For this same reason, DPL-IIx Movie is able to steer audio more precisely across the rear soundstage based on the level and phase of the audio data encoded in the 5.1 bitstream, effectively recreating the sound of an array system.Ĥ) Discrete 7.1 soundtracks. With two rear speakers, audio placed directly behind the listener doesn't suffer from perceived reversal because the sound is being produced by multiple point sources in equal amounts, making it image directly behind you. Because of this, the perceived reversal is defeated because the audio is being produced by multiple point sources.ģ) Dolby Pro-Logic IIx Movie on 7.1 systems. DPL-IIx Music creates the rear channel from the matrixed audio in the surrounds in much the same way as Dolby EX does, but during the steering, it leaves part of that rear-channel audio in the left and right surrounds in varying increments. With proper speaker placement, the matrixed audio in the surround channels will phantom image behind you anyway.Ģ) Dolby Pro-Logic IIx Music mode on a 6.1 channel setup. There are several ways around this reversal issue:ġ) Stick to 5.1. So why do we have 7.1 when the actual audio data is typically 5.1 with a rear channel matrixed into the surrounds? Because single point sources directly behind the listener have a tendency to create a perceived reversal in sound, making them sound like the audio is coming from in front of you instead. The rears are typically fed using Dolby EX. Theaters don't need it because they use arrays of speakers on the side and rear walls. LOSSLESS = LOSSLESS.ħ.1 is a home theater conceit. None of them should sound better than the other, and anyone who tells you they can hear a difference is kidding themselves. All things being equal, the container just produces the lossless sound. but after decompression, the file is the same. Dolby TrueHD and DTS-Master Audio are designed to produce the same sound as the uncompressed PCM. A more dynamic sound is produced.First, lossless is lossless. Performs playback at a compression level between “TV Mode” and “Wide Range.” Other discs are played back at the “Standard” level. Performs playback at the dynamic range specified by the disc (BD-ROM only).
However, the signals will be output as 48 kHz/ 16 bit if the source is copy- protected. Outputs audio signals of 96 kHz sampling as 96 kHz/ 24 bit. Outputs audio signals of 96 kHz sampling as 48 kHz/ 16 bit. Select this when connecting to an audio device with a built-in DTS decoder.
Select this when connecting to an audio device without a built-in DTS decoder. Select this when connecting an audio device with a built- in Dolby Digital decoder.Ĭonverts to output Linear PCM signals. Select this when connecting an audio device without a built-in Dolby Digital decoder. “HDMI,” “Multi Channel Analog,” or “Stereo Analog.”Ĭonverts to output Linear PCM signals. – when “BD Audio Setting” is set to “Mix” when However, this excludes the following cases.
The “Audio Settings” setup (page 72), “Audio DRC” has no effect on the audio output from the DIGITAL OUT (OPTICAL/COAXIAL) jack. When “Dolby Digital” is set to “Dolby Digital” in.“Audio DRC” is effective only when playingĭolby Digital, Dolby Digital Plus, and Dolby TrueHD audio signals.Selects the dynamic range (compression level of the sound) setting when playing a BD or DVD that conforms to “Audio DRC.” “Audio Output Priority” is set to “HDMI,” “Multi Channel Analog,” or “Stereo Analog.” “48kHz/96kHz PCM” is not effective when.Selects the maximum sampling frequency for the PCM signals output from the DIGITAL OUT (OPTICAL/COAXIAL) jack.Īmplifier (receiver) that does not support 96 kHz is connected, no sound or a loud sound may result. This setting affects the output from the DIGITAL OUT (COAXIAL/ OPTICAL) jack. Selects the audio signals output when playing DTS discs. This setting affects the output from the DIGITAL OUT (COAXIAL/OPTICAL) jack. Selects the audio signals output when playing Dolby Digital discs.