In article ,
Serge Auckland wrote:
This was followed by Dolby Pro-Logic decoding which provided the
dynamic steering necessary to reduce the perceived crosstalk. As long
as the system was used for films, with the rear channels being used for
effects, it worked satisfactorily, much better than such a system would
have worked with music without pictures. However, relying on a phantom
centre-front image for dialogue was found to be very wearing, as the
action of the pro-logic resulted in dialogue wandering about the stage.

IIRC, Dolby pro logic had a matrix derived centre dialogue track from the
start. Domestic systems allow you to have the choice of 'phantom' if you
don't need it.

But it's really nothing to do with Pro Logic - if you watch any TV prog
using speakers spaced outside the frame the dialogue will only come from
the centre of the screen if you're in the 'sweet spot'. Pro Logic combines
left and right and removes the difference signal to derive the centre
dialogue channel, since most dialogue is in mono. However, for this to
work seamlessly on music as well requires a very good match between the
centre and main speakers which is very difficult to achieve - whereas the
surround ones aren't so critical.

--
*i souport publik edekashun.

Dave Plowman London SW
To e-mail, change noise into sound.