliminated by applying correlated limiting to the four
discrete channels coming into the surround encoder,
rather than limiting its encoded output
For surround broadcasts that sometimes continue
for hours, we usually link a Delby SEU-4
encoder/SDU-4 decoder pair with a regular 2-channel
stereo mixing console. We have found it very helpful to
have 4-channel decode monitor level meters, an X/Y
scope displaying Lt/Rt signals, and a remote controller
box for selecting the monitor mode
(Surround/Stereo/Mono) and adjusting levels. We also
look forward to testing a special 4-channel limiter for
surround encoding recently developed by Delby Labs.
With this equipment, we can conveniently and
economically achieve a mix to satisfy those who listen
in either conventional stereo or surround.
5. Concerts
For music broadcasts, surround sound can
effectivelyrecreatethe ambienceof concerthalls, and
the audience excitement at rock concerts. One of the
first applications was an open-air performance of Isao
Tomita's "Soundcrowd", broadcast in surround by
NHK-Nagoya over high-quality DBS mode-B in
October 1988. The broadcast utilized a post-production
surround mix derived from the original multitrack
recording. The first use of surround to recreate concert
hall acoustics was NTV's broadcast of a performance of
Beethoven's "Symphony No. 9", which was mixed
directly down to two encoded channels at Suntory Hall,
Tokyo in December 1988.
Since September 1989, TV Asahi has been
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regularly broadcasting "Junior Original Concert" in
surround, with more than 20 programs in 6 months. At
midnight on 31 December 1989, the leading Japanese
rock band "Southern All Stars" performed a "New Year
Countdown" concert that was broadcast live by TBS.
NHK-Sendai also made an experimental surround
recording of their local Sendai Symphony Orchestra in
January1990.
Live concerts are usually recorded on 24-channel
multitrack for broadcasting later, and some producers
are reluctant to give up even a few of those tracks for
surround or effects information. As more mobile units
equip with recorders of more than 24 channels, that
reluctance is likely to decrease, so the chances for
surround broadcasts should therefore increase,
6. Radio dramas
Broadcasting dramas in surround is a logical
extension of NHK's more than 20 years' experience in
producing stereo FM dramas. The added excitement
and reality is similar to that of Dolby Stereo films, as
are the mixing techniques,
Since May 1987, eleven dramatic productions have
been produced and broadcast in Dolby Surround by
NHK. One of these, "Marginal", a space drama
produced in October 1989, was later released on CD.
To help maintain the accurate phase relationships
required for accurate matrix decoding, we use digital for
all recording and mixing, beginning with the two-track
Sony PCM-3102/3402 for dialogue, music and EFX.
The originals are dubbed onto the PCM-3324 in the
final mix, then the PCM-3402 is used for the final
master,
7. Examples of surround mixing for radio
dramas
In our experience, developing surround-sound
designs for audio-only media stimulates the imagination
and creativity of mixing engineers. This process is well
represented by a 60-minute NHK drama, "The Ears of
the Earth", mixed by co-author Sawaguchi and
broadcast on May 27, 1990. The story -- a boy called
Ino tries to save the earth from sound pollution -- was
ideal for the creative use of surround,
At one point in the story, Ino enters Earth's ear, and
encounters a doctor who is caring for the eardrum,
which has been damaged by exposure to too much
sound. This scene illustrates how with the Dolby
Surround matrix it is possible to control the size of the
image by means of phase relationships. When a sharp
localization is required, we record dialogue in mono or
by using an X/Y stereo mic pair; to make a broad image
we combine a close A/B pair with offset ambience
AES
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SURROUND
BROADCASTING
INJAPAN
mics.
To achieve the effect of being inside the ear, we
recorded the dialogue as shown in Figure 5. The actor
playing the doctor placed his head inside a large bass
drum, causing the drum to resonate, and varied the tone
color of his voice by continuously moving his head
back and forth. An omnidirectional mic was placed
insidethedrumto pick up the voicedirectly,whilean
A/B cardioid pair outside the drum picked up the
sympathetic vibrations of the drumhead. In contrast, a
sharp perspective was required for the voice of the actor
playing the boy Ino, so he was recorded in mono
separately, in a booth (the actors heard each other over
headsets). The final mixing plan of this scene is shown
in Figure 6. Additional low-frequency background
sounds were "Foleyed" by striking a suspended 6'x 9'
steel plate, picked up by a C-ducer and MKH-40P
configured as shown in Figure 7.
This scene further required the sound of the two
characters bouncing on the eardrum, as on a trampoline.
The bouncing sounds were created from the sound of air
escapingfrom a balloon, to which was applied an FB-
delay of 240mS and a pitch factor of 0.921 with an
AMS harmonizer. In addition, a Lexicon 480 was used
to apply 2.24 second reverb to just the left channel of
Ino's dialogue. By manipulating the levels of the
modified left dialogue track and the unaltered right
dialogue track, we created an image of the character
bouncing as he spoke.
Another scene features a Sound Monster, which
embodies all the kinds of noise ever created on the
Earth. As a basis for the sound of the monster's
breathing,werecordedthe breathingsoundsof our
directors, Hidenori Sugimori and Toshihiko Ezawa,
with a TLM-170i close mike, and with contact mics
tapedto theirthroats.Thesetwomicswererecorded
individually onto two channels. With an AMS
harmonizer we added a 200 mS FB-delay to the left and
right channels with a ratio of 0.5 and 0.6 respectively
(Material 1), and further processed them through the
Lexicon 480's Vocal Whisper program (Material 2).
The solid core of sound picked up by the direct mic was
used separately, processed through the Wild Sweep
program of an Eventide 3000. The latter's L/R outputs
were assigned to the C/S inputs of the Dolby SEU4
surround encoder, resulting in the effect of the
Monster's breath blowing right through the listening
room from front to back (Materials 3 and 4). The total
effect of the Sound Monster was created by combining
all these materials as shown in Figure 8.
Finally, in yet another scene, Ino "captures" all the
sounds ever created, in essence playing back a sonic
history of Earth. To create this effect, we wanted more
165
 SURROUND
BROADCASTING
INJAPAN

than 30 types of sound to pass in sequence rapidly from
front to back, and disappear into a spiral "hole". The
sequence was a veritable sonic museum, starting with
contemporary sounds, then going back in time to a
printing press, a spinning wheel, a water clock, a storm,
thunder, a volcano, jungle noises, and so on. Kinnosuke
Nishinomiya, in charge of sound effects, selected these
materials from his large sound library, and successively
assigned them L-to-S, C-to-S, or R-to-S for storage as a
pre-mix on four track-pairs of an Audio File DAW. We
then played back the Audio File to fine-tune the offset
timing, and programmed the fade-in/fade-out curve and
final timing of each item. The finished master was then
mixed down to two surround-encoded channels. This
effect would have been far too costly and time-
consuming with conventional tape recorders, but the
DAW enabled us to realize our concept within a
practical period of time and without sound degradation,
8. Monitoring levels
Dolby Laboratories specifies 85 dB SPL for the
monitoring level in Dolby Stereo film dubbing stages,
and as the playback level in Dolby Stereo cinemas,
Although we started with the same monitor level at
NHK, it is still being evaluated. Home listening levels
are typically lower (75 to 80 dB), and a standard
practice for surround productions is not yet established.
We have tried various approaches, including an offset
with 85dB for the front channels and 83dB for the
surround channel, and reducing the overall monitor
level for the final mixdown to 80dB, but we have yet to
reach a firm conclusion.
audio and video technology in Japan comes from the
housing industry, which is becoming increasingly
feature-oriented ("amenity" is the latest industry
catchword). Builders now offer the option of various
AN systems installed in prefabricated homes, a
tendency which would be given further impetus by the
development of practical, high-quality wall displays of
50-100 inches.
Given the strong trend among Japanese consumers
to turn living rooms both large and small into home
theatres, it is important that engineers develop the
mixing know-how to deliver high-quality surround
programs to the home TV audience. Whether using the
=discrete surround capabilities of HDTV or the Dolby
Surround matrix, on-going efforts to create effective
techniques appropriate to a variety of program material,
as well as efforts to improve hardware installations, are
vital.
In the US film industry, sound designers and
mixers have developed unique skills over the years
working with surround in both matrixed (35mm Dolby
Stereo optical) and discrete (70 mm Dolby Stereo
magnetic) formats. We believe that the rest of the
world can learn much from these pioneers, and it is our
hope that we in Japan will have increased
opporutunities to exchange ideas across the Pacific.

9. TV dramas
The use of surround for stereo TV drama is for the
most part exactly the same as for theatrical films. In
November 1988, TBS produced a drama on motorcycle
racing, "Blow Wind to Suzuka", which used surround
for particularly appealing effects. NHK's first TV
drama with surround was "Megalopolis Eden", a
mixture of fantasy and musical broadcast in April 1990.
Unfortunately, TV dramas are usually under time
and budget restraints by video producers or broadcasters
who do not have the same experience with surround as
film makers. Although the audience demand for
surround is there, dramatic series in Japan are still being
produced mostly in mono. However, we believe this
will ultimately prove to be an important application for
surround.

10. Future prospects

A further indication of the demand for advanced

166 AES9thINTERNATIONAL
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Bibliography
H.Hamada, "A TV Surround System in High School Baseball,"
Hoso-Gijutsu (Broadcast Engineering), July 1987

K.Suzuki, "Report on Making FM Surround Drama, 'Travel of Shuna,'"

Hoso-Gijutsu, September 1987

M.Fushiki, "Dolby Surround and Television Broadcasting,"

Hoso-Gijutsu, November 1987

S.Imashiro, "Approach of NHK-Osaka in Broadcasting the 70th National High School Baseball
Tournament,"
Prosound, October 1988

J.Koizumi, "Dolby Prologic Surround Decoder,"

Chroma, December 1988

T.Mishima, "Surround Productions in Broadcast,"

JAS Journal, February 1989

Y.Shirahama, "Surround Mixing of Sumo Broadcast,"

Chroma, April 1989

M.Fushiki, "Dolby Surround and Pro Logic,"

JAS Joumal, May 1989

T. Mishima, "Surround Productions in Broadcast,"

Presented at AES Tokyo Conference, June 1989

N.Yamada, "Surround Production in Broadcast: 'Blow Wind to Suzuka,'"

Presented at AES Tokyo Conference, June 1989

K.Ohmi, "Hi-Vision Audio: Its Progress in Hardware and Software,"

Chroma, August 1989

T. Shimada, "Progress in Motion Picture Sound,"

Prosound, August and October 1989

M.Sawaguchi, "Approach to Surround Audio in Broadcast Media,"

Video Alpha, December 1989

AES 9th INTERNATIONAL CONFERENCE 167

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Chart 1:
Sales in Japan of domestic TV sets
with surround (in thousands)

Year All TV With surround with Dolby Surround

1986 8,270 290 (3.5%)
1987 9,070 2,128 (23.5%) 113 (5.3%0
1988 9,505 3,417 (35.9%) 386 (11.3%)
1989 9,484 4,388 (46.3%) 535 (12.2%)

Chart 2: 89/11/17-19 World Cup Volley Ball '89 Kansai TV

Programs broadcast in Dolby Surround in Japan 89/11/21-22
89/11/25-26
World Cup Volley Ball '89
World Cup Volley Ball '89 '
Shin-Hire. TV
Fuji Television
89/12/31 Southern All-Stars Live TBS
Date Title Broadcaster 90/01/06 The Man Who Returned NHK-FM
86/12/* Flight of Navigators TV commercial 90/01/07-08 National H.S.Soccer Toum. NTV
87/05/02 Travel of Shuna NHK-FM 90/01/07-21 Grand Sumo Games NHK
87/08/18 Good-bye, Toy-box NHK-FM 90/01/14- Junior Original Concert (wkly) TV Asahi
88/01/16 Mysterious Forest Story NHK-FM 90/03/11-25 Grand Sumo Games in Osaka NHK Osaka
88/01/* Sound Recopal FM commercial 90/03/26-05 Spring H.S. Baseball Toum. NHK Osaka
88/04/24 Kick AIDS '88 Soccer Fuji Television 90/04/30 Megalopolis Eden NHK
88/06/* Sony Trinitron TV TV commercial 90/05/08 Black Cat Rudolf NHK-FM
88/07/26 Pro Baseball All-Star Game NTV 90/05/11 Ear of the Earth NHK-FM
88/08/08-22 Summer H.S. Baseball Toum. NHK Osaka 90/05/13-26 Grand Sumo Games of May NHK
88/10/14 Tomita Soundcrowd -Nagaragawa NHK-DBS 90/06/14 Baseball: Lions-Fighters TV Asahi
88/11/05 Blow Wind to Suzuka TBS 90/06/17 Baseball: Lions-Hawks TV Asahi
88/12/25 Beethoven 9th Symphony NTV 90/06/20 Baseball: Fighters-Lions TV Asahi
89/01/09-23 Grand Sumo Games NHK 90/06/23 Baseball: Fighters-Buffalos TV Asahi
89/01/10 National H.S.Soccer Toum. NTV 90/06/28 Floating Days NHK-FMFirst
89/03/12-26 Grand Sumo Games in Osaka NHK Osaka 90/07/01 Baseball: Fighters-Braves TV Asahi
89/03/25 Shangrila NHK-FM 90/07/08-22 Grand Sumo Games in Nagoya NHK Nagoya
89/03/26-05 Spring H.S.Baseball Toum. NHK Osaka 90/07/10 Baseball: Lions-Fighters TV Asahi
89/05/07-21 Grand Sumo Games of May NHK 90/07/11 Baseball: Swallows-Whales TV Asahi
89/06/14 Japan Who's Who Dictionary NHK SapporoFM 90/07/13 Baseball: Swallows-Giants TV Asahi
89/07/02-16 Grand Sumo Games in Nagoya NHK Nagoya 90/08/07 Takarazuka Special NHK-DBS
89/07/29 "Edo" Fireworks Festival Fuji Television 90/08/09-22 Summer H..S,Baseball Toum. NHK Osaka
89/08/09-22 Summer H.S.Baseball Toum. NHK Osaka 90/08/13 Baseball: Swallows-Giants TV Asahi
89/09/11-25 Grand Sumo Games of Autumn NHK 90/08/30 Baseball: Lions-Braves TV Asahi
89/09/24- Junior Original Concert (12 wks TV Asahi 90/09/04 Baseball: Swallows-Carp TV Asahi
89/11/03 Forest of Mermaids NHK Osaka-FM 90/09/09-23 Grand Sumo Games of Autumn NHK
89/11/* Sony Dramazone TV Commercial 90/09/19 Baseball: Lions-Buffalos TV Asahi
89/11/07-09 World Cup Volley Ball '89 Fuji Television 90/09/24 Baseball: Lions-Fighters TV Asahi
89/I 1/11-12 World Cup Volley Ball '89 Kansai TV 90/10/24 Baseball: Japan Series TV Asahi
89/11/12-26 Grand Sumo Games in Kyushu NHK Fukuoka 90/11/11-25 Grand Sume Games in Kyushu NHK Fukuoka
89/11/14-15 World Cup Volley Ball '89 Tokai TV 90/11/25 Black Cat Rudolf 2 NHK-FM

168 AES 9th INTERNATIONAL CONFERENCE

 SURROUND BROADCASTING IN JAPAN

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AES 91J'1
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170 AES9th INTERNATIONAL

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 SURROUND BROADCASTING IN JAPAN

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AES 9th INTERNATIONAL CONFERENCE 171

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Figure 4: Sumo wrestling, NHK-Tokyo, 1989.

172 AES9th INTERNATIONAL

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Figure 5: Special dialogue recording, "The Ears of the Earth" (NHK radio drama, May 1990)

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Figure 6: Final mixing plan, special dialogue recording, "The Ears of the Earth"

AES9th INTERNATIONAL
CONFERENCE 173
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Figure 7: EFX recording, "The Ears of the Earth"

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Figure 8: Mixing image of Sound Monster, "The Ears of the Earth"

174 AES9th INTERNATIONAL

CONFERENCE