User`s manual | Dodge 2011 Ram Truck Chassis Cab Automobile User Manual

Model DP564
Multichannel Audio Decoder
User’s Manual
Issue 1
Part Number 91830
DP564 Multichannel Audio Decoder
Dolby Laboratories, Inc.
Corporate Headquarters
Dolby Laboratories, Inc.
100 Potrero Avenue
San Francisco, CA 94103-4813
Telephone 415-558-0200
Fax 415-863-1373
www.dolby.com
European Headquarters
Dolby Laboratories, Inc.
Wootton Bassett
Wiltshire, SN4 8QJ, England
Telephone (44) 1793-842100
Fax (44) 1793-842101
Dolby, Pro Logic, and the double-D symbol are registered trademarks of Dolby Laboratories.
Surround EX is a trademark of Dolby Laboratories.
All other trademarks remain the property of their respective owners.
 2002 Dolby Laboratories, Inc.; all rights reserved.
S02/14327
Issue 1
ii
Part Number 91830
DP564 Multichannel Audio Decoder
Table of Contents
List of Figures ............................................................................................................................ vi
List of Tables.............................................................................................................................. vi
Regulatory Notices and Fusing Information .................................................................... vii
Fusing Information................................................................................................. ix
Chapter 1
Introduction ...................................................................................................... 1-1
Chapter 2
Installation ............................................................................................ 2-1
2.1
Mounting.................................................................................................. 2-1
2.2
Rear-Panel Connections........................................................................... 2-1
2.2.1 BNC Connectors .......................................................................... 2-1
2.2.2 Optical In and Serial Ports ........................................................... 2-2
2.2.3 Analog Outputs ............................................................................ 2-3
2.2.4 Power ........................................................................................... 2-3
Chapter 3
Front-Panel Controls............................................................................ 3-1
3.1
Front-Panel Layout .................................................................................. 3-1
3.2
Button Functions...................................................................................... 3-2
3.2.1 Navigation.................................................................................... 3-2
3.2.2 Listening Modes .......................................................................... 3-3
3.2.3 Input ............................................................................................. 3-5
3.2.4 Preset............................................................................................ 3-5
3.2.5 Output Level ................................................................................ 3-5
3.2.6 Special Button Functions ............................................................. 3-6
3.3
LED Indicators......................................................................................... 3-6
3.4
RS-232 Connection.................................................................................. 3-7
Chapter 4
Menus .................................................................................................... 4-1
4.1
Menu Basics............................................................................................. 4-1
4.2
Hot-Key Functions................................................................................... 4-2
4.3
Status Menu ............................................................................................. 4-2
4.3.1 Main Status Menu ........................................................................ 4-2
4.3.2 Output Level Meters .................................................................... 4-4
4.3.3 Compression Meters .................................................................... 4-4
4.3.4 Monitor Status.............................................................................. 4-4
4.3.5 Metadata Status............................................................................ 4-4
4.3.6 Input Status .................................................................................. 4-5
4.3.7 AES Reference Input Status......................................................... 4-5
4.3.8 Timecode Status........................................................................... 4-6
4.3.9 Error Statistics.............................................................................. 4-6
4.3.10 System Status ............................................................................. 4-6
iii
DP564 Multichannel Audio Decoder
4.4
Setup Menu .............................................................................................. 4-6
4.4.1 Operating Mode ........................................................................... 4-7
4.4.2 Monitor Control ........................................................................... 4-8
4.4.3 User Presets................................................................................ 4-12
4.4.4 I/O Control ................................................................................. 4-13
4.4.5 Monitor Configuration............................................................... 4-15
4.4.6 System Settings.......................................................................... 4-15
Chapter 5
Listening Room Calibration................................................................. 5-1
5.1
Speaker Configuration Settings ............................................................... 5-1
5.2
Speaker Delay Values .............................................................................. 5-2
5.2.1 Center Delay ................................................................................ 5-3
5.2.2 Surround Delay ............................................................................ 5-3
5.2.3 Back Surround Delay................................................................... 5-4
5.2.4 Pro Logic Delay ........................................................................... 5-4
5.3
Calibration ............................................................................................... 5-5
5.4
One-Touch Output Level Adjustment ..................................................... 5-9
Chapter 6
Operating Modes .................................................................................. 6-1
6.1
Monitoring Modes ................................................................................... 6-1
6.1.1 Downmix ..................................................................................... 6-1
6.1.2 Decoding ...................................................................................... 6-2
6.1.3 Listening ...................................................................................... 6-3
6.1.4 Compression ................................................................................ 6-3
6.2
Hardware Remote Control ....................................................................... 6-3
6.2.1 Cat. No. 549 Configuration.......................................................... 6-4
6.2.2 GPI/O Pin Configuration ............................................................. 6-5
Chapter 7
Using New Features ............................................................................. 7-1
7.1
Multiple Inputs......................................................................................... 7-1
7.2
Expanded Preset Storage ......................................................................... 7-1
7.3
Enhanced Monitoring Control ................................................................. 7-2
7.4
Dedicated GPI/O Remote Control Capability.......................................... 7-2
7.5
Dolby Digital Surround EX Decoding..................................................... 7-2
7.6
Dolby Pro Logic II Decoding .................................................................. 7-2
7.7
Dolby Headphone Processing .................................................................. 7-2
7.8
IFE Mode ................................................................................................. 7-2
7.9
Timecode Output ..................................................................................... 7-3
7.10 External AES Reference .......................................................................... 7-3
7.11 Ethernet Software Remote Control.......................................................... 7-3
7.12 Streaming ................................................................................................. 7-3
7.13 Karaoke .................................................................................................... 7-3
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DP564 Multichannel Audio Decoder
Chapter 8
Streaming Server and Remote Software ............................................ 8-1
8.1
DolbyRemote 564 .................................................................................... 8-1
8.2
Hardware Connection .............................................................................. 8-1
8.3
Installing DolbyRemote 564 .................................................................... 8-1
8.4
Launching the Application....................................................................... 8-2
8.5
DolbyRemote 564 Overview ................................................................... 8-2
8.6
Streaming ................................................................................................. 8-3
8.6.1 Server Location............................................................................ 8-3
8.6.2 File Selection ............................................................................... 8-3
8.6.3 Play, Pause, Stop Control ............................................................ 8-3
8.6.4 Slide Bar Control ......................................................................... 8-3
8.6.5 +10 Seconds / –10 Seconds Buttons ............................................ 8-3
8.7
Dolby Streaming Server........................................................................... 8-4
8.7.1 Installing the Dolby Streaming Server......................................... 8-4
8.7.2 Launching the Application........................................................... 8-4
Appendix A Metadata....................................................................................................1
A.1
Metadata Overview................................................................................. A-1
A.2
Dialogue Level........................................................................................ A-4
A.3
Dynamic Range Control ......................................................................... A-6
Dynamic Range Control Profiles ............................................................ A-8
A.4
Downmixing ........................................................................................... A-9
A.5
Parameter Definitions ........................................................................... A-11
A.5.1 Universal Parameters ............................................................... A-12
A.5.2 Extended Bitstream Information Parameters ........................... A-19
A.6
Metadata Combinations ........................................................................ A-23
Appendix B Latency Values ................................................................................................B-1
Appendix C Specifications ..................................................................................................C-1
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DP564 Multichannel Audio Decoder
List of Figures
Figure 1-1 DP564 System Block Diagram .................................................................................. 1-3
Figure 2-1 Connection Ports for Digital Signals ......................................................................... 2-1
Figure 2-2 Connection Ports for Optical, Ethernet, Remote, and GPI/O .................................... 2-2
Figure 3-1 Front-Panel Controls .................................................................................................. 3-1
Figure 3-2 LED Indicators ........................................................................................................... 3-6
Figure 4-1 Operating Mode Menu ............................................................................................... 4-1
Figure 4-2 Menu Showing Scrolling Options Available Both Above
and Below Current Visible Choices........................................................................... 4-1
Figure 4-3 Main Status Menu with a Valid Dolby Digital Input................................................. 4-3
Figure 4-4 Main Status Menu with a Valid PCM Input .............................................................. 4-4
Figure 4-5 Main Setup Menu....................................................................................................... 4-7
Figure 4-6 Save Preset Text Entry Screen ................................................................................. 4-13
Figure 4-7 Unit Name Text Entry Screen .................................................................................. 4-15
Figure 5-1 Real Time Analyzer (RTA) Display .......................................................................... 5-8
Figure 6-1 Cat. No. 549 Configuration Screen Showing Active Settings for Button 4............... 6-4
Figure 6-2 GPI/O Pin Configuration Screen Showing Default Settings for Pin 23..................... 6-5
Figure A-1 Metadata Flow from Production to Consumer......................................................... A-3
Figure A-2 DRC Profile Pattern ................................................................................................. A-8
List of Tables
Table 3-1 Special Button Functions............................................................................................. 3-6
Table 3-2 LED Status Definitions................................................................................................ 3-6
Table 4-1 Input Status Display for Streaming Input.................................................................... 4-5
Table 4-2 Factory-Reserved Presets .......................................................................................... 4-12
Table 6-1 Cat. No. 549 Default Button and LED Functions ....................................................... 6-5
Table 6-2 Default GPI/O Pin Assignments.................................................................................. 6-6
Table 6-3 Functions Available for Assignment to Input Pins ..................................................... 6-7
Table 6-4 Functions Available for Assignment to Output Pins................................................... 6-8
Table A-1 Metadata Parameters.................................................................................................. A-4
Table A-2 Outputs from Various Dolby Digital Signal Processing Equipment....................... A-10
Table A-3 Examples of Possible Metadata Settings ................................................................. A-23
Table B-1 SMPTE-Specified Latency .........................................................................................B-2
Table B-2 IEC 61937 Specified Latency, with Respect to
Beginning of Dolby Digital (AC-3) burst payload......................................................B-3
Table B-3 Additional Latency in Silent Switch Mode ................................................................B-3
vi
DP564 Multichannel Audio Decoder
Regulatory Notices and Fusing Information
FCC
This equipment has been tested and found to comply with the limits for a Class A digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference when the equipment is operated in a commercial environment. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed and used
in accordance with this instruction manual, may cause harmful interference to radio
communications. Operation of this equipment in a residential area is likely to cause harmful
interference, in which case the user will be required to correct the interference at his or her own
expense.
Canada
This Class A digital apparatus complies with Canadian ICES-003.
UL
WARNING: Troubleshooting must be performed by a trained technician. Do not
attempt to service this equipment unless you are qualified to do so.
Check that the correct fuses have been installed. To reduce the risk of fire,
replace only with fuses of the same type and rating.
Exposed portions of the power supply assembly are electrically “hot.” To reduce the risk of
electrical shock, the power cord must be disconnected before the power supply assembly is
removed.
The ground terminal of the power plug is connected directly
to the chassis of the unit. For continued protection against
electric shock, a correctly wired and grounded (earthed) threepin power outlet must be used. Do not use a ground-lifting
adapter and never cut the ground pin on the three-prong plug.
WARNING: Before applying power, check the main fuse, using the procedure
on page ix.
UK
The power cord supplied for use in Europe (Dolby Part No. 92021) is not suitable for use in the UK.
To use the cord in the UK cut off the CEE7/7 plug and replace with an approved BS 1363 13A plug:
• The core that is coloured green and yellow must be connected to the terminal in the
or coloured green or green
plug identified by the letter E or by the earth symbol
and yellow.
• The core that is coloured blue must be connected to the terminal that is marked with
the letter N or coloured black.
• The core that is coloured brown must be connected to the terminal that is marked with
the letter L or coloured red.
• This apparatus must be earthed.
vii
DP564 Multichannel Audio Decoder
EU
This equipment complies with the EMC requirements of EN55103-1 and EN55103-2 when operated in an E2
environment in accordance with this manual.
IMPORTANT SAFETY NOTICE
This unit complies with the safety standard EN60065. The unit shall not be exposed to dripping or splashing and no objects filled with liquids,
such as coffee cups, shall be placed on the equipment. To ensure safe operation and to guard against potential shock hazard or risk of fire, the
following must be observed:
o Ensure that your mains supply is in the correct range for the input power requirement of the unit.
o Ensure fuses fitted are the correct rating and type as marked on the unit.
o The unit must be earthed by connecting to a correctly wired and earthed power outlet.
o The power cord supplied with this unit must be wired as follows:
Live—Brown
Neutral—Blue
Earth—Green/Yellow
IMPORTANT – NOTE DE SECURITE
Ce materiel est conforme à la norme EN60065. Ne pas exposer cet appareil aux éclaboussures ou aux gouttes de liquide. Ne pas poser d'objets
remplis de liquide, tels que des tasses de café, sur l'appareil. Pour vous assurer d'un fonctionnement sans danger et de prévenir
tout choc électrique ou tout risque d'incendie, veillez à observer les recommandations suivantes.
F
o Le selecteur de tension doit être placé sur la valeur correspondante à votre alimentation réseau.
o Les fusibles doivent correspondre à la valeur indiquée sur le materiel.
o Le materiel doit être correctement relié à la terre.
o Le cordon secteur livré avec le materiel doit être cablé de la manière suivante:
Phase—Brun
Neutre—Bleu
Terre—Vert/Jaune
WICHTIGER SICHERHEITSHINWEIS
Dieses Gerät entspricht der Sicherheitsnorm EN60065. Das Gerät darf nicht mit Flüssigkeiten (Spritzwasser usw.) in Berührung kommen; stellen
Sie keine Gefäße, z.B. Kaffeetassen, auf das Gerät. Für das sichere Funktionieren des Gerätes und zur Unfallverhütung (elektrischer Schlag,
Feuer) sind die folgenden Regeln unbedingt einzuhalten:
o Der Spannungswähler muß auf Ihre Netzspannung eingestellt sein.
D
o Die Sicherungen müssen in Typ und Stromwert mit den Angaben auf dem Gerät übereinstimmen.
o Die Erdung des Gerätes muß über eine geerdete Steckdose gewährleistet sein.
o Das mitgelieferte Netzkabel muß wie folgt verdrahtet werden:
Phase—braun
Nulleiter—blau
Erde—grün/gelb
NORME DI SICUREZZA – IMPORTANTE
Questa apparecchiatura è stata costruita in accordo alle norme di sicurezza EN60065. Il prodotto non deve essere sottoposto a schizzi, spruzzi e
gocciolamenti, e nessun tipo di oggetto riempito con liquidi, come ad esempio tazze di caffè, deve essere appoggiato sul dispositivo. Per una
perfetta sicurezza ed al fine di evitare eventuali rischi di scossa êlettrica o d'incendio vanno osservate le seguenti misure di sicurezza:
o Assicurarsi che il selettore di cambio tensione sia posizionato sul valore corretto.
o Assicurarsi che la portata ed il tipo di fusibili siano quelli prescritti dalla casa costruttrice.
I
o L'apparecchiatura deve avere un collegamento di messa a terra ben eseguito; anche la connessione rete deve
avere un collegamento a terra.
o Il cavo di alimentazione a corredo dell'apparecchiatura deve essere collegato come segue:
Filo tensione—Marrone
Neutro—Blu
Massa—Verde/Giallo
AVISO IMPORTANTE DE SEGURIDAD
Esta unidad cumple con la norma de seguridad EN60065. La unidad no debe ser expuesta a goteos o salpicaduras y no deben colocarse sobre el
equipo recipientes con liquidos, como tazas de cafe. Para asegurarse un funcionamiento seguro y prevenir cualquier posible peligro de descarga o
riesgo de incendio, se han de observar las siguientes precauciones:
o Asegúrese que el selector de tensión esté ajustado a la tensión correcta para su alimentación.
E
o Asegúrese que los fusibles colocados son del tipo y valor correctos, tal como se marca en la unidad.
o La unidad debe ser puesta a tierra, conectándola a un conector de red correctamente cableado y puesto a tierra.
o El cable de red suministrado con esta unidad, debe ser cableado como sigue:
Vivo—Marrón
Neutro—Azul
Tierra—Verde/Amarillo
VIKTIGA SÄKERHETSÅTGÄRDER!
Denna enhet uppfyller säkerhetsstandard EN60065. Enheten får ej utsättas för yttre åverkan samt föremål innehållande vätska, såsom
kaffemuggar, får ej placeras på utrustningen." För att garantera säkerheten och gardera mot eventuell elchock eller brandrisk, måste följande
observeras:
o Kontrollera att spänningsväljaren är inställd på korrekt nätspänning.
S
o Konrollera att säkringarna är av rätt typ och för rätt strömstyrka så som anvisningarna på enheten föreskriver.
o Enheten måste vara jordad genom anslutning till ett korrekt kopplat och jordat el-uttag.
o El-sladden som medföljer denna enhet måste kopplas enligt foljande:
Fas—Brun
Neutral—Blå
Jord—Grön/Gul
BELANGRIJK VEILIGHEIDS-VOORSCHRIFT:
Deze unit voldoet aan de EN60065 veiligheids-standaards. Dit apparaat mag niet worden blootgesteld aan vocht. Vanwege het risico dat er
druppels in het apparaat vallen, dient u er geen vloeistoffen in bekers op te plaatsen. Voor een veilig gebruik en om het gevaar van electrische
schokken en het risico van brand te vermijden, dienen de volgende regels in acht te worden genomen:
o Controleer of de spanningscaroussel op het juiste Voltage staat.
NL
o Gebruik alleen zekeringen van de aangegeven typen en waarden.
o Aansluiting van de unit alleen aan een geaarde wandcontactdoos.
o De netkabel die met de unit wordt geleverd, moet als volgt worden aangesloten:
Fase—Bruin
Nul—Blauw
Aarde—Groen/Geel
viii
DP564 Multichannel Audio Decoder
Fusing Information
WARNING: To reduce the risk of fire, replace fuses only with the same type
and rating.
The DP564 uses a universal switching power supply that handles the full range of
nominal mains voltages between 90 and 264 VAC and any frequency between 50
and 60 Hz.
Main Fuse
The main fuse rating is:
T 1A L (1 amp, 250 V, 20 mm, time-lag, low breaking capacity) for all operating
voltages.
The power cord must be removed from the rear-panel connection to inspect or replace
the fuse.
To inspect or replace the main fuse:
1. Slide open the fuse compartment in the AC power input housing by placing
the tip of a small screwdriver in the notch.
2. Carefully pull out the fuse carrier.
3. Either replace the fuse with a new one, or check that the current fuse has the
correct rating.
4. Slide the fuse compartment back into place, then snap the fuse compartment
closed.
Internal Fuse
The switching power supply contains a separate fuse. Most fault conditions should be
protected by the main fuse.
If you find it necessary to replace the internal fuse, be certain to replace it with a fuse
of the same type and rating as printed on the switching power supply board.
ix
Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Chapter 1
Introduction
The DP564 Multichannel Audio Decoder gives studio professionals unparalleled
ability to monitor different audio programs in a variety of listening modes.
Critical monitoring is essential to ensure that the highest quality audio reaches your
listeners at home. The DP564 Multichannel Audio Decoder, the next generation
reference decoder from Dolby Laboratories, is the perfect tool for monitoring and
quality control applications in DTV broadcast, postproduction, and DVD authoring.
The DP564 enables decoding and monitoring of programs with Dolby® Digital,
Dolby Surround Pro Logic®, or regular PCM soundtracks, as well as Dolby Digital
Surround EX™ and Pro Logic II decoding, making the DP564 the ideal digital
reference decoder for both Dolby Digital and Dolby Surround audio.
With the DP564, you can easily monitor all of Dolby Digital’s unique downmixing
capabilities. This means content producers and providers can verify how material
delivered in a 5.1-channel format will sound on systems that offer only Dolby
Surround, two-channel stereo, or mono playback.
By switching between listening modes using the front-panel controls, it is possible to
monitor how any multichannel program will sound when played on fully configured
multichannel surround systems, as well as surround systems with no Center channel
(Phantom) or even systems with no Surrounds (3 Stereo). Compression modes can
also be selected from the front panel to easily monitor Dolby Digital’s dynamic range
control and dialogue normalization features. These features are tailored to
professional users to allow you to hear how your audio will sound on any set-top box,
DVD player, or home theater receiver.
To set up and control the monitoring environment, the DP564 offers comprehensive
monitoring functions—including a master volume knob on the front panel, channel
mutes, reference monitoring level, individual channel level trims, center and surround
channel delays, bass management, and both full and band-limited pink noise for quick
and accurate room calibration. The headphone output has its own volume control, as
well as Dolby Headphone processing, which provides surround sound monitoring
over standard headphones. This allows more accurate QC monitoring and reduced
listener fatigue for headphone listeners.
Figure 1-1 shows the DP564 system block diagram.
1-1
DP564 Multichannel Audio Decoder
Introduction
Note: The processing sequence is not identical to that of a consumer decoder. To efficiently
deliver all the available features, downmixing is separated from the decoding block.
Timecode Output
AES1
(AES3 BNC)
Dolby
Digital
Decoder
Dolby
Digital
None, RF, Line,
Custom
Cut scaling
Boost scaling
LoRo / LtRt
LFE Monitor Mode:
Auto / On / Off
Compression
Selection
Decoder
Downmix
LDEC
RDEC
AES2
(AES3 BNC)
LsDEC
RsDEC
CDEC
LFEDEC
LPCM
RPCM
Input Select
Bitstream
Detect
PCM
On / Off
Optical
(TOSLINK)
On / Off
Manual / Auto
Pro Logic/ Pro Logic II
Mono
Sum
Pro Logic
Decode
Streaming
(RTP 100BASE-T)
C speaker On/Off
S speakers On/Off
Listening Modes
LLM
RLM
DH1, DH2, DH3, or
Off (stereo bypass)
LsLM
LsLM
CLM
Dolby Headphone
Processor
L/R Large/Small
C Large/Small
S Large/Small
SW On/Off
Bass Management
LBM
RBM
LsBM
RsBM
CBM
SW BM
Manual / Auto
On / Off
Bypass
Dolby
Surround EX
Decoder
LsEX,RsEX
BsEX
L/R Delay
C Delay
LsRs Delay
Bs Delay
LDH
RDH
Test Noise
SW
Speaker Delays
L/R, C, Ls/Rs, Bs
LSD
RSD
CSD
LsSD,RsSD
BsSD
None / 1 / 2
Bs Speaker
Split
LsSS,RsSS
BslSS,BsrSS
IFE
Mode
Output Select
D/A
D/A
Level
Control
Analogue Output
Master Volume Control,
Channel Trims, and Dim
Volume
Control
Optional
Level
Control
Front-Panel
Headphone Volume
Control
Headphone
Amplifier
Digital Output
Headphone Output
1-2
DP564 Multichannel Audio Decoder
Introduction
Figure 1-1 DP564 System Block Diagram
The 2-U rack-mount unit features multiple inputs including two AES3 inputs, a
Toslink optical input, and an Ethernet port for RTP-streaming Dolby Digital audio.
The inputs are easily selected with dedicated front-panel buttons.
The front panel also incorporates a display screen, featuring high contrast and a wide
viewing angle. In addition to providing an intuitive interface for menu access and
setup, the display is easy to read and offers clear graphic status menus for all Dolby
Digital metadata settings and metering of output levels and dynamic range control.
The rear panel includes the main audio output connections for both digital AES3 and
analog +4 dBu balanced outputs. A linear timecode (LTC) output generates timecode
from a Dolby Digital bitstream, allowing DVD facilities to check A/V sync between
encoded Dolby Digital audio files and uncompressed video. Front- and rear-panel
serial interfaces and an Ethernet port enable remote control and software updates; a
remote control software application is included to configure and control the DP564
from a PC via Ethernet or serial connection. Remote control is also possible from an
optional dedicated hardware controller—either the Dolby Cat. No. 549 GPIO
Controller or another system using the general-purpose I/O connector (GP I/O).
1-3
Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Chapter 2
Installation
This chapter covers the physical connections necessary to operate the DP564.
2.1
Mounting
The DP564 occupies 2U of rack space. The unit operates at ambient temperatures up
to 122° F (50° C) and vents from front to rear.
Caution: Do not mount the DP564 directly above heat-generating equipment.
Ensure adequate ventilation. The temperature inside a poorly ventilated
rack can be considerably higher than ambient room temperature.
2.2
Rear-Panel Connections
The rear-panel connections include BNC inputs and outputs, an optical input, serial
ports, analog audio outputs, and the power supply. It is best to make all other
connections before connecting the power supply.
2.2.1
BNC Connectors
Figure 2-1 shows the BNC connectors. These are compliant with the AES3-ID
standard.
AES 1
AES Ref
L/R
Digital In
LTC Out
AES 2
C/Sw
Digital Out
Ls/Rs
Bsl/Bsr
Figure 2-1 Connection Ports for Digital Signals
The AES Ref connectors are for an AES3 external reference. Connect an AES3
reference signal to either port. The other connector may be used to pass the reference
2-1
DP564 Multichannel Audio Decoder
Installation
signal on to another unit; if pass-through is not necessary, this connector should be
fitted with a 75-ohm terminator.
The Digital In connectors, AES 1 and AES 2, can receive both Dolby® Digital and
PCM signals. The decoder recognizes each signal type and processes the signal
appropriately. Digital inputs can also be received using the Optical In and 100BASE-T
inputs shown in Figure 2-2.
The LTC Out connector provides a SMPTE 12M linear timecode output signal.
Timecode is extracted from the timestamp embedded in a SMPTE 337M bitstream
that may be present in a Dolby Digital signal.
The Digital Out connectors provide a digital output signal for connection to a digital
monitoring system. Each connector is labeled according to the channel pair it
contains.
2.2.2
Optical In and Serial Ports
Figure 2-2 shows the Optical In and the serial connections.
19
Optical In 100BASE-T
37
Remote RS-485
1
GP I/O
20
Figure 2-2 Connection Ports for Optical, Ethernet, Remote, and GPI/O
The Optical In connection can receive both Dolby Digital and PCM signals. The
decoder recognizes each signal type and processes the signal appropriately.
The 100BASE-T port can connect to a 100Base-T or 10Base-T network. The
connection can then be used for streaming audio, and to enable the DolbyRemote 564
remote control application. See Chapter 8, Streaming Server and Remote Software,
for details.
The Remote RS-485 port can connect to a computer running DolbyRemote 564. The
DolbyRemote 564 application is far more efficient, however, when connected via the
100BASE-T port. For details, see Chapter 8, Streaming Server and Remote Software.
The GP I/O port connects to the Dolby Cat. No. 549 GPIO Controller (sold separately)
or to a separate remote control device, which must be configured according to the
pinout information under GPI/O Configuration in Section 4.4.4, I/O Control.
2-2
DP564 Multichannel Audio Decoder
2.2.3
Installation
Analog Outputs
The +4 dBu balanced Analog Audio Outputs connect directly to your monitoring
system. Each connector is labeled according to the channel signal it sends.
If your system includes a single speaker for Back Surround, use only the Bsl output,
and leave the Bsr output open.
2.2.4
Power
The main fuse rating is:
T 1A L (1 amp, 250 V, 20 mm, time-lag, low breaking capacity) for all operating
voltages.
WARNING: Before applying power, check the main fuse using the procedure on
page ix.
There is no power switch on the DP564. To apply power, connect the power cord to a
live outlet.
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Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Chapter 3
Front-Panel Controls
Every function of the DP564, except control of streaming audio, is accessible using
the front-panel buttons in combination with the information on the display screen.
This chapter covers
•
•
•
•
Front-panel layout
Button functions
LED indicators
The RS-232 connection
Streaming audio can be controlled using the DolbyRemote 564 software. See Chapter
8, Streaming Server and Remote Software, for details.
3.1
Front-Panel Layout
The left-hand side of the front panel includes the screen display and LED indicators.
The screen displays information on the current status, or setup menus that you
navigate using the buttons described in Section 3.2, Button Functions. The LED
indicators are defined in Section 3.3, LED Indicators.
The front-panel controls are shown in Figure 3-1.
Listening
Mode
Navigation
Shift
Bypass
Status
Esc
Setup
Output Level
AES1
1
Pro Logic II
Full
Custom
AES2
2
Pro Logic
3 Stereo
Line
Optical
3
EX
Phantom
RF
Streaming
4
Decode
Listening
Input
Preset
Ref
Dim
Enter
Brig htness
Remote
Stereo
(Lo/Ro)
Mono
Lt/Rt
Downmix
Compression
Master Volume
Remote
RS-232
Figure 3-1 Front-Panel Controls
The navigation buttons control selection of menu items on the screen display. The
listening mode buttons are for selection of specific monitoring configurations. This
allows monitoring of a program in all the different ways a consumer may listen to it.
The Input buttons are for choosing the source for the DP564. Preset buttons are for
3-1
DP564 Multichannel Audio Decoder
Front-Panel Controls
one-touch recall of a complete set of parameter settings previously stored as a preset.
Output-level controls set the volume level for your listening environment. Detailed
explanations of each button function follow.
3.2
Button Functions
Each button on the front panel controls a function or functions in the DP564. These
functions are defined in this section.
Any time a feature is active, the front-panel button associated with that feature is lit.
This is true whether the feature is activated or deactivated manually, or controlled by
program metadata, GPI/O, or a preset configuration.
3.2.1
Shift
Bypass
Esc
Enter
Status
Setup
Navigation
The primary function of each button in this group is printed on the button. To perform
the alternate function (printed on the panel above or beside the button in yellow text),
press Shift, then the button associated with the desired function. When you press
Shift, that button stays lit until you press another button, or press Shift again to disable
the alternate-function selection.
In this group of buttons, there is one function that goes beyond navigation: Bypass. If
the DP564 receives a PCM signal while in bypass mode, it passes the signal straight
to the Left and Right channel outputs with no processing. If the DP564 receives a
Dolby® Digital signal, it decodes the signal, but all further processing is disabled.
This includes dialogue normalization, dynamic range control, and downmixing, as
well as all surround formats, bass management, and channel delays. Channel level
trims and master volume continue to function. When you select Bypass (Shift, then
Esc), bypass mode remains in effect until you disable it by using the same button
combination. When you disable bypass mode, the unit returns to the settings in effect
when you entered bypass mode.
The navigation buttons work in combination with the display screen menus. In setup
menu screens and the Metadata Status, Error Status, and System
Status screens, pressing Enter enters the submenu for the highlighted selection, and
pressing Esc returns to the next higher menu level. If you are at the top of a menu
structure, Esc has no effect. If you change a value for a parameter in the setup menu,
Enter activates the new value and returns to the next higher menu level, and Esc
discards the new value and returns to the next higher menu level. For details on menu
structure, see Chapter 4, Menus.
The default menu at startup is the status menu. The status and setup menus have
separate functions and structures, detailed in Chapter 4, Menus. If you are in a status
menu, Setup changes the display to a setup menu. If you used the setup menu within
the previous five minutes, it returns you to the last setup menu you saw. If you have
not used a setup menu within that time, pressing Setup displays the top-level setup
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DP564 Multichannel Audio Decoder
Front-Panel Controls
menu. If you are in a setup menu, Status changes the display to a status menu. If you
are in a setup menu, Setup brings up the top-level setup menu. If you are in a status
menu, Status brings up the main status menu.
▲ moves the item selection in the display to the next item up. In the setup menu, if
the current menu designates a numerical value, ▲ increases the value to the next
higher increment.
Brig htness
► navigates within and between menus. In the setup menu, ► enters that item’s
submenu, unless there is no submenu. In the status menu, ► scrolls to the next
available menu. Brightness takes you directly to the menu where you can adjust the
intensity of the display.
Remote
▼ moves the item selection in the display to the next item down. In the setup menu,
if the current menu designates a numerical value, ▼ decreases the value to the next
lower increment.
◄ navigates between menus. In a multi-layer menu, ◄ returns to the next-higher
menu (same as Esc). In the top-level status menu, ◄ scrolls to the adjacent menu, (in
the opposite scrolling direction as ►). Remote invokes remote control by the
DolbyRemote 564 software. When the DP564 is under remote control, Remote ends
remote control and re-activates all front-panel controls.
Note: When the DP564 is under remote control, most front-panel controls are
inactive. In this mode, the Master Volume knob is active, and you can scroll
through the status menus, or press Remote, which ends remote control and reactivates all front-panel controls.
3.2.2
Listening Modes
By reproducing the wide variety of consumer listening environments, listening mode
selections enable you to make sure the audio program is optimized for every listening
situation. The selections are divided into four categories: Downmix, Decode,
Listening, and Compression.
Downmix
Stereo
(Lo/Ro)
Lt/Rt
Use the Downmix buttons to select the downmix you monitor. Lo/Ro downmixes to a
stereo output. Lt/Rt downmixes to a Dolby Surround Pro Logic® compatible stereo
output. Lo/Ro and Lt/Rt are unavailable if the Dolby Digital input signal is in audio
coding mode 2/0, 1/0, or if the input signal is PCM.
Mono
Mono summing is available only if the input is PCM, a Dolby Digital signal in audio
coding mode 2/0, or any other Dolby Digital signal downmixed to Lt/Rt or Lo/Ro.
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DP564 Multichannel Audio Decoder
Front-Panel Controls
Decode
Use the Decode buttons to select a specific surround-decoding mode.
Note: Dolby Digital decoding is applied whenever a Dolby Digital signal is
received. The Decode buttons offer additional processing options.
Pro Logic II
Pro Logic
EX
EX activates Dolby Digital Surround EX
™
decoding. It is available only when
decoding Dolby Digital bitstreams with stereo surround channels. You must also have
back surround (Bsl, Bsr) speakers selected in the Monitor Configuration
menu. Pro Logic and Pro Logic II activate those decoding modes, respectively. The
Pro Logic modes are available only if the input is PCM, a Dolby Digital signal in
audio coding mode 2/0, or any other Dolby Digital signal downmixed to Lt/Rt.
Note: To quickly access the display screen to adjust Pro Logic II settings, hold down
the Pro Logic II button for two seconds.
Listening
Full
3 Stereo
Phantom
Use the Listening buttons to simulate different consumer multichannel speaker
systems. Phantom mixes the Center channel signal to the Left and Right channel
outputs to emulate a speaker system with no center channel. 3 Stereo mixes the Ls
and Rs channel signals to the front-channel outputs to emulate speaker systems with
no surround speakers. (Ls routes to L, and Rs routes to R.) Full maps all channel
signals directly to the associated outputs. Only one of these modes is active at a time.
Compression
The Compression buttons can apply the dynamic range control profiles available to
consumers when decoding Dolby Digital audio. Only one of these modes is active at
a time; to disable compression, press the active button.
Custom
Line
RF
RF applies the strongest profile available, equivalent to an RF connection to a TV set
or small PC speakers. Line applies what appears on some consumer decoders as
“light” compression; this is usually the default setting in DVD players and set-top
boxes. Custom allows scaling of the Line profile. The factory setting for Custom is 0
percent. At that setting, selecting Custom turns off dynamic range compression. To
access the display screen to adjust the percentage setting for custom scaling, hold
down Custom for two seconds.
Note: When downmixing, the DP564 automatically applies compression at peak
moments to prevent potential signal overload from combining multiple
channels, regardless of whether a compression mode is selected.
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DP564 Multichannel Audio Decoder
3.2.3
Front-Panel Controls
Input
Use the Input buttons to select the source for the input signal. Only one of these
buttons is lit at a time, indicating the selected source: AES1, AES2, Optical, or
Streaming. If the selected source receives an invalid signal, the Error LED turns red.
3.2.4
Preset
Preset buttons 1, 2, 3, and 4 recall and store those preset configurations. To recall any
one of those presets, press the associated button and release the button quickly. To
store the current configuration as one of those four presets, pick a preset button and
hold it down for two seconds or more before releasing. This saves the current
configuration and keeps the existing preset name. To rename the preset, use the
menus as described in Section 4.4.3, User Presets.
Caution: When recalling presets 1–4 by pressing the Preset buttons, you must
release the button in less than two seconds, or that preset will reconfigure
to store the current settings.
When you recall preset 1, 2, 3, or 4, the associated button is lit. When you alter any
parameter setting, the button light turns off, because the configuration is no longer
that of the preset.
3.2.5
Output Level
You can control the DP564 output level with the Master Volume knob and the Ref and
Dim buttons. The headphone output has its own dedicated volume-control knob.
Rotate Master Volume to raise and lower the output level incrementally, within a
range of –95 to +10 dB. Ref resets the output level to 0 dB at one touch. Any time the
output level is 0 dB, Ref is lit, whether the level was set via button or by Master
Volume adjustment. Dim adjusts the output by the amount set in the Dim Gain
menu, as discussed in Section 5.4, One-Touch Output Level Adjustment.
The headphone output volume knob controls the output level to the headphone jack
only, and is not affected by Master Volume, Ref, or Dim.
When any adjustment is made to the master volume, the middle of the screen
momentarily shows the current master volume level.
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DP564 Multichannel Audio Decoder
3.2.6
Front-Panel Controls
Special Button Functions
Under certain conditions, you may need to reset the DP564. Table 3-1 shows the
button combinations to use in those cases.
Table 3-1 Special Button Functions
Function
Action; Result
Hardware Reset
Press Shift + Esc + ► simultaneously; the DP564 reboots.
Firmware Upgrade
During reboot, press and hold Setup; the status display
gives you the option of upgrading the unit firmware or
completing the boot sequence.
During reboot, press and hold Enter; the status display
gives you the option of restoring factory defaults or
completing the boot sequence.
Factory Reset
Note:
3.3
Restoring factory defaults includes all presets and
GPI/O configuration assignments.
LED Indicators
Figure 3-2 shows the LED lights on the front panel. Table 3-2 provides definitions of
the LED indicators.
Table 3-2 LED Status Definitions
LED
Status
Off
Blue
Off
AES Ref Green
Red
Dolby Digital
Dolby Digital
AES Ref
Remote
Fault
Error
Figure 3-2
LED Indicators
Off
Remote Green
Red
Off
Red
Off
Error
Red
Fault
Meaning
Not decoding Dolby Digital.
Decoding Dolby Digital.
AES reference input is not selected.
AES reference input is selected and valid.
AES reference input is selected but valid signal is not
present.
Remote control is disabled.
Remote control is enabled and operating with no errors.
Remote control is enabled, but there is a serial
communications error.
All clear.
Hardware error.
System is passing or decoding audio.
An error is preventing the system from passing or
decoding; DP564 output may be muted.
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DP564 Multichannel Audio Decoder
3.4
Front-Panel Controls
RS-232 Connection
The Remote RS-232 connection port can be used to connect for software updates, or to
a computer running DolbyRemote 564. The DolbyRemote 564 application is far more
efficient, however, when connected via the 100BASE-T port. For details, see Chapter
8, Streaming Server and Remote Software.
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Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Chapter 4
Menus
Much of the versatility and power of the DP564 lies in its menu structure. This
chapter covers:
•
•
•
•
4.1
Menu basics
Hot-key function
Status menu
Setup menu
Menu Basics
The screen shows information on the current operating status via the status menu, and
lets you adjust operational settings using the setup menu. In either menu structure, the
title of a menu appears centered above a line at the top of the screen, and information
or menu choices display below the line, as shown in the example in Figure 4-1.
Operating Mode
Decode Format
Auto
Detection
Normal
Stream Select
Auto
AES3 Ch Sel
Auto
Figure 4-1 Operating Mode Menu
In a menu with more options than lines available on the screen, an arrow appears in
the title bar to indicate that you can see more by scrolling up or down past the visible
items. If menu items are available both above and below the current display, the title
bar displays both up and down arrows, as shown in Figure 4-2.
Metadata Status
LFE Ch
Enabled
Data Rate
448 kbps
BSMode
Main Comp
Center Dwnmx
–3.0dB
Srnd Dwnmx
–3.0dB
Dolby Srnd
Not Ind
Figure 4-2 Menu Showing Scrolling Options Available Both Above and Below Current Visible Choices
4-1
DP564 Multichannel Audio Decoder
4.2
Menus
Hot-Key Functions
Certain front-panel buttons activate a special function when you press and hold the
button for two seconds. We refer to that function as the hot-key function.
No matter what menu you are viewing, there are three front-panel buttons that display
the setup menu for that function when you press and hold the button for two seconds:
Pro Logic II, Custom, and Dim. Holding Custom down is the only way to define the
parameters for custom compression scaling using the front-panel controls, but those
parameters are also adjustable using the DolbyRemote 564 software.
The Preset buttons have a different hot-key function. Holding down any Preset
button for two seconds saves the current configuration but keeps the existing preset
name. To rename the preset, use the menus as described in Section 4.4.3, User
Presets.
Caution: When recalling presets 1–4 by pressing the Preset buttons, you must
release the button in less than two seconds, or that preset will reconfigure
to store the current settings.
4.3
Status Menu
The status menu includes these displays:
•
•
•
•
•
•
•
•
•
•
4.3.1
Main status menu
Output level meters
Compression meters
Monitor status
Metadata status
Input status
AES reference input status
Timecode status
Error Statistics
System Status
Main Status Menu
At power-up, the DP564 displays the main status menu. If there is no valid input, the
main status screen shows No Input.
4-2
DP564 Multichannel Audio Decoder
Menus
If the selected input is receiving a valid Dolby® Digital signal, the display conveys
important information about the input stream and the decoding status, as shown in
Figure 4-3.
Dolby Digital
Dialog
48kHz
Level
Data Rate
448
Chan Mode
3/2L
00:00:00:00
29ND
PL EX
Preset 1
EB DH
-27
Figure 4-3 Main Status Menu with a Valid Dolby Digital Input
The main box displays the type of input, sample rate, data rate (in kbps), channel
mode, and timecode. Dialogue level displays in the upper right-hand corner.
Timecode information displays according to the option selected in the Timecode
Display menu. Timecode information continually updates with the input signal. In the
display mode shown here, the timecode display is hours:minutes:seconds:frames.
29 indicates the frame rate—in this case, 29.97 fps. ND indicates non-drop frame
status. In a drop-frame condition, those letters read DF, and semicolons separate the
timecode units: hours;minutes;seconds;frames. Other options for the timecode
information in the main status menu are the timestamp delay word, or blank.
Complete timecode information is always available in the Timecode Status
menu.
If a preset is in use, the preset number and name display in the bottom left-hand
corner. On the right-hand side, any of the four abbreviations shown in Figure 4-3 may
appear—these indicate metadata parameters in the Dolby Digital stream. All four will
never appear together, as they do in Figure 4-3, because some of those bitstreams are
mutually exclusive. The abbreviations are:
•
PL (indicating a 2/0 bitstream is flagged “Dolby Surround encoded”)
•
EX (indicating a 5.1, 5.0, or 2/2 bitstream is flagged “Dolby Surround EX™
encoded”)
•
EB (indicating a bitstream includes extended bitstream information)
•
DH (indicating a 2/0 bitstream is flagged as a pre-encoded Dolby Headphone
mix)
If there is a valid PCM signal, the display appears as shown in Figure 4-4.
4-3
DP564 Multichannel Audio Decoder
Menus
PCM Audio
44.1 kHz
20 Bit
Consumer
Preset 1
Figure 4-4 Main Status Menu with a Valid PCM Input
The space above the line displays the type of input, sample rate, bit depth, and mode
(Professional or Consumer) of the stream. The DP564 accepts inputs up to
96 kHz, downsampling higher sample rates for processing at 48 or 44.1 kHz. Below
the line, you can still see the preset name and number, but the two-letter abbreviations
do not apply to a PCM stream.
4.3.2
Output Level Meters
The output level meters screen displays the level of each audio output signal after all
decoding, downmix, listening-mode, compression-mode, and bass-management
signal processing, but before any channel-level trims or delays.
4.3.3
Compression Meters
The compression meters give a clear visual representation of the way in which the
dynamic range control is working on a Dolby Digital program. This display shows
dynamic range activity for both Line and RF profiles regardless of your Compression
selection. This screen also shows the current dialogue level value in the Dolby Digital
bitstream.
4.3.4
Monitor Status
The Monitor Status menu shows the settings for your current monitor setup,
including speaker configuration, subwoofer presence, crossover frequency (for bass
management), extended bitstream emulation status, and headphone output mode
(stereo or Dolby Headphone profile).
4.3.5
Metadata Status
The Metadata Status menu displays the settings for metadata parameters
received in the Dolby Digital bitstream. Use ▲ or ▼ to select any parameter, and
Enter to view the unabbreviated parameter name and status. You can view extended
bitstream parameter status by scrolling to the bottom of the Metadata Status
menu to select Extended Bitstream, then pressing Enter. For more information
about Dolby metadata, see Appendix A, Dolby Metadata.
4-4
DP564 Multichannel Audio Decoder
4.3.6
Menus
Input Status
The input status menu identifies the selected input in the menu title line.
When a valid signal is present, information displays for signal lock, sample rate,
signal type, and Emphasis, Bit-0, and Bit-1 informational bits. Emphasis
reflects the setting of the channel status emphasis field in the input stream. Bit-0
indicates a professional or a consumer stream, and Bit-1 indicates whether the
stream is audio or non-audio.
When the selected input is not locked, the display shows only Unlocked.
If the Streaming input is active, the title line shows Streaming Status. The
informational lines are defined in Table 4-1.
Table 4-1 Input Status Display for Streaming Input
Item
State
Type
File
Packet Loss
Time
Server
4.3.7
Display Information and What it Means
A connection has not been established
with the Dolby Streaming Server.
No other items display in this state.
Stopped
Audio file and server is specified, but
audio is not being played. Playback starts
file from beginning.
Paused
Audio is paused. Playback starts from
pause point.
Buffering Buffering data before playing the audio.
Playing
Audio file is playing.
Dolby Digital
Audio File playing is Dolby Digital.
Invalid Input
In Stopped or Paused state, input type
is not known.
Shows the file name being played.
Shows number of packets lost since playback of this file
began.
Shows the time remaining in the current file.
Shows name of server from which the file is streaming.
No Input
AES Reference Input Status
This menu displays the lock status of the AES Ref input signal. When a valid signal is
present, the menu shows the sample rate.
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DP564 Multichannel Audio Decoder
4.3.8
Menus
Timecode Status
The Timecode Status menu includes:
•
•
•
A large timecode readout
Frame rate
Timestamp delay word
The main status display also shows timecode information, according to settings in the
Timecode Display setup menu.
4.3.9
Error Statistics
When an error occurs, the front-panel Error LED is lit. The Error Stats menu
supplies more detailed information to help troubleshoot the problem. The top line
displays a quick identification of the type of error; press Enter with that line selected
to see a more detailed description. The other lines display dedicated error counts for
Dolby Digital CRC errors and AES coding, confidence, parity, and CRC errors. Press
Enter with any of those items selected for more detailed information on that error.
Pressing Enter again resets the counter on that error type to zero.
4.3.10
System Status
The top line of this menu displays the current DP564 software version number. To
receive notification of software upgrades, register your product on the software
upgrades page at www.dolby.com/download/softreg.
The next lines show the current settings for IP address (IP), subnet mask (Mask),
default gateway (Route), and DNS server (DNS). Setup for these items can be
changed using the Network Settings menu. Highlight any of these menu items
and press Enter to see the full title and setting.
The final two lines in the System Status menu are informational displays showing
decoder latency and processing latency. Latency is discussed in Appendix B.
4.4
Setup Menu
Press Setup to view the main setup menu, shown in Figure 4-5.
4-6
DP564 Multichannel Audio Decoder
Menus
Unit Setup
Operating Mode
Monitor Control
User Presets
I/O Control
Monitor Configuration
System Settings
Figure 4-5 Main Setup Menu
Scroll to select a menu item and press Enter or ► to display that item’s submenu. To
change a parameter value, enter the parameter adjustment menu, and press ▲ or ▼ to
adjust the parameter value. Press Enter to accept the new value selection and return to
the next higher menu level. To discard a new value selection and return to the next
higher menu level, press Esc or ◄.
Menus available within the setup menu are:
•
Operating Mode
•
Monitor Control
•
User Presets
•
I/O Control
•
Monitor Configuration
•
System Settings
Note: If you leave the display idle in any setup menu for five minutes or more, the
display changes to the main status menu.
4.4.1
Operating Mode
The Operating Mode menu includes these parameter adjustment menus:
•
Decode Format
•
Detection
•
Stream Select
•
AES3 Ch Sel
Decode Format
Decode Format offers two options: Automatic and Dolby Digital.
Automatic processes Dolby Digital signals and passes PCM signals through.
Dolby Digital only processes Dolby Digital signals, and mutes any PCM input.
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DP564 Multichannel Audio Decoder
Menus
Detection
Detection offers two options: Normal and Silent Switch. In Normal
mode, an input that switches from PCM to Dolby Digital (if, for example, the
complete bitstream information carried in a Dolby Digital signal is interrupted for
some reason) may produce a short burst of noise at the transition point. Silent
Switch eliminates that noise in most (but not all) instances; however, it adds latency
to the PCM processing time. Normal is appropriate for most circumstances, but if
you are monitoring a signal you know to have this problem, Silent Switch can
help.
Stream Select
Stream Select offers Automatic selection, which accepts the lowest number
Dolby Digital bitstream; or you can specify a Dolby Digital bitstream, (0-7) to be
decoded when the input stream contains multiple Dolby Digital streams multiplexed
together. In professional modes, bitstream number 7 is reserved for timecode.
AES3 Channel Select
AES3 Ch Sel offers four options: Automatic, Channel 1, Channel 2, and
Channel 1+2. Dolby Digital is carried in one of two ways on an AES or S/PDIF
interface:
•
•
In 16-bit mode, it is packed into either the left or right channel of the pair of
channels.
In 32-bit mode, it takes both channels of the pair.
Selecting Channel 1 or Channel 2 specifies that channel to be the accepted
input. Selecting Channel 1+2 requires a 32-bit input stream. When you select
Auto, the DP564 locks onto the first signal it recognizes. If there are two 16-bit
streams in a pair, Auto locks to the stream on Channel 1. Auto saves time, and is
therefore recommended unless you know you have 16-bit signals on each channel of
the pair, in which case you should specify which signal you want to process.
4.4.2
Monitor Control
The Monitor Control menu includes these parameter adjustment menus:
•
Pro Logic
•
Surround EX
•
Extnd Bitstrm
•
Dolby H Mode
•
Pro Logic II
•
Karaoke
4-8
DP564 Multichannel Audio Decoder
•
Speaker Mutes
•
LFE Mon Mode
Menus
Pro Logic
Pro Logic is set either to Manual or Automatic. In Automatic, the DP564
applies Pro Logic® decoding according to the setting of the Dolby Srnd metadata
parameter in a Dolby Digital 2/0 signal. You can use the front-panel buttons to apply
Pro Logic II as soon as the Dolby Digital 2/0 input is locked. If the metadata
parameter setting for Dolby Srnd is Not Indicated, or if the menu selection is
Manual, activation of Pro Logic decoding is entirely under your control using the
front-panel buttons.
Surround EX
Surround EX is set either to Manual or Automatic. Automatic applies
Dolby Digital Surround EX decoding according to the setting of the Surround EX
mode metadata parameter in a Dolby Digital 3/2 signal containing extended bitstream
information. If the metadata parameter setting for Surround EX is Not Indicated, or if
the menu selection is Manual, activation is under your control using the EX button.
To allow Surround EX decoding, your monitor configuration must include at least
one Back Surround speaker. Surround EX decoding can be applied only to Dolby
Digital signals with two surround channels. Other signal types automatically inhibit
Surround EX decoding.
Extended Bitstream
Extnd Bitstrm is set either to Enabled or Disabled. Enabled allows the
DP564 to use all metadata parameters including Extended Bitstream when decoding a
Dolby Digital bitstream. Disabled restricts the metadata parameters to the
parameters read by older consumer decoders. For more information about the two
categories of metadata, see Section A.5, Parameter Definitions.
Dolby Headphone Mode
Dolby H Mode controls the setting for Dolby Headphone processing. The settings
are Off, DH1 (Small Room), DH2 (Medium Room), and DH3 (Large
Room). Off produces a traditional stereo headphone sound.
The DH settings all process according to the downmix and listening mode selections.
For example, although Dolby Headphone technology can reproduce a full 5.1-channel
mix, if you have a stereo downmix selected, Dolby Headphone will process that
stereo downmix, and therefore there will only be two channels in the image.
4-9
DP564 Multichannel Audio Decoder
Menus
Pro Logic II
The DP564 supports four Pro Logic II modes: Movie, Music, Pro Logic, and
Matrix. Additional menus under Pro Logic II give you control over settings
for Panorama, Dimension, and Center Width, which offer a variety of
settings activated when in Music mode.
Movie mode is the standard setting for programs with video. This decoding is based
on the original Pro Logic decoding scheme, but with the single Surround channel
separated into Left and Right Surround channels.
Music mode is the most versatile feature of Pro Logic II. It activates the settings on
the Panorama, Dimension, and Center Width menus; those settings can help
a consumer make a stereo (Lo/Ro) recording into one that takes advantage of a
multichannel listening environment. Particularly attractive for automotive
entertainment systems, this can be used in home theaters as well.
Pro Logic is the Pro Logic II system reproduction of the original Pro Logic
decoding system. Because consumer decoders now offer Pro Logic II as the default
Dolby Surround decoding system, this emulation mode is available to reproduce the
original Pro Logic decoding if the consumer wishes to hear it. (This option is not
available on all consumer decoders made with Pro Logic II.)
Matrix is primarily for radio reception in cars. It is essentially the same as the
original passive Dolby Surround decoder without the directional steering provided by
Pro Logic. Matrix can also enhance mono programs, and can be used to try to clean
up weak radio signals in cars. You can apply Matrix to a mono input by selecting
the Lo/Ro downmix, and then Pro Logic II. Neither Pro Logic II nor Pro Logic is
available if the Mono downmix is selected.
Panorama
Panorama mode sends the stereo signal to the surround speakers as well as the front
Left and Right. The Panorama setting is disregarded if the Pro Logic II mode is
anything other than Music.
Dimension
Dimension adjusts the focus of the signal from the front speakers to the rear speakers.
If the Pro Logic II mode is anything other than Music, the Dimension setting is
read as 0 (Center).
Center Width
Center Width steers the Center output signal between the Center, Left, and Right
outputs. At –3, the center output is sent 100 percent to the Center channel. L/R sends
the center output equally to Left and Right, with nothing sent to Center.
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DP564 Multichannel Audio Decoder
Menus
Karaoke
The DP564 can process karaoke information in a Dolby Digital bitstream. In a
karaoke bitstream, the standard Center, Left Surround, and Right Surround channels
are replaced with a music channel and two vocal channels. Karaoke processing may
only be applied to a karaoke bitstream.
The Karaoke menu includes Karaoke Mode and Level/Pan.
Karaoke Mode can be set to Unaware, Aware, or Capable, representing the
different karaoke DVD systems available. Level/Pan settings are only active if the
mode is Capable.
In Unaware mode, the DP564 will not perform any karaoke-specific downmixing.
All channels are decoded according to the input and downmix settings.
Aware detects a karaoke bitstream and automatically chooses appropriate karaoke
reproduction settings, depending on the number of vocal channels in the bitstream
and the output channel configuration.
Capable activates the settings in the Level/Pan menu. Both the levels and
position of the music and vocals are controlled in this menu. No automatic
assignments are generated.
Level/Pan
Separate controls for two vocal channels and music are available for both Left/Right
panning and volume level.
Speaker Mutes
Enter the Speaker Mutes menu to turn off individual channel outputs. Select a
channel and press Enter to switch between Active and Mute for that channel.
Note: Speaker Mutes do not affect the Headphone output.
LFE Monitor Mode
LFE Mon Mode allows you to select the LFE listening selection that best suits your
purposes. To emulate consumer products, use Auto, which automatically assigns the
correct LFE processing to the consumer mode in use. On enables the LFE channel in
all listening modes. Off mutes the LFE channel.
Note: The LFE Mon Mode setting is active only in Dolby Digital decoding.
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DP564 Multichannel Audio Decoder
4.4.3
Menus
User Presets
The DP564 stores up to 32 presets. Each preset includes all active settings. If you
recall a preset, then change one parameter, the configuration with the one changed
parameter is not stored unless you save it as a separate preset. Presets 29–32 are
reserved by the factory configurations shown in Table 4-2.
Note: The factory ships the DP564 with these same presets saved as presets 1–4,
respectively, so initially you can apply these presets by pressing the frontpanel Preset buttons. Presets 1–4 can be reset, of course, to suit your
requirements.
Table 4-2 Factory-Reserved Presets
Manual
Detection
Mode
Auto Detection
Mode
29
30
Manual Ctrl
Auto Ctrl
Preset Number
Preset Name
Parameter
Monitor Control–
Pro Logic
Monitor Control–
Surround EX
Pro Logic Decode
Surround EX
Decode
Lo/Ro Downmix
Lt/Rt Downmix
Line Mode
RF
Custom
Lo/Ro
Downmix
Line Mode
Lt/Rt Downmix
Line Mode
Pro Logic
Decode
31
Stereo
Dwnmx
32
Lt/Rt
Decode
Setting
Manual
Auto
Manual
Manual
Manual
Off
Auto
-
Manual
Off
Manual
On
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
On
On
-
On
On
-
The User Preset menu includes Recall Preset and Save Preset.
Recall Preset
You can recall any preset by entering the Recall Preset menu, scrolling to select
the preset you want to use, and pressing Enter.
You can recall preset 1, 2, 3, or 4 by pressing the appropriate front-panel Preset
button. When you recall a preset, an activation message appears briefly in the middle
of the display, showing the preset name and number. When you use a front-panel
Preset button to activate preset 1, 2, 3, or 4, the display remains on the menu you are
4-12
DP564 Multichannel Audio Decoder
Menus
viewing, but if you activate any preset using the User Presets menu, the display
goes to the main status menu upon activation.
Save Preset
Saving a preset stores every active setting. Be sure you have all parameters set
correctly, then enter the Save Preset menu and choose the preset number you
want to assign.
You can give each preset a name with up to 12 characters. Select the preset number
you want to assign, press Enter, and you see a text entry display, as shown in Figure
4-6. Figure 4-6 shows the display for Preset 1, but the preset number you see
corresponds to the preset number you choose to save.
OK
AB
NO
Ø1
Save Preset 1
Preset 1
Del Space Clear !
CDEFGHIJKLM/
PQRSTUVWXYZ_
23456789.:–~
Figure 4-6 Save Preset Text Entry Screen
To enter text:
1. Press ► to select Del, then Enter to delete the text to the left of the flashing
cursor.
When the letter characters appear uppercase, ↓ changes them to lowercase.
From the lowercase display, ↑ changes the letters to uppercase. Space inserts
a single character space, Clear erases the whole text entry field.
2. Press the arrow buttons to select a letter or symbol, then Enter.
The letter displays in the text entry field above the selection box.
3. When you have completed the entry, select OK and press Enter.
4.4.4
I/O Control
The I/O Control menu includes these parameter adjustment menus:
•
Clock
•
IFE Mode
•
Monitor Out
•
Bypass
•
GPI/O Configuration
4-13
DP564 Multichannel Audio Decoder
Menus
Clock
Use the Clock menu to select the clock source for the DP564. Digital In locks
the system to the currently selected digital input (AES1, AES2 or Optical). Ref In
locks the system to the reference input (AES Ref)1. When locking to the reference
input, sample rate converters are available if the digital input and reference input
sample rates do not match. Ref In–SRC On applies sample-rate conversion (SRC)
to the digital outputs. Ref In–SRC Off, locks to the AES Ref clock but bypasses
SRC processing.
IFE Mode
Use the IFE Mode menu to enable and disable in-flight entertainment (IFE) mode.
IFE mode sends the Dolby Headphone signal to the DP564 outputs.
Note: IFE mode is not a normal monitoring mode. None of the Monitor
Configuration settings are applied in this mode.
Monitor Out
Use the Monitor Out menu to designate whether the Master Volume knob controls
the analog outputs only, or both the digital and analog outputs.
Bypass
The Bypass menu controls whether bypass is Enabled or Disabled.
You have easiest access to the bypass function by using the front-panel Bypass
control, Shift + Esc. When in bypass mode, Esc is lit.
GPI/O Configuration
Use the GPI/O Configuration menu to set up parameters for a dedicated
hardware remote controller. For details on configuring your device, see Section 6.2,
Hardware Remote Control.
1
If the Streaming input is selected with the clock source set to Digital In, the DP564 uses an internal clock at
the sampling rate indicated by the streaming data. Ref In–SRC On uses the reference internal and output clocks.
Ref In–SRC Off uses the AES Ref input for internal and output clocks but requires that the reference sampling
rate matches that indicated in the streaming data.
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DP564 Multichannel Audio Decoder
4.4.5
Menus
Monitor Configuration
The Monitor Configuration menu is used primarily to configure your
listening environment for accurate monitoring of all content. For details on how to set
up your listening room, see Chapter 5, Listening Room Calibration, which covers
Digital Ref, Dim Gain, Channel Trims, Speaker Delays, and
Speaker Config.
4.4.6
System Settings
The System Settings menu includes these parameter adjustment menus:
•
Unit Name
•
Unit Address
•
Timecode Display
•
Screensaver Timeout
•
Screensaver Design
•
Network Settings
Unit Name
You can give your unit a name, using up to 12 characters. This is useful to identify
the DP564 from the DolbyRemote 564 software. You can also use the unit name for
the screensaver. Select Unit Name, press Enter, and you see the text entry display
shown in Figure 4-7.
OK
AB
NO
Ø1
Unit Name
Model DP564
Del Space Clear !
CDEFGHIJKLM/
PQRSTUVWXYZ_
23456789.:-~
Figure 4-7 Unit Name Text Entry Screen
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DP564 Multichannel Audio Decoder
Menus
To enter text:
1. Press ► to select Del, then Enter to delete the text to the left of the flashing
cursor.
When the letter characters appear uppercase, ↓ changes them to lowercase.
From the lowercase display, ↑ changes the letters to uppercase. Space inserts
a single character space, Clear erases the whole text entry field.
2. Press the arrow buttons to select a letter or symbol, then Enter.
The letter displays in the text entry field above the selection box.
3. When you have completed the entry, select OK and press Enter.
Unit Address
The unit address allows each DP564 to be uniquely identified when using the
software remote over a serial connection using either the RS-232 or the RS-485
connection. You can connect more than one to the same RS-485 link and control
them using one DolbyRemote 564, provided that each unit is assigned a unique
address. To change the unit address, enter the Unit Address menu, then use the
▲▼ buttons to change individual characters, and the ◄► buttons to move between
characters in the address. When you have the setting you need, press Enter.
Timecode Display
Use the Timecode Display menu to designate the timecode information to
display on the main status menu when processing a Dolby Digital signal. A separate
status menu, Timecode Status, displays all the available timecode information.
Screensaver Timeout
After a period of inactivity, the DP564 applies a screensaver to the display to preserve
display life. Use the Screensaver Timeout menu to set the period of inactivity
before the screensaver activates.
Screensaver Design
Use the Screensaver Design menu to choose between the Dolby logo and the unit
name when the DP564 activates the screensaver.
Network Settings
To activate the streaming audio input or to use the DolbyRemote 564 software by
network connection, you need to configure the DP564 using the Network
Settings menu.
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DP564 Multichannel Audio Decoder
Menus
The first line on this menu is IP Config, which lets you choose Manual or
Automatic configuration. If you choose Automatic, the DP564 uses DHCP
protocol to request an IP address from the network server.
Note: Dynamic DNS updates must be enabled at the DHCP server for the DP564
automatic mode to register the host name on the network. The DNS server in
the network should support Dynamic DNS.
The default setting for Host Name is DP564. If you have more than one DP564 on
the network, name each unit to uniquely identify it. If the network does not support
automatic DNS configuration, choose Manual, or use IP address instead of host
name to connect to the DP564.
Note: For any change in the Network Settings menu to take effect, you must
reboot the DP564.
To reboot, press Shift + Esc + ► simultaneously.
To verify the automatic configuration, after rebooting the DP564, view the System
Status menu. IP, Mask, and Route should each display a valid address. If the
network supports DNS, DNS also shows a valid address. If no assignment is made,
DNS shows N/A.
If your network is not a DHCP server network, choose Manual on the IP Config
menu. Contact your network administrator to get the appropriate settings for Domain
Name, IP Address, Subnet Mask, Default Gateway, and DNS Server.
The network administrator registers the host name on the network. There is no
verification step for manual configuration.
Connection to a single computer for remote and streaming operation requires manual
assignments for IP Address and Subnet Mask only. In this simple setup, use IP
address (instead of host name) to connect to the DP564, because the domain name
server is not configured. This setup can also be used to connect the DP564 to other
PCs in the same LAN or subnet without specifying the default gateway.
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iv
DP564 Multichannel Audio Decoder
Chapter 5
Listening Room Calibration
Setting up your listening environment is a crucial element in enabling you to properly
evaluate content. Follow the procedures in this chapter carefully. You should only
need to do this once for each monitor system or room; however, quick checks are
advised before each session to confirm the correct calibration settings.
All the adjustments necessary to set up your listening room properly are found in the
Monitor Configuration menu, which is on the main setup menu.
To set up your listening environment:
1. Assign the speaker configuration settings to match your system.
2. Set the delay values to adjust for speaker placement.
3. Calibrate the speaker playback levels.
4. Assign a level to the one-touch Dim setting.
5.1
Speaker Configuration Settings
Use the Speaker Config menu to configure the DP564 to match your listening
system. The settings for speaker size, subwoofer and crossover determine how the
DP564 distributes low frequencies to your speakers. Settings that match your system
allow the most accurate processing possible in your listening environment.
Large indicates that the speaker is considered full-range, and does not require bass
management. A system with full-range speakers (setting: Large) at every output and
a subwoofer (setting: Yes) allows the system to process the signals for each channel
without any redirection. Setting a speaker to Small indicates that the speaker is a
near-field or satellite design and is not designed to reproduce extremely low
frequencies (typically, below 80 Hz). The Small setting filters out low-frequency
information from that channel and redirects it to a speaker more capable of
reproducing low frequencies (often a subwoofer).
Subwoofer Crossover
The setting you choose for the subwoofer crossover frequency (SW Xover Freq)
depends on the capability of your front and surround speakers. The DP564 diverts
signals below the value of this setting from those channels, set as Small in the
Speaker Configuration menu, to either the subwoofer output (in nearly all
cases) or to the Left and Right outputs. Most smaller speakers require a setting of
5-1
DP564 Multichannel Audio Decoder
Listening Room Calibration
80 Hz, but if any of those speakers is particularly small, choose the highest
frequency, 120 Hz. This setting not only produces better response from your
system, but also protects small speakers from damage. In a system that includes a
subwoofer, with all speakers set to Large, the crossover value is not applied.
Back Surround Speakers
Two Surround speakers (Ls, Rs) are used in standard 5.1-channel monitoring systems
(setting: None). To monitor a Dolby® Digital Surround EX™ program, a Back
Surround speaker is required. You can use either a single Back Surround speaker
(setting: One), or two speakers for the Back Surround channel (setting: Two). Back
Surround Speaker settings are reflected in the output level meter display and
the Monitor Status menu.
If you use a single Back Surround speaker, use the Bsl connector on the rear panel,
and leave the Bsr connector unused. If you use two speakers for the Back Surround
channel, use both the Bsl and Bsr connectors.
When listening to a 5.1-channel program without Surround EX decoding, and the
monitoring environment has two Back Surround speakers, the Bsl output will be the
same as the Ls output, and the Bsr output will be the same as the Rs output.
5.2
Speaker Delay Values
Adjusting speaker delay values is an essential step in configuring your system.
Because Dolby Digital and Dolby Surround Pro Logic® process signals differently,
different calculations must be used to determine accurate delay settings. Speaker
delay values for Dolby Digital are calculated so that signals from all speakers arrive
at the reference listening position at the same time (coincident arrival).
To calculate the delay settings, measure and record the distance from the reference
listening position to each of the seven speakers:
•
•
•
•
•
•
•
Left (L)
Center (C)
Right (R)
Left Surround (Ls)
Right Surround (Rs)
Back Surround Left (Bsl)
Right Surround Right (Bsr)
Make all of these measurements in feet. (If measuring in meters, then multiply the
metric measurements by three to get the approximate distance in feet.)
5-2
DP564 Multichannel Audio Decoder
Listening Room Calibration
Note: Left and Right speakers should be equidistant from the reference listening
position. If they are not, adjust the speaker positions.
In the calculations that follow:
L = the distance from the Left speaker to the reference listening position
C = the distance from the Center speaker to the reference listening position
R = the distance from the Right speaker to the reference listening position
S = the shorter of the distances from Ls or Rs to the reference listening position
Bs = the shorter of the distances from Bsl or Bsr to the reference listening position
5.2.1
Center Delay
To calculate the setting for Center delay:
L – C = setting in ms for Center delay
Example 1: L=15; C=13. Center delay = L – C, or 15 – 13 = 2 ms
Example 2: L=15; C=18. Center delay = L – C, or 15 – 18 = –3 ms
Example 3: L=15; C=15. Center delay = L – C, or 15 – 15 = 0 ms
In example 1, C is two feet less than L or R, so Center delay is set to 2 ms. In
example 2, C is three feet more than L or R, set Center delay to –3 ms.
Example 3 shows that if C = L = R, Center delay should be set to 0 ms.
If you set a negative time value for Center delay, the DP564 actually sets Center
delay to 0 and adds corresponding delay time to the Left, Right, and Surround
outputs.
To enter the Center delay setting:
1. On the Monitor Configuration menu, select Speaker Delays,
then press Enter.
2. Press Enter again to go to the Center Speaker Delay menu.
3. Use the ▲▼ buttons to change the setting to match the value you calculated,
then press Enter.
5.2.2
Surround Delay
To calculate the setting for Surround delay:
C – S = setting in ms for Surround delay
To enter the Surround delay setting:
1. On the Monitor Configuration menu, select Speaker Delays,
then press Enter.
2. Select Ls/Rs and press Enter to go to the Main Surround Ls, Rs
menu.
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DP564 Multichannel Audio Decoder
Listening Room Calibration
3. Use the ▲▼ buttons to change the setting to match the value you calculated,
then press Enter.
5.2.3
Back Surround Delay
To calculate the setting for Back Surround delay:
C – Bs = setting in ms for Surround delay
To enter the Surround delay setting:
1. On the Monitor Configuration menu, select Speaker Delays,
then press Enter.
2. Select Bsl/Bsr and press Enter to go to the Back Surround Bsl,Bsr
menu.
3. Use the ▲▼ buttons to change the setting to match the value you calculated,
then press Enter.
5.2.4
Pro Logic Delay
In the case of Dolby Surround Pro Logic, a sound common to both the front channels
and the surround channel should arrive at the listening position from the front
speakers a fraction of a second before the sound arrives from the surround speakers.
This takes advantage of the Haas effect (also known as the precedence effect): When
two similar sounds arrive at our ears at slightly different times, our brain tends to
focus on the sound arriving first and ignore the second. Dolby Surround takes
advantage of this effect to reduce the perceived crosstalk between the front and rear
channels. A time arrival difference of 10–20 milliseconds is adequate to achieve this
effect.
When Pro Logic decoding is used, the Pro Logic delay value is automatically added
to the Surround delay value.
For example, if your Surround delay setting (Main Surround Ls, Rs) is 10 and
your Pro Logic delay setting is 15 ms, when Pro Logic decoding is selected, a delay
value of 25 ms is applied to your Surround speakers. When Pro Logic decoding is
then deselected, the Surround delay value returns to 10 ms.
Note: The factory default setting of 15 ms is appropriate for a normal mixing
environment. It may, however, be necessary to apply a longer delay setting in
a larger listening environment where people sit very close to a Surround
speaker.
5-4
DP564 Multichannel Audio Decoder
Listening Room Calibration
To enter the Pro Logic delay setting:
1. On the Monitor Configuration menu, select Speaker Delays,
then press Enter.
2. Select Pro Logic and press Enter to go to the Pro Logic Delay menu.
3. Use the ▲▼ buttons to change the setting to match the value you calculated,
then press Enter.
5.3
Calibration
Prior to mixing in a multichannel environment, the monitoring system must be
calibrated to establish a balance between all channels and to ensure that all speakers
play back at the correct level relative to the listening reference position.
There are three options to adjust monitor system playback levels:
•
•
•
Amplifier gain trim controls
Mixer’s group outputs (one for each of the L, C, R, Ls, Rs, and SW channels)
Decoder output level trim controls
The best option is to use your amplifier gain controls to set proper playback levels.
This allows you to maintain optimum signal-to-noise performance from the decoder
and console.
When adjusting playback levels via a console’s group outputs, pink noise readings
depend on the type of console meter used to set reference level (and, strictly speaking,
on the bandwidth of the pink noise signal). In film practice, pink noise level is read
with a true VU meter, or a meter display with a VU characteristic. If reference level is
specified as “0 VU,” where “0 VU” corresponds to –20 dBFS for a digital recording
medium, then pink noise should be set to 0 VU on the console meter, and the sound
pressure level (SPL) set accordingly.
Note: Many modern consoles have peak-reading meters or meter displays. Pink
noise that reads at reference level using a true VU meter will read from
8–12 dB higher on a peak-reading meter or meter display. If your console has
switchable meter characteristics, be sure to select VU mode before setting
pink noise levels.
To properly calibrate speaker levels, use an SPL meter. A suitable and relatively
inexpensive meter is available from Radio Shack (Tandy Electronics outside of North
America). Relative level between channels is more important than absolute level, so
the accuracy of this meter is sufficient for channel balancing.
What is most important is that all of the main channels are set to the same SPL—the
absolute level is secondary to this. However, as a guide, here are some examples of
conventional level settings.
5-5
DP564 Multichannel Audio Decoder
Listening Room Calibration
For film work, test noise at reference level should produce an SPL of 85 dBC for each
of the main front channels (Left, Center, Right) and 82 dBC for each Surround
channel . The lower Surround level is specific to film-style mixing rooms.
For television work, test noise at reference level is typically set to produce an SPL
ranging from 79 to 82 dBC for each of the main five channels. The lower reference
level for television reflects the lower average listening levels preferred by the
consumer (typically 70 to 75 dBC).
For music mixing, each speaker channel should be set to the same SPL (just as in
television mixing). There is no standard practice for reference levels for music
mixing. Some engineers prefer to mix louder than others do, but if the levels between
channels are correct, the overall level is not as crucial.
When mixing for television or music in very small mixing rooms (for example,
remote recording trucks), the Surround channel is generally set 2 dB lower than the
front channels. This takes into account the short distance to the Surround speakers.
Experience has shown that this setting makes the sound heard by the mixer more
accurately reflect the sound heard in the home environment.
Digital Reference Level
Set this value to match your studio digital reference level. We recommend you set
this level before turning on a test noise when calibrating your speaker system,
because the level of the test noise, as measured by an average-responding meter,
changes to match the digital reference level setting. This setting also properly
calibrates the B-type section in the Pro Logic decoder.
To automatically set the digital reference level:
1. On the Monitor Configuration menu, select
Digital Ref Auto Cal, then press Enter.
2. Send a 1 kHz PCM tone at studio reference level to the Left input.
3. On the Digital Ref Auto Cal menu, select Yes, then press Enter.
The DP564 sets the reference level to match the input.
To manually set the digital reference level:
1. On the Monitor Configuration menu, select Digital Ref, then
press Enter.
2. On the Digital Reference menu, use the ▲▼ buttons to change the setting to
match your studio digital reference level, then press Enter.
5-6
DP564 Multichannel Audio Decoder
Listening Room Calibration
Measuring SPL
Before generating test noise, press Ref to check that the master volume level is set to
0 dB. Master volume should remain at 0 dB while you set channel trim levels. The
Ref button remains lit as long as the master volume level is set to 0 dB. If the Ref light
turns off, press Ref again to return the level to 0 dB. If the overall level needs
adjustment when you begin measuring SPL, adjust the Master Trim level before
adjusting the levels for individual channels.
WARNING: Before you turn on a test noise, be sure that your playback system is set to
a moderate listening level. Adjust your amplifiers, self-powered speakers, or mixer, not
the DP564 master volume. An overall attenuation of up to –20 dB can be applied using
the DP564 master trim control. Beware that if the playback level is very high, you may
risk damaging your speakers or possibly your hearing. The default test noise level from
the DP564 is –20 dBFS to the digital outputs (+4 dBu to the analog monitor outputs).
To generate test noise to the analog outputs:
1. From the Monitor Config menu, select Channel Trims, press Enter,
then press Enter again to see the Test Noise menu
2. Use the ▲▼ buttons to select either Wideband (if your listening system has
full-range speakers at all channel outputs) or Filtered (if any of your
speaker settings is Small), then press Enter.
The test noise cycles around the speakers in this order: Left, Center, Right, Right
Surround, Back Surround Right, Back Surround Left, Left Surround, and Subwoofer
channels—remaining two seconds at each output before moving on to the next.
When you enter an individual channel trim adjustment menu, the test noise remains at
that channel until you complete the adjustment and move to another channel, which
allows you to adjust the SPL for each channel carefully, using the following
procedure.
To accurately measure SPL:
1. Sit in the reference listening position. Set the SPL meter to “C” weighting and
“slow” response.
2. Facing the front speakers, hold the SPL meter at chest level, with the
microphone facing up at an angle of approximately 45 degrees to the center
speaker. Keep the meter at arm’s length to prevent measuring audio that may
reflect from your body.
5-7
DP564 Multichannel Audio Decoder
Listening Room Calibration
3. Keep the SPL meter in this position. Make sure that the meter is aimed at the
center speaker as you take readings for the Left, Center, and Right speakers.
4. To take the SPL readings for the Left Surround or Right Surround speakers,
keep the meter at the same angle and position as you did for the front
speakers. Turn your body 90 degrees from the Center speaker toward the wall
closest to the Surround speaker you are measuring. This minimizes
“shadowing,” or obscuring the meter with your body.
To make adjustments to an individual channel’s trim setting, use the ▲▼ buttons to
change the level setting for the current speaker. Press Enter to save a change in
setting, or press Esc to discard a change. Press Esc to return to the Channel
Trims menu.
Subwoofer Calibration
The ideal test noise for subwoofer calibration should be band-limited pink noise,
lowpass filtered at 120 Hz. The DP564 outputs band-limited pink noise (20 to 120
Hz) on the Subwoofer output. To properly calibrate the subwoofer, a real-time
analyzer (RTA) is required. If an RTA is not available, you can approximate the
settings with an SPL meter.
When using an RTA, proper calibration requires setting the LFE channel signal to be
sent to the subwoofer, within its typical bandwidth of 20–120 Hz, 10 dB higher (as
measured by the RTA) than the main channels. See Figure 5-1 for an example of an
RTA display of a properly calibrated subwoofer. The precision of this measurement
varies with the quality of the meter used.
+10 dB datum
SW channel
+10 dB
0 dB datum
Center channel
25 Hz
120 Hz
2 kHz
Figure 5-1 Real Time Analyzer (RTA) Display
If an RTA is not available, setting the subwoofer channel 4–6 dB higher, as measured
by an SPL meter, provides an approximate level. For example, set the subwoofer
channel to 89 dBC when the Center channel measures 85 dBC.
5-8
DP564 Multichannel Audio Decoder
Listening Room Calibration
For future reference, if you calibrate the subwoofer with an RTA, measure the
calibrated level with an SPL meter and note the meter reading for the proper
calibration. Use this measured value for quick future checks of the system calibration.
When you have set trim levels for all channels, return to the Channel Trim menu,
select Test Noise, select Off, and press Enter.
5.4
One-Touch Output Level Adjustment
Dim provides a one-touch level adjustment. It applies a level shift you specify to the
current volume setting.
The range of settings for Dim is +6 to –30 dB, or Mute.
To set the level shift for Dim:
1. On the Monitor Configuration menu, select Dim Gain and press
Enter.
2. Use the ▲▼ buttons to find the setting you want, and press Enter.
At any time, you can apply that level shift by pressing Dim. You can return to the
previous level by pressing Dim a second time. This enables you, for instance, to lower
the listening level to allow a conversation to take place easily, and then return to the
previous listening level at one touch. The Dim button is lit when the level shift is
active.
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Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Chapter 6
Operating Modes
The DP564 offers unique control and monitoring options. This chapter covers:
•
•
6.1
Monitoring modes
Hardware remote control
Monitoring Modes
The front panel provides easy access to different monitoring modes. Control options
include:
•
•
•
•
Downmix
Decoding
Listening
Compression
Any time a feature is active, the front-panel button associated with that feature is lit.
This is true whether the feature is activated or deactivated manually, or controlled by
program metadata, a preset configuration, or a remote control device.
6.1.1
Downmix
You can apply Downmix options when a Dolby® Digital multichannel input signal is
present. Lt/Rt produces an output compatible with Dolby Surround Pro Logic®
decoding. It is a two-channel signal, created to be similar to a program encoded as
Dolby Surround. A properly encoded Dolby Digital program includes metadata that
controls downmix delivery, so if the consumer has a Pro Logic system, but not Dolby
Digital, the program plays back taking full advantage of Pro Logic. See Appendix A,
Metadata for more detail on metadata as used in content encoding.
Program metadata also customizes downmix delivery to a stereo system. Stereo
(Lo/Ro) produces a two-channel output designed for two-channel stereo listening, so
you can hear the downmix result under those conditions.
Note: For correct emulation of consumer products, the LFE channel is discarded in
Lt/Rt and Lo/Ro downmixing modes, but not in the listening modes Phantom
and 3 Stereo. The DP564 may route low-frequency signals from all or some of
the main speakers to the subwoofer, according to your speaker configuration.
6-1
DP564 Multichannel Audio Decoder
Operating Modes
Mono can only be activated when one of the two-channel downmixes is in use, or
when the input is PCM or a 2/0 Dolby Digital program. We recommend that program
mixers designate Lo/Ro as the source for mono downmixes. A mono output of the
Lt/Rt mix is possible, however.
Both Lo/Ro and Lt/Rt output to the Left and Right channels. If you apply Pro Logic
decoding, the decoded output is sent to Left, Right, Center, and a single Surround
channel output, which is then sent to both the Ls and Rs outputs to feed both
Surround speakers, as described in Section 6.1.2, Decoding. Mono outputs to the
Center channel only.
6.1.2
Decoding
Your Decoding selections depend on the settings selected in the Monitor
Control setup menu. When the setting in the Pro Logic menu is Auto,
application of Pro Logic is controlled by metadata in a Dolby Digital input stream, as
described in Section 4.4.2, Monitor Control. The application of Dolby Digital
Surround EX™ decoding is also controlled by metadata if the Surround EX setting
is Auto. When these decoding modes are set to automatic detection, the light on the
associated front-panel button is lit when that decoding mode is active.
When those menus are set to Manual, you can select these decoding modes using the
front-panel buttons. Pro Logic and Pro Logic II are available only when processing a
two-channel signal, or when a Dolby Digital multichannel signal is downmixed to
two channels.
Pro Logic is best used to decode a signal encoded in Dolby Surround (Lt/Rt) to Left,
Center, Right, and a single Surround channel output, which is then sent to both the Ls
and Rs outputs to feed both Surround speakers. It can be used on an Lo/Ro signal to
hear the effect of feeding a stereo signal into a Pro Logic decoder.
Pro Logic II applies the selected mode in the Pro Logic II setup menu. Pro Logic
II generates discrete signals for the Left and Right Surround channels from any
signal. It enhances the decoding of a signal encoded in Dolby Surround (Lt/Rt)
beyond the capability of the original Pro Logic. In addition, Pro Logic II is
particularly well-suited to decoding an Lo/Ro signal into a multichannel listening
environment. For more information on the modes and controls available using Pro
Logic II, see Pro Logic II in Section 4.4.2, Monitor Control.
EX applies Surround EX decoding to any Dolby Digital input with two surroundchannel signals. EX cannot be activated unless two surround-channel signals are
present in the input and your monitor setup includes at least one Back Surround
speaker.
6-2
DP564 Multichannel Audio Decoder
6.1.3
Operating Modes
Listening
The Listening section provides the ability to emulate different listening environments
at a single touch.
•
•
•
6.1.4
Full uses all speaker outputs. The signals are routed to the speakers directly.
3 Stereo routes the Ls and Rs signals to Left and Right outputs, respectively.
Phant (Phantom Center) mutes the Center output and splits the Center signal
equally between Left and Right.
Compression
The options in the Compression section are available only when decoding a
Dolby Digital signal. RF and Line apply dynamic range control profiles carried in the
Dolby Digital bitstream, in the same way consumer decoders do. Custom is a scalable
application of the Line profile.
The factory setting for Custom is 0 percent. At that setting, selecting Custom turns
dynamic range compression off. To access the display screen to adjust the percentage
setting for custom scaling, hold down Custom for two seconds.
Note: When downmixing, the DP564 automatically applies enough compression at
peak moments to prevent signal overload, regardless of whether a
compression mode is selected.
For more detailed information on compression modes, see Section A.3, Dynamic
Range Control.
6.2
Hardware Remote Control
You can control the DP564 with a dedicated hardware remote control. When a GPI/O
control device is connected to the rear-panel GP I/O port, it is active, but not
exclusive—the front-panel controls also remain active.
To set up remote-control parameters, on the Unit Setup menu, select
I/O Control, then GPI/O Configuration.
If you are using the Cat. No. 549 GPIO Controller from Dolby Laboratories, connect
it and select Cat. No. 549 Config. If you have your own GPI/O control device,
connect that and select GPI/O Pin Config.
Note: Presets include all the DP564 settings, including the GPI/O configuration.
GPI/O settings should be assigned before saving a preset.
6-3
DP564 Multichannel Audio Decoder
6.2.1
Operating Modes
Cat. No. 549 Configuration
The Cat. No. 549 Config menu allows you to customize functions controlled by
the Cat. No. 549 GPIO Controller. The initial display identifies which button is
selected for configuration, and the active settings for that button. An example is
shown in Figure 6-1.
Cat.No.549 Config
Button 4
Function
Pro Logic II
LED Sense
Normal
Figure 6-1 Cat. No. 549 Configuration Screen Showing Active Settings for Button 4
To change a configuration setting:
1. Press the front-panel arrow buttons to select a button or LED to configure.
The button selection moves according to the layout of the image on the
left-hand side of the display.
2. When you have selected a button to configure, press Enter to change the
property assignments.
The screen gives you a choice between Function and LED Sense, with
each showing the current assignment.
3. Select either option, choose the appropriate assignment, and press Enter.
4. When you have configured the button, press Esc to return to the
Cat. No. 549 Config menu, and repeat steps 1–3 as needed to configure
other buttons on the GPI/O Controller.
Table 6-1 shows the default assignments and the associated GPI/O pins for the Dolby
Cat. No. 549 GPI/O Controller.
6-4
DP564 Multichannel Audio Decoder
Operating Modes
Table 6-1 Cat. No. 549 Default Button and LED Functions
DP564 GPIO Pin
Assignments
Switch
LED
1
AES Input 1
GPI pin 23
GPO pin 4
2
AES Input 2
GPI pin 24
GPO pin 7
3
Optical Input 3 GPI pin 25
GPO pin 8
4
Pro Logic II
GPI pin 26
GPO pin 9
5
Pro Logic
GPI pin 27 GPO pin 10
6
Surround EX
GPI pin 28 GPO pin 11
7
Lt/Rt Downmix GPI pin 29 GPO pin 12
8
Stereo Downmix GPI pin 30 GPO pin 13
9
Mono Downmix GPI pin 31 GPO pin 14
10
Custom Mode GPI pin 32 GPO pin 15
11
Line Mode
GPI pin 33 GPO pin 16
12
RF Mode
GPI pin 34 GPO pin 17
13
Ref
GPI pin 35 GPO pin 18
14
Dim/Mute
GPI pin 36 GPO pin 19
Left LED
Error
GPO pin 3
Right LED
Bypass
GPO pin 5
Button
Number
1
2
3
4
5
6
7
8
9
10
11
12
13
14
Cat. No. 549 GPIO Controller
6.2.2
Default
Function
GPI/O Pin Configuration
The GPI/O Pin Config menu allows you to assign the functions your GPI/O
device controls. The initial display identifies which pin is selected for configuration,
and the active settings for that pin. An example is shown in Figure 6-2.
GPI/O Pin Config
Pin 23 Function
AES1 Input
In
Out
Polarity Pos
Trigger Level
Figure 6-2 GPI/O Pin Configuration Screen Showing Default Settings for Pin 23
To change a pin configuration setting:
1. Use the front-panel arrow buttons to select a pin to configure.
The button selection moves according to the layout of the pins on the display.
The screen shows you the current settings, and whether the pin is designated
for input or output.
2. When you have selected a pin to configure, press Enter to change the property
assignments.
6-5
DP564 Multichannel Audio Decoder
Operating Modes
3. Choose the appropriate assignments, and press Enter to activate each change.
4. When you have configured the pin, press Esc to return to the
GPI/O Pin Config menu, and repeat steps 1–3 as needed to configure
other pins on the GPI/O Controller.
Each pin is designated as an input or output pin as shown in Table 6-2. The available
functions vary depending on whether you are configuring an input pin or an output
pin. The available functions for an input pin are shown in Table 6-3. The available
functions for an input pin are shown in Table 6-4.
Table 6-2 Default GPI/O Pin Assignments
Functions in bold italics are reserved and cannot be altered.
Pin
Output Function
1
2
3
4
5
+5 V (150 mA)
Fault output
Error
AES input 1
Bypass
7
8
9
10
11
12
13
14
15
16
17
18
19
AES input 2
Optical input 3
Pro Logic II
Pro Logic
Surround EX
Lt/Rt downmix
Stereo downmix
Mono downmix
Custom mode
Line mode
RF mode
Ref
Dim/Mute
Pin
6
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
6-6
Input Function
Preset 1
Shaft encoder A input
Shaft encoder B input
Shaft encoder preset input
AES input 1
AES input 2
Optical input 3
Pro Logic II
Pro Logic
Surround EX
Lt/Rt downmix
Stereo downmix
Mono downmix
Custom mode
Line mode
RF mode
Ref
Dim/Mute
Digital ground
DP564 Multichannel Audio Decoder
Operating Modes
Table 6-3 Functions Available for Assignment to Input Pins
Bypass
Preset 1
Preset 2
Preset 3
Preset 4
Preset 5
Preset 6
Preset 7
Preset 8
Preset 9
Preset 10
Preset 11
Preset 12
Preset 13
Preset 14
Preset 15
Preset 16
Preset 17
Preset 18
Preset 19
Preset 20
Preset 21
Preset 22
Preset 23
Preset 24
Preset 25
Preset 26
Preset 27
Preset 28
Preset 29
Preset 30
Preset 31
Preset 32
AES Input 1
AES Input 2
Optical Input 3
Streaming Input 4
Stereo Downmix
Lt/Rt Downmix
Mono Downmix
Pro Logic II
Pro Logic
Surround EX
Full
3 Stereo
Phantom Center
Custom
Line
RF
Extended BSI Enable
PL II - Movie
PL II - Music
PL II - ProLogic
PL II - Matrix
Dolby Headphone Off
Dolby Headphone 1
Dolby Headphone 2
Dolby Headphone 3
Bass Manage Bypass
AES Chan Select Auto
AES Chan Select 1
AES Chan Select 2
Test Noise
Left Speaker Mute
Right Speaker Mute
Center Speaker Mute
Subwoofer Mute
Ls Speaker Mute
Rs Speaker Mute
Bs Speaker Mute
Master Volume Ref
Dim/Mute
6-7
DP564 Multichannel Audio Decoder
Operating Modes
Table 6-4 Functions Available for Assignment to Output Pins
Error
External AES Ref
Remote Control
Dolby Digital Input
Bypass
Preset 1
Preset 2
Preset 3
Preset 4
Preset 5
Preset 6
Preset 7
Preset 8
Preset 9
Preset 10
Preset 11
Preset 12
Preset 13
Preset 14
Preset 15
Preset 16
Preset 17
Preset 18
Preset 19
Preset 20
Preset 21
Preset 22
Preset 23
Preset 24
Preset 25
Preset 26
Preset 27
Preset 28
Preset 29
Preset 30
Preset 31
Preset 32
AES Input 1
AES Input 2
Optical Input 3
Streaming Input 4
Stereo Downmix
Lt/Rt Downmix
Mono Downmix
Pro Logic II
Pro Logic
Surround EX
Full
3 Stereo
Phantom Center
Custom
Line
RF
Extended BSI Enable
PL II - Movie
PL II - Music
PL II - ProLogic
PL II - Matrix
Dolby Headphone Off
Dolby Headphone 1
Dolby Headphone 2
Dolby Headphone 3
Bass Manage Bypass
AES Chan Select Auto
AES Chan Select 1
AES Chan Select 2
Test Noise on/off
Left Speaker Mute
Right Speaker Mute
Center Speaker Mute
Subwoofer Mute
Ls Speaker Mute
Rs Speaker Mute
Bs Speaker Mute
Master Volume Ref
Dim/Mute
6-8
DP564 Multichannel Audio Decoder
Chapter 7
Using New Features
This chapter is for users of the DP562, the predecessor to this model. It provides a
quick look at the new features in the DP564, and a quick reference on how to access
those features, including:
•
•
•
•
•
•
•
•
•
•
•
•
•
7.1
Multiple inputs
Expanded preset storage
Enhanced monitoring control
Dedicated GPI/O remote control capability
Dolby® Digital Surround EX™ decoding
Dolby Pro Logic® II decoding
Dolby Headphone processing
IFE (in-flight entertainment) mode
Timecode output
External AES reference
Ethernet software remote control
Streaming
Karaoke capable mode
Multiple Inputs
The DP564 includes four separate digital audio input sources. There are two AES
input ports, an optical input, and, for streaming audio, a 100BASE-T connection. The
rear-panel ports are discussed on page 2-2. You control selection of the input source
using the front panel Input buttons, as discussed on page 3-5.
7.2
Expanded Preset Storage
The DP564 stores up to 32 separate presets. Each preset includes the complete set of
parameters you can adjust, and you can name each preset. Presets 1–4 can be recalled
using the one-touch front-panel Preset buttons. Presets 1–28 can be defined and
stored, as discussed starting on page 4-13. Presets 29–32 are factory-defined as shown
in Table 4-2. All 32 presets can be recalled using the menu screen, as discussed
starting on page 4-12.
7-1
DP564 Multichannel Audio Decoder
7.3
Using New Features
Enhanced Monitoring Control
You have enhanced control over monitoring level and output control when using the
DP564. The Master Volume knob and the Ref button make this adjustment quick and
easy, and if you need to mute one or more channel outputs, you can do so using the
menu screen as described on page 4-11.
7.4
Dedicated GPI/O Remote Control Capability
One of the ways the DP564 can be controlled is by hardware remote. Dolby
Laboratories makes the Cat. No. 549 GPIO Controller, which can be used with the
DP564, or you can connect your own GPI/O device. Specific instructions for setting
up GPI/O control begin on page 4-14.
7.5
Dolby Digital Surround EX Decoding
If your speaker system includes at least one Back Surround speaker, you can decode a
Dolby Digital Surround EX program using the DP564 by pressing EX. Details on
configuring the DP564 for Surround EX decoding are on page 4-9.
7.6
Dolby Pro Logic II Decoding
You can apply Dolby Pro Logic II decoding to any two-channel program, or a twochannel downmix of a Dolby Digital program, by pressing the front-panel Pro Logic II
button. Pro Logic II offers a wide range of listening options, controlled by the Pro
Logic II menu discussed on page 4-10.
7.7
Dolby Headphone Processing
Dolby Headphone offers headphone listeners the effect of a five-channel surround
system. The DP564 headphone output allows you to monitor a version of audio
content processed with Dolby Headphone in any of three different room modes, or to
monitor a traditional stereo mix of the program. Control of the headphone monitor
mode is detailed on page 4-9.
7.8
IFE Mode
In-flight entertainment (IFE) mode sends the Dolby Headphone output to the main
speaker outputs. To enable and disable IFE mode, use the I/O Control menu.
7-2
DP564 Multichannel Audio Decoder
7.9
Using New Features
Timecode Output
The DP564 extracts the timecode from a Dolby Digital stream if timecode is present.
This is used to generate a matching linear timecode output signal from the rear-panel
LTC connection. This can be used to synchronize external equipment, such as a
videotape machine, to follow the Dolby Digital bitstream. Details of timecode output
are discussed under Clock on page 4-14.
7.10 External AES Reference
You can lock the DP564 output to the studio reference clock by plugging the studio
reference to the AES Ref connector on the rear panel, and selecting either Ref In
option on the Clock menu. Details on the Clock menu options are discussed on
page 4-14.
7.11 Ethernet Software Remote Control
You can control the DP564 using the DolbyRemote 564 software provided on the
CD-ROM included in the packing kit. This remote control software runs best via the
rear-panel 100BASE-T connection.
For instructions on installing and using the DolbyRemote 564 software, see Chapter
8, Streaming Server and Remote Software.
7.12 Streaming
The DP564 processes streaming audio from the 100BASE-T input. Control of the
features of streaming audio is available only when you use the DolbyRemote 564
software. For details, see Chapter 8, Streaming Server and Remote Software.
7.13 Karaoke
The DP564 provides a variety of options for decoding karaoke programs. These
options are controlled on the Karaoke menu, detailed on page 4-11.
7-3
Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Chapter 8
Streaming Server and Remote Software
To activate the streaming audio input or to use the DolbyRemote 564 software by
network connection, you need to configure the DP564 using the Network
Settings menu as described starting on page 4-16.
8.1
DolbyRemote 564
DolbyRemote 564 provides quick access to virtually all DP564 functions. In addition,
the application provides access to some features not available from the DP564 frontpanel interface.
Using DolbyRemote 564 allows the DP564 to be located in another room or at some
distance from the operator. While DolbyRemote 564 is in operation, the Remote LED
on the front panel of the DP564 is lit and access to the setup menu via the front-panel
buttons is disabled.
8.2
Hardware Connection
You can connect the DP564 remote control using either the Ethernet (100BASE-T),
RS-232, or RS-485 serial ports. For RS-232 connection, use the 8-pin mini DIN to 9pin serial cable supplied with your DP564 to connect to the front panel RS-232 port.
For RS-485 connection, use a standard 9-pin to 9-pin serial cable to the rear-panel
RS-485 port.
The Ethernet connection provides the most effective communication link.
8.3
Installing DolbyRemote 564
DolbyRemote 564 software is provided on a CD-ROM.
8-1
DP564 Multichannel Audio Decoder
Streaming Server and Remote Software
CD-ROM Installation
To install DolbyRemote 564 on your computer:
1. Place the CD-ROM in the PC.
2. The installation program should run automatically. If nothing happens, open
the Run prompt (click the Start menu, then Run) and type d:\setup.exe
(where d is the letter of your CD- or DVD-Rom drive).
3. Follow the on-screen prompts to install.
4. Use the default destination or select an alternate location for the software
installation.
8.4
Launching the Application
Configure the DP564 network settings parameters from the front panel prior to
launching the DolbyRemote 564 software. If you are using an Ethernet connection,
these settings are found in the System Settings, Network Settings setup menus. If you
are using a serial connection, you must configure the Remote Baud Rate and Unit
Address found in the System Settings menu.
Upon launching the application, the Open Connection to DP564 window is
displayed. The PC network settings should reflect the DP564 network settings.
DolbyRemote 564 can also be opened in Off Line mode to view the application
without a hardware connection.
Before you click OK to begin remote software operation of the DP564, on the DP564
front panel, press Shift once so that the button illuminates, then press ◄. (Do not hold
down Shift while pressing ◄.) To disable remote operation and resume using the
front-panel interface, press Shift, ◄ again.
8.5
DolbyRemote 564 Overview
DolbyRemote 564 offers a complete combination of setup, control, and emulation
features available on the DP564. Many of these features can display simultaneously.
The main section of DolbyRemote 564 supplies access to the features available on the
front panel of the DP564, while the tab section in the upper right-hand corner offers
the status and setup functionality available on the DP564 front-panel display and
menus.
8-2
DP564 Multichannel Audio Decoder
8.6
Streaming Server and Remote Software
Streaming
The Streaming tab enables you to select and control the streaming input. This
functionality includes:
•
•
•
•
•
8.6.1
Server location
File selection
Play, Pause, and Stop control
Slide bar control for locating starting positions within a file
+10 Seconds / –10 Seconds buttons
Server Location
Select the server location by selecting the server name on the local area network
(LAN) that contains the Dolby® Digital (.ac3) files you wish to play. This gives you
access to the files on that server in the file selection window.
8.6.2
File Selection
When the Server location is set to a computer or network that contains the Dolby
Streaming Server program, the file selection window allows you to select a file to be
played back via the streaming input. The DP564 only recognizes files that are stored
in the directory defined when you install the Streaming Server program.
8.6.3
Play, Pause, Stop Control
Click Play to play the selected file. The Streaming Server takes approximately 3
seconds to buffer the file before beginning to play. Pause pauses play while
maintaining the file in the buffer, to allow quicker resumption of play. Stop ends play
mode, and returns the slider to the beginning of the file.
8.6.4
Slide Bar Control
The slide bar control allows you to select a play point within the file by clicking and
dragging the slider.
8.6.5
+10 Seconds / –10 Seconds Buttons
These buttons allow you to advance or back up the play point of the file in ten-second
intervals.
8-3
DP564 Multichannel Audio Decoder
8.7
Streaming Server and Remote Software
Dolby Streaming Server
The Dolby Streaming Server gives functionality to the computer where you store
Dolby Digital files you want to decode via the streaming input on your DP564.
Note: The DP564 only recognizes files that are stored in the directory defined when
you install the Streaming Server program.
8.7.1
Installing the Dolby Streaming Server
The Dolby Streaming Server software is provided on a CD-ROM.
CD-ROM Installation
To install the Dolby Streaming Server software:
1. Place the CD-ROM in the PC.
2. The installation program should run automatically. If nothing happens, open
the Run prompt (click the Start menu, then Run) and type d:\setup.exe
(where d is the letter of your CD or DVD-Rom drive).
3. Follow the on-screen prompts during installation.
4. Use the default destination or select an alternate location for the software
installation.
8.7.2
Launching the Application
The Streaming Server has no user controls but it must be running prior to launching
the DolbyRemote 564. To launch the Streaming Server, double-click the Dolby
Streaming Server icon. You can also choose to have the Dolby Streaming Server
automatically launch when you start your computer by choosing that option when the
program is installed.
DolbyRemote 564 and Dolby Streaming Server can be run on a PC that meets these
minimum requirements:
•
•
•
•
•
•
Windows 98, 2000, XP, NT4.0 or later
450 MHz Pentium III processor
128 MB RAM
200 MB available hard-drive storage (for server)
10 MB available hard-drive storage (for remote)
Super VGA video card with 1024 × 768 resolution
8-4
DP564 Multichannel Audio Decoder
Appendix A
Metadata
Note: This appendix was originally written for users of Dolby® E products that assign
metadata parameter values. The DP564, as a decoder, simply uses the metadata
parameters included in a Dolby Digital bitstream. However, the detailed
explanation of metadata concepts and parameters may prove useful to you.
Metadata provides unprecedented capability for content producers to deliver the
highest quality audio to consumers in a range of listening environments. It also
provides choices that allow consumers to adjust their settings to best suit their
listening environments.
In this appendix, we first discuss the concept of metadata:
•
Metadata overview
We then discuss the three factors controlled by metadata that most directly affect the
consumer’s experience:
•
•
•
Dialogue level
Dynamic range control (DRC)
Downmixing
We then define each of the adjustable parameters, and provide sample combinations:
•
•
A.1
Individual parameters
Metadata combinations
Metadata Overview
Dolby Digital and Dolby E are both bit-rate reduction technologies that use metadata
to describe the encoded multichannel audio. In normal operation the encoded audio
and metadata are carried together as a data stream on two regular digital audio
channels (AES/EBU or S/PDIF). Metadata is carried in the Dolby Digital or Dolby E
bitstream, describing the encoded audio and conveying information that precisely
controls downstream encoders and decoders. Metadata allows content providers
unprecedented control over how original program material is reproduced in the home.
Dolby Digital is a transmission bitstream (sometimes called an emission bitstream)
intended for delivery to the consumer. It consists of a single encoded program of up
to six channels described by one metadata stream. The consumer’s Dolby Digital
A-1
DP564 Multichannel Audio Decoder
Appendix A: Metadata
decoder processes the metadata stream according to parameters set by the program
creator, as well as certain settings for bass management and dynamic range that are
chosen by the consumer to reflect their specific home theater equipment and
environmental conditions.
Dolby E is a distribution bitstream capable of carrying up to eight channels of
encoded audio and metadata. The number of programs ranges from one single
program (Program Config: 5.1) to eight individual programs on a single Dolby E
stream (Program Config: 8 × 1). Each program is discrete with its own metadata in
the Dolby E stream. Some control metadata parameters in a Dolby E stream
automatically configure a Dolby Digital encoder while others are passed through to
the consumer’s Dolby Digital decoder.
Dolby E is a professional technology used for broadcast applications such as program
origination and distribution; the Dolby E bitstream carries the entire metadata
parameter set. Dolby Digital, used for consumer applications such as transmission to
the home or for DVD authoring, employs a subset of the entire metadata parameter
set called Dolby Digital metadata; the Dolby Digital bitstream carries only those
parameters necessary for proper decoding by the consumer.
Metadata is first inserted during program creation or mastering, and is carried through
transmission in a broadcast application or directly onto a DVD. The metadata
provides control over how the encoded bitstream is treated at each step on the way to
the consumer’s decoder.
For example:
In a broadcast truck parked outside a football stadium, the program mixer chooses the
appropriate metadata for the audio program being created. The resulting audio
program, together with metadata, is encoded as Dolby E and sent to the television
station via fiber, microwave, or other transmission link. At the receiving end of this
transmission, the Dolby E stream is decoded back to baseband audio and metadata.
The audio program is monitored and the metadata is altered or re-created as other
elements of the program are added in preparation for broadcast. This new audio
program/metadata pair is re-encoded as Dolby E, leaves the postproduction studio and
is passed through the television station to Master Control, where many incoming
Dolby E streams are once again decoded back to their individual baseband digital
audio/metadata programs. The audio program/metadata pair that is selected to air is
sent to the transmission Dolby Digital encoder, which encodes the incoming audio
program according to the metadata stream associated with it, thereby simplifying the
transmission process. Finally, the Dolby Digital signal is decoded in the consumer’s
home, with metadata providing the information for that decoding process. Through
the use of metadata, the mixer in the truck has been able to control the home decoder
for the sporting event, while news breaks, commercials, station IDs, and the like are
similarly appropriately decoded.
This control, however, requires the producer to correctly set the metadata parameters
because they affect important aspects of the audio—and can seriously compromise
the final product if set improperly. Although most metadata parameters are
A-2
DP564 Multichannel Audio Decoder
Appendix A: Metadata
transparent to consumers, certain parameters affect the output of a home decoder, like
when downmixing for a specific speaker configuration, or when the consumer
chooses Dynamic Range Control to avoid disturbing family and neighbors.
Figure A-1 shows a 5.1 + 2 Program Config consisting of a 5.1-channel program and
a two-channel Secondary Audio Program (SAP).
Multichannel
Monitor System
The Dolby E bitstream
contains both the 5.1- and
two-channel programs’
encoded audio, and each
program's metadata.
Metadata
Program Source
L/R
DP570
Multichannel Audio
Tool
5.1-Channel
Program
C/LFE
DP571
Dolby E Encoder
Ls/Rs
in 5.1+2 Program Config
in 5.1+2 Program Config
Two-Channel
(Stereo) Program
Lt/Rt
Decoded Dolby E bitstream
delivers both the 5.1- and
two-channel programs’
encoded audio along with
corresponding metadata.
The Dolby Digital bitstream
contains a single program’s
encoded audio and
corresponding metadata.
Broadcast
DP569
Dolby Digital Encoder
DP572
Dolby E Decoder
SAP or Visual
Descriptive
Dolby
TwoChannel
Encoder
Cable, Satellite,
or Terrestrial
Consumer
Metadata
Figure A-1 Metadata Flow from Production to Consumer
In the simplest terms, there are two functional classifications of metadata:
Informational: These parameters convey information but do not affect either the
encoded bitstream or the decoding process. For example, the Bitstream Mode
parameter describes the audio service provided in the bitstream according to the
ATSC specification. This information may be used by certain components in the
audio system.
Control: These parameters direct how the decoder, encoder, or both process the
audio when certain modes are applied to the encoder or decoder. For example, the
Lowpass Filter parameter determines whether a lowpass filter is applied to the
main inputs of a Dolby Digital encoder, and the Surround Downmix Level
parameter instructs the Dolby Digital decoder how to mix the surround channels
during downmixing.
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Appendix A: Metadata
Both types of metadata can be examined, modified, or passed through during
encoding. Table A-1 lists the active metadata parameters and indicates if each
parameter is informational or control.
Table A-1 Metadata Parameters
Extended Bitstream Information parameters are in italics.
Metadata Parameter
Informational Control
Dialogue Level
Channel Mode
LFE Channel
Bitstream Mode
Line Mode Compression
RF Mode Compression
RF Overmodulation Protection
Center Downmix Level
Surround Downmix Level
Dolby Surround Mode
Audio Production Information
Mix Level
Room type
Copyright Bit
Original Bitstream
Preferred Stereo Downmix
Lt/Rt Center Downmix Level
Lt/Rt Surround Downmix Level
Lo/Ro Center Downmix Level
Lo/Ro Surround Downmix Level
Dolby Surround EX Mode
A/D Converter Type
DC Filter
Lowpass Filter
LFE Lowpass Filter
Surround 3 dB Attenuation
Surround Phase Shift
A.2
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
r
Dialogue Level
Dialogue level (also known as dialogue normalization or dialnorm) is perhaps the
single most important metadata parameter. The dialogue level setting represents the
average loudness of dialogue in a presentation.
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When received at the consumer’s Dolby Digital decoder, this parameter setting
determines the level shift in the decoder that sets, or normalizes, the average audio
output of the decoder to a preset level. This aids in matching audio volume between
program sources.
The proper setting of the dialogue level parameter enables the Dynamic Range
Control profiles chosen by the content producer to work as intended in less-thanoptimal listening environments, and is essential in any content production, whether it
is for transmission in a broadcast stream or for direct distribution to consumers, as in
DVDs.
In broadcast transmission, standard setting of dialogue level ensures that the
consumer can switch channels or watch a television program without having to adjust
the volume control during commercial breaks. Using that standard for all content,
whether conveyed by broadcast television, DVD, or other media, enables the
consumer to switch between sources and programs while maintaining a comfortable
listening level.
Note: Programs without dialogue, such as an all-music program, still require a
careful setting of the dialogue level parameter. When setting the parameter for
such content, it is useful to compare the program to the level of other
programs. The goal is to allow the consumer to switch to your program
without having to adjust the volume control.
The Scale
The scale used in the dialogue level setting is from –1 to –31 dB in 1 dB steps.
Contrary to what you might assume at first, a setting of –31 represents no level shift
in the consumer’s decoder, and –1 represents the maximum level shift. Here’s why:
Dolby Digital consumer decoders standardize the average loudness (averaged over
time by the formula LeqA) to –31 dBFS (31 dB below 0 dB full-scale digital output)
by applying a shift in level based on the dialogue level parameter setting. When a
decoder receives an input signal with a dialogue level setting of –31, it applies no
level shift to the signal because this indicates to the decoder that the signal already
matches the target level and therefore requires no shift. In contrast, a louder program
requires a shift to match the –31 dB standard. When the dialogue level parameter
setting is –21, the decoder applies a 10 dB level shift to the signal. When the setting is
–11, it applies a 20 dB level shift, and so on.
A Simple Rule:
31 + (dialogue level value) = Shift applied
Example:
31 + (–21) = 10 dB
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The most important point to remember is that in setting the dialogue level parameter,
you are providing your listener with an essential service. For your listeners, setting
this level properly means:
•
•
The volume level is consistent with other programs.
The DRC profiles you make available to them work as you intend.
Once dialogue level is set, you can set up DRC profiles to further benefit the
consumer.
A.3
Dynamic Range Control
Different home listening environments present a wide range of requirements
regarding dynamic range. Rather than simply compressing the audio program to work
well in the poorest listening environments, Dolby Digital encoders calculate and send
Dynamic Range Control (DRC) metadata with the signal. This metadata can be
applied to the signal by the decoder to reduce the signal’s dynamic range.
Through the proper setting of DRC profiles during the mastering process, the content
producer can provide the best possible presentation of program content in virtually
any listening environment, regardless of the quality of the equipment, number of
channels, or ambient noise level in the consumer’s home.
Many Dolby Digital decoders offer the consumer the option of defeating the Dynamic
Range Control metadata, but some do not. Decoders with six discrete channel outputs
(full 5.1-channel capability) typically offer this option. Decoders with stereo, mono,
or RF-remodulated outputs, such as those found on DVD players and set-top boxes,
often do not. In these cases the decoder automatically applies the DRC metadata
associated with the decoder’s selected operating mode.
The Dolby Digital stream carries metadata for the two possible operating modes of
the decoder. The operating modes are known as Line Mode and RF Mode due to the
type of output they are typically associated with. Line Mode is typically used on
decoders with six- or two-channel line-level outputs and RF Mode is used on
decoders that have an RF-remodulated output. Full-featured decoders allow the
consumer to select whether to use DRC and if so, which operating mode to use. The
consumer sees options such as Off, Light Compression, and Heavy Compression
instead of None, Line Mode, and RF Mode. Advanced decoders may also allow
custom scaling of the DRC metadata.
All that needs to be done during encoding is selection of the dynamic range control
profiles for Line Mode and RF Mode. The profiles are described in the following
sections.
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Note: While the use of DRC modes during decoding is a consumer-selectable
feature, the dialogue level parameter setting is not. Therefore, the proper
setting of the dialogue level parameter is essential before previewing a DRC
profile.
Line Mode
Line Mode offers these features:
•
•
•
Low-level boost compression scaling is allowed.
High-level cut compression scaling is allowed when not downmixing.
Dialogue, as set by the dialogue level parameter, is reproduced at a constant
level of –31 dBFS LeqA.
All line-level or power-amplified outputs from two-channel set-top decoders, twochannel digital televisions, 5.1-channel digital televisions, Dolby Digital A/V
surround decoders, and outboard Dolby Digital adapters use Line mode.
Consumer control of the dynamic range is limited when downmixing. Products with
stereo or mono outputs do not usually allow consumer scaling of Line Mode. This is
because these devices are usually downmixing, (for example, when receiving a
5.1-channel signal.) However, in these products the consumer may have a choice
between Line Mode and RF Mode.
RF Mode
RF Mode offers these features:
•
•
•
High- and low-level compression scaling is not allowed
(when active, always fully applied).
+11 dB gain shift raises overall program level.
Dialogue, as set by the dialogue level parameter and combined with the
+11 dB gain shift, is reproduced at a constant level of –20 dBFS LeqA.
RF Mode is designed for products (such as set-top boxes) that generate a downmixed
signal for connection to the RF/Antenna input of a television set; however, it is also
useful in situations where heavy DRC is required—for example, when small PC
speakers are used for DVD playback. In RF Mode, the overall program level is raised
11 dB, while the peaks are limited to prevent signal overload in the D/A converter.
By limiting headroom, severe overmodulation of television receivers is prevented.
The 11 dB gain provides an RF modulation level that compares well with analog
television broadcasts and premium movie channels.
In some situations it may be necessary to further constrain signal peaks above the
average dialogue level so that there is less than 20 dB headroom. The selection of a
suitable RF Mode profile achieves this.
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Dynamic Range Control Profiles
in
Ga
y
t
i
Un
Early
Cut
Range
Dialogue Level
Setting
Cut
Range
Null
Band
Centered at
the Dialogue
Level Setting
Boost
Range
Low
Ouput Level
High
Six preset DRC profiles are available to content producers: Film Light, Film
Standard, Music Light, Music Standard, Speech, and None. Each is applied in
the pattern shown in Figure A-2. All DRC profiles are encoded using a modified
B-weighted curve.
Low
Input Level
High
Figure A-2 DRC Profile Pattern
In each case the center of the null band is assigned to the dialogue level parameter
setting, and the DRC profile is applied in relation to that level.
•
Film Light
Max Boost: 6 dB (below –53 dB)
Boost Range: –53 dB to –41 dB (2:1 ratio)
Null Band Width: 20 dB (–41 dB to –21 dB)
Early Cut Range: –26 dB to –11 dB (2:1 ratio)
Cut Range: –11 dB to +4 dB (20:1 ratio)
•
Film Standard
Max Boost: 6 dB (below –43 dB)
Boost Range: –43 dB to –31 dB (2:1 ratio)
Null Band Width: 5 dB (–31 dB to –26 dB)
Early Cut Range: –26 dB to –16 dB (2:1 ratio)
Cut Range: –16 dB to +4 dB (20:1 ratio)
Music Light (No early cut range)
Max Boost: 12 dB (below –65 dB)
Boost Range: –65 dB to –41 dB (2:1 ratio)
Null Band Width: 20 dB (–41 dB to –21 dB)
Cut Range: –21 dB to +9 dB (2:1 ratio)
•
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•
Music Standard
Max Boost: 12 dB (below –55 dB)
Boost Range: –55 dB to –31 dB (2:1 ratio)
Null Band Width: 5 dB (–31 dB to –26 dB)
Early Cut Range: –26 dB to –16 dB (2:1 ratio)
Cut Range: –16 dB to +4 dB (20:1 ratio)
•
Speech
Max Boost: 15 dB (below –50 dB)
Boost Range: –50 dB to –31 dB (5:1 ratio)
Null Band Width: 5 dB (–31 dB to –26 dB)
Early Cut Range: –26 dB to –16 dB (2:1 ratio)
Cut Range: –16 dB to +4 dB (20:1 ratio)
•
None
No DRC profile selected. The dialogue level parameter (dialnorm) is still applied.
These choices are available to the content producer for both Line Mode and RF
Mode. The content producer chooses which of these profiles to assign to each mode;
when the consumer or decoder selects a DRC mode, the profile chosen by the
producer is applied.
In addition to the DRC profile, metadata can limit signal peaks to prevent clipping
during downmixing. This metadata, known as overload protection, is inserted by the
encoder only if necessary. For example, consider a 5.1-channel program with signals
at digital full scale on all channels being played through a stereo, downmixed linelevel output. Without some form of attenuation or limiting the output signal would
obviously clip. Correct setting of the dialogue level and DRC profiles normally
prevents clipping and unnecessary application of overload protection.
Note: DRC profile settings are dependent on an accurate dialogue level setting.
Improper setting of the dialogue level parameter may result in excessive and
audible application of overload protection.
A.4
Downmixing
Downmixing is a function of Dolby Digital that allows a multichannel program to be
reproduced over fewer speaker channels than for which the program is optimally
intended. Simply put, downmixing allows consumers to enjoy a DVD or digital
television broadcast without requiring a full-blown home theater setup.
As with stereo mixing where the mix is monitored in mono on occasion to maintain
compatibility, multichannel audio mixing requires the engineer to reference the mix
to fewer speaker channels to ensure compatibility in downmixing situations. In this
way, Dolby Digital, using the metadata parameters that control downmixing, is an
“equal opportunity technology” in that every consumer who receives the Dolby
Digital data stream can enjoy the best audio reproduction possible, regardless of the
playback system.
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It is important to consider the output signals from each piece of equipment that can
receive a Dolby Digital program in the home. Table A-2 shows the output types from
different equipment.
Table A-2 Outputs from Various Dolby Digital Signal Processing Equipment
Output
Equipment
Digital
5.1-Channel
Analog
r
r
5.1-channel decoder
r
r
Hi-end DVD player
r
r
DVD player
r
5.1-channel amplifier
The standard home theater
A/V amp
PC
Includes games consoles
High-end set-top box
Often HDTV
Set-top box
Usually SDTV
IDTV
TV set with an integrated
digital TV tuner
High-end TV
Large screen TV with a
5.1-channel speaker system
Two-Channel
Analog
RF
Remodulated
r
r
r
(some units)
r
r
r
r
r
r
r
r
r
r
r
r
Set-top boxes, used for the reception of terrestrial, cable, or satellite Digital
Television, typically offer an analog mono signal modulated on the RF/Antenna
output, a line-level analog stereo signal, and an optical or coaxial digital output. DVD
players offer an analog stereo and a digital output, and some offer a six-channel
analog output (for a 5.1-channel presentation). Portable DVD players offer analog
stereo, headphone, and digital outputs. DVD players in computers and game consoles
offer a digital output as well as analog stereo, headphone, and possibly six-channel
analog outputs. 5.1-channel amplifiers, decoders and receivers have six-channel
analog outputs and possibly six speaker-level outputs.
In all of these cases, a Dolby Digital decoder creates the analog audio output signal.
In the case of the set-top box or DVD player, the analog stereo output is a downmixed
version of the Dolby Digital data stream. The digital output delivers the Dolby Digital
data stream to either a downstream decoder or a Dolby Digital capable integrated
amplifier.
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In each of these devices, the analog stereo output is one of two different stereo
downmixes. One type is a stereo-compatible Dolby Surround downmix (also called
Pro Logic®, left-total/right-total, or Lt/Rt) of the multichannel source program that is
suitable for Dolby Surround Pro Logic decoding. The other type is a simple stereo
representation (called a left-only/right-only, or Lo/Ro) suitable for playback on a
stereo hi-fi or on headphones, and from which a mono signal is derived for use on an
RF/Antenna output. The difference between the downmixes is how the surround
channels are handled. The Lt/Rt downmix sums the surround channels and adds them,
in-phase to the left channel and out-of-phase to the right channel. This allows a Dolby
Surround Pro Logic decoder to reconstruct the L/C/R/S channels for a Pro Logic
home theater. The Lo/Ro downmix adds the right and left surround channels
discretely to the left and right speaker channels. This preserves the stereo separation
for stereo-only monitoring and produces a mono-compatible signal. In all downmixes,
the LFE channel is not included.
On most home equipment, the consumer can use the product’s user interface to
choose the appropriate stereo output for their playback system. The mono signal
feeding the RF/Antenna output is always derived from the Lo/Ro downmix.
There are separate metadata parameters for the adjustment of the Lo/Ro and Lt/Rt
downmix conditions. Certain metadata parameters allow the engineer to select how
the stereo downmix is constructed and which stereo analog signal is preferred, but
Lt/Rt is the default selection in all consumer decoders. See Section A.5, Parameter
Definitions, for more information on individual parameters.
During downmixing, as we have seen, the adjustment of dynamic range control
parameters is limited. Broadly speaking, the stereo outputs use the Line Mode
compression profile and the mono signal uses RF Mode compression. As with
dynamic range control, downmixing is ultimately dependent upon each consumer’s
unique listening environment.
While the engineer must optimize the multichannel mix for reproduction in an ideal
listening environment, it is also important to preview the mix in downmixing
conditions to ensure compatibility with different playback systems when selecting the
downmixing metadata parameters. These previews can be achieved in real time using
the DP570 Multichannel Audio Tool.
A.5
Parameter Definitions
Metadata parameters include:
•
•
Universal parameters
Extended Bitstream Information (Extended BSI) parameters
Extended BSI parameters are active only when the consumer’s decoder is capable of
reading them and when the producer chooses to use them. All decoders can
successfully decode a metadata stream without Extended BSI parameters, and
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Extended BSI parameters translate seamlessly to decoders that read only universal
parameters.
A.5.1
Universal Parameters
Universal parameters are present in all Dolby Digital encoders and decoders.
Dialogue Level
The dialogue level parameter is discussed in Section A.2, Dialogue Level.
Channel Mode
This parameter (also known as audio coding mode) indicates the active channels
within the encoded bitstream and affects both the encoder and consumer decoder.
This parameter instructs the encoder as to which inputs to use for this particular
program; it tells the decoder what channels are present in this program so the decoder
can deliver the audio to the correct speakers.
The setting is described as X/Y, where X is the number of front channels (Left,
Center, Right) and Y the number of rear (surround) channels.
The availability of certain channel modes depends on the data rate and whether the
LFE Channel is present. For example, you can’t have a mono stream with an LFE
channel (1.1!) or a 3/2 stream at 96 kbps. Appropriate data rates are shown in the
definition of each setting.
Note: The presence of the LFE channel is indicated through a different metadata
parameter (see LFE Channel).
Channel
Mode
Setting
1+1
1/0 Mono
2/0 Stereo
3/0
2/1
3/1
2/2
3/2
Definition and Data Rate
Dual mono (not valid for DTV
broadcast or DVD production)
From 56 kbps, usually 96 kpbs
From 96 kbps, usually 192 kbps
From 256 kbps
From 256 kbps
From 320 kbps
From 320 kbps
From 384 kbps, often 448 kbps
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LFE Channel
The status of the LFE Channel parameter indicates to a Dolby Digital encoder
whether an LFE Channel is present within the bitstream. Channel Mode determines
whether the LFE Channel parameter can be set. You must have at least three channels
in order to be able to add an LFE channel.
LFE Channel Setting
Enable
Disable
Bitstream Mode
This parameter describes the audio service contained within the Dolby Digital
bitstream. A complete audio program may consist of a main audio service (a complete
mix of all the program audio), an associated audio service comprising a complete
mix, or one main service combined with an associated service. To form a complete
audio program, it may be (but rarely is) necessary to decode both a main service and
an associated service using a maximum total bit rate of 512 kbps. Refer to the Guide
to the Use of the ATSC Digital Television Standard, Document A/54 (www.atsc.org)
for further information. Although a detailed description of each option follows, in
practice most programming uses the default setting, Complete Main. An example of
an exception to this rule is a special karaoke DVD, or an emergency service within
digital television.
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Bitstream Mode
Setting
Complete Main
(CM)
Main M&E (ME)
Assc. Visual Imp.
(VI)
Assc. Hear Imp. (HI)
Assc. Dialogue (D)
Assc. Commentary
(C)
Assc. Emergency
(E)
Definition
CM flags the bitstream as the Main Audio Service for the program and all
elements are present to form a complete audio program. Currently, this is
the most common setting. The CM Service may contain from one (mono)
to six (5.1) channels.
The bitstream is the Main Audio Service for the program, minus a
dialogue channel. The dialogue channel, if any, is intended to be carried by
an Associated Dialogue Service. Different Dialogue Services can be
associated with a single ME Service to support multiple languages.
This is typically a single-channel program intended to provide a narrative
description of the picture content to be decoded along with the Main
Audio Service. The VI Service may also be a complete mix of all program
channels, comprising up to six channels.
This is typically a single-channel program intended to convey audio that
has been processed for increased intelligibility and decoded along with the
Main Audio Service. The HI Service may also be a complete mix of all
program channels, comprising up to six channels.
This is typically a single-channel program intended to provide a dialogue
channel for an ME Service. If the ME Service contains more than two
channels, the D Service is limited to only one channel. If the ME Service
is two channels, the D Service can be a stereo pair; the appropriate
channels of each service are mixed together (requires special decoders).
This is typically a single-channel program intended to convey additional
commentary that can be optionally decoded along with the Main Audio
Service. This service differs from a Dialogue Service because it contains
an optional, rather than a required, dialogue channel. The C Service may
also be a complete mix of all program channels, comprising up to six
channels.
This is a single channel service that is given priority in reproduction.
When the E Service appears in the bitstream, it is given priority in the
decoder and the Main Service is muted.
Assc. Voice Over
(VO)
This is a single channel service intended to be decoded and mixed to the
center channel (requires special decoders).
Main Sv Karaoke
(K)
The bitstream is a special service for karaoke playback.
Line Mode Compression Profile
Line Mode is discussed in Section A.3, Dynamic Range Control.
RF Mode Compression Profile
RF Mode is discussed in Section A.3, Dynamic Range Control.
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Appendix A: Metadata
RF Overmodulation Protection
This parameter is designed to protect against overmodulation when a decoded Dolby
Digital bitstream is RF modulated. When enabled the Dolby Digital encoder includes
pre-emphasis in its calculations for RF Mode compression. The parameter has no
effect when decoding using Line Mode compression. Except in rare cases, this
parameter should be disabled.
RF Overmodulation Protection
Setting
Enable
Disable
Center Downmix Level
When the encoded audio has three front channels (L, C, R), but the consumer has
only left and right front speakers, this parameter indicates the nominal downmix level
for the center channel with respect to the left and right channels. Dolby Digital
decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI
parameters are not active.
Center Downmix Level
Setting
0.707 (–3 dB) default
0.596 (–4.5 dB)
0.500 (–6 dB)
Definition
The center channel is attenuated 3 dB and
sent to the left and right channels.
The center channel is attenuated 4.5 dB and
sent to the left and right channels.
The center channel is attenuated 6 dB and
sent to the left and right channels.
Surround Downmix Level
When the encoded audio has one or more surround channels but the consumer does
not have surround speakers, this parameter indicates the nominal downmix level for
the surround channel(s) with respect to the left and right front channels. Dolby Digital
decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI
parameters are not active.
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Surround Downmix
Level Setting
Definition
0.707 (–3 dB) default
The left and right surround channels are each
attenuated 3 dB and sent to the left and right
front channels, respectively.
Same as above, but the signal is attenuated 6 dB.
The surround channel(s) are discarded.
0.5 (–6 dB)
0 (–999 dB)
Dolby Surround Mode
This parameter indicates to a Dolby Digital decoding product that also contains a
Dolby Pro Logic decoder (for example a 5.1-channel amplifier) whether the twochannel encoded bitstream contains a Dolby Surround (Lt/Rt) program that requires
Pro Logic decoding. Decoders can use this flag to automatically switch on Pro Logic
decoding as required.
Dolby Surround Mode
Setting
Definition
Not Dolby Surround
The bitstream contains information that was not
Dolby Surround encoded.
The bitstream contains information that was
Dolby Surround encoded. After Dolby Digital
decoding, the bitstream is Pro Logic decoded.
There is no indication either way
Dolby Surround
Not Indicated
Audio Production Information
This parameter indicates whether the mixing level and room type values are valid. If
Yes, then a receiver or amplifier could use these values as described below. If No,
then the values in these fields are invalid. In practice only high-end consumer
equipment implements these features.
Audio Production
Information Setting
Yes
No
Definition
Mixing Level and Room Type
parameters are valid.
Mixing Level and Room Type
parameters are invalid and should
be ignored.
Mixing Level
The Mixing Level parameter describes the peak sound pressure level (SPL) as
experienced during the final mixing session at the studio or on the dubbing stage. The
parameter allows an amplifier to set its volume control such that the SPL in the replay
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environment matches that of the mixing room. This control operates in addition to the
dialogue level control, and is best thought of as the final volume setting on the
consumer’s equipment. This value can be determined by measuring the SPL of pink
noise at studio reference level and then adding the amount of digital headroom above
that level. For example, 85 dB equates to a reference level of –20 dBFS; the mixing
level is 85+20, or 105 dB.
Mixing Level Setting
80 to 111 dB in 1 dB
increments
Room Type
The Room Type parameter describes the equalization used during the final mixing
session at the studio or on the dubbing stage. A Large room is a dubbing stage with
the industry standard X-curve equalization; a Small room has flat equalization. This
parameter allows an amplifier to set the same equalization as heard in the final mixing
environment.
Room Type Setting
Not Indicated
Large
Small
Copyright Bit
This parameter indicates whether the encoded Dolby Digital bitstream is copyright
protected. It has no affect on Dolby Digital decoders and is purely for information.
Copyright Bit Setting
Yes
No
Original Bitstream
This parameter indicates whether the encoded Dolby Digital bitstream is the master
version or a copy. It has no affect on Dolby Digital decoders and is purely for
information.
Original Bitstream
Setting
Yes
No
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Note: The parameters DC Filter, Lowpass Filter, LFE Lowpass Filter, Surround
3 dB Attenuation, and Surround Phase Shift appear after the Extended BSI
parameters on Dolby E and Dolby Digital equipment menus.
DC Filter
This parameter determines whether a DC blocking 3 Hz highpass filter is applied to
the main input channels of a Dolby Digital encoder prior to encoding. This parameter
is not carried to the consumer decoder. It is used to remove DC offsets in the program
audio and would only be switched off in exceptional circumstances.
DC Filter Setting
Enable
Disable
Lowpass Filter
This parameter determines whether a lowpass filter is applied to the main input
channels of a Dolby Digital encoder prior to encoding. This filter removes highfrequency signals that are not encoded. At the suitable data rates this filter operates
above 20 kHz. In all cases it prevents aliasing on decoding and is normally switched
on. This parameter is not passed to the consumer decoder.
Lowpass Filter Setting
Enable
Disable
LFE Lowpass Filter
This parameter determines whether a 120 Hz 8th order lowpass filter is applied to the
LFE channel input of a Dolby Digital encoder prior to encoding. It is ignored if the
LFE channel is disabled. This parameter is not sent to the consumer decoder. The
filter removes frequencies above 120 Hz that would cause aliasing when decoded.
This filter should only be switched off if the audio to be encoded is known to have no
signal above 120 Hz.
LFE Lowpass Filter Setting
Enable
Disable
A-18
DP564 Multichannel Audio Decoder
Appendix A: Metadata
Surround 3 dB Attenuation
The Surround 3 dB Attenuation parameter determines whether the surround
channel(s) are attenuated 3 dB before encoding. The attenuation actually takes place
inside the Dolby Digital encoder. It balances the signal levels between theatrical
mixing rooms (dubbing stages) and consumer mixing rooms (DVD or TV studios).
Consumer mixing rooms are calibrated so that all five main channels are at the same
sound pressure level (SPL). For compatibility reasons with older film formats,
theatrical mixing rooms calibrate the surround channels 3 dB lower in SPL than the
front channels. The consequence is that signal levels on tape are 3 dB louder.
Therefore, to convert to a consumer mix from a theatrical calibration it is necessary to
reduce the surround levels by 3 dB by enabling this parameter.
Surround 3 dB
Attenuation Setting
Enable
Disable
Surround Phase Shift
This parameter causes the Dolby Digital encoder to apply a 90-degree phase shift to
the surround channels. This allows a Dolby Digital decoder to create an Lt/Rt
downmix simply. For most material the phase shift has a minimal impact when the
Dolby Digital program is decoded to 5.1 channels, but provides an Lt/Rt output that
can be Pro Logic decoded to L, C, R, S, if desired. However, for some phase-critical
material (such as music) this phase shift is audible when listening in 5.1 channels.
Likewise some material downmixes to a satisfactory Lt/Rt signal without needing this
phase shift. It is therefore important to balance the needs of the 5.1 mix and the Lt/Rt
downmix for each program. The default setting is Enable.
Surround Phase Shift Setting
Enable
Disable
A.5.2
Extended Bitstream Information Parameters
In response to requests from content producers, Dolby Laboratories recently modified
the definitions of several metadata parameters from their original definition as
described in ATSC document A/52. The original parameters were rarely, if ever used.
The revised definitions allow more information to be carried about the audio program
and allow more choices for stereo downmixing. When the metadata parameters
carried in Dolby Digital were first described, they were generically called Bitstream
Information or BSI. We refer to the alternate parameter definitions as Extended BSI.
A-19
DP564 Multichannel Audio Decoder
Appendix A: Metadata
Because the revised definitions affect metadata parameters that were not used by the
consumer decoders, all decoders will be compatible with the revised bitstream. Newer
decoders that are programmed to detect and decode the new parameters will be able
to implement the new features the Extended BSI provides.
Products that allow emulation of the effects of metadata, such as the DP570, normally
have a feature that allows emulation of a new (or compliant) decoder or a legacy
decoder.
Preferred Stereo Downmix Mode
This parameter allows the producer to select either the Lt/ Rt or the Lo/Ro downmix
in a consumer decoder that has stereo outputs. Consumer receivers are able to
override this selection, but this parameter provides the opportunity for a 5.1-channel
soundtrack to play in Lo/Ro mode without user intervention. This is especially useful
on music material.
Preferred Stereo Downmix Mode
Setting
Not Indicated
Lt/Rt Preferred
Lo/Ro Preferred
Lt/Rt Center Mix Level
This parameter indicates the level shift applied to the center channel when adding to
the left and right outputs when downmixing to an Lt/Rt output. Its operation is similar
to the center downmix level in the universal metadata.
Lt/Rt Center Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
A-20
DP564 Multichannel Audio Decoder
Appendix A: Metadata
Lt/Rt Surround Mix Level
This parameter indicates the level shift applied to the surround channels when
downmixing to an Lt/Rt output. Its operation is similar to the surround downmix level
in the universal metadata.
Lt/Rt Surround Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Lo/Ro Center Mix Level
This parameter indicates the level shift applied to the center channel when adding to
the left and right outputs when downmixing to a Lo/Ro output. When Extended BSI
parameters are active, this parameter is used and the Center Mix Level parameter in
the universal parameters is not.
Lo/Ro Center Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
A-21
DP564 Multichannel Audio Decoder
Appendix A: Metadata
Lo/Ro Surround Mix Level
This parameter indicates the level shift applied to the surround channels when
downmixing to a Lo/Ro output. When Extended BSI parameters are active, this
parameter is used, and the Surround Mix Level parameter in the universal parameters
is not.
Lo/Ro Surround Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Surround EX Mode
This parameter is used to identify the encoded audio as Surround EX™ encoded
material. This parameter is only used if the encoded audio has two surround channels.
An amplifier or receiver with Dolby Digital Surround EX decoding can use this
parameter as a flag to switch the decoding on or off automatically. The behavior is
similar to the Dolby Surround Mode parameter.
Surround EX Setting
Not Indicated
Not Surround EX
Dolby Surround EX
A/D Converter Type
This parameter allows audio that has passed through a particular A/D conversion
stage to be marked as such so that a decoder may apply the complementary D/A
process.
A/D Converter Type Setting
Standard
HDCD
A-22
DP564 Multichannel Audio Decoder
A.6
Appendix A: Metadata
Metadata Combinations
Table A-3 provides examples of combinations of parameters that could be used as a
preset.
Note: These parameter settings are provided as examples to demonstrate that
different settings can be saved, named, and brought up as needed for quick use
in different situations. The settings are not recommendations, but could
provide a baseline starting point from which to create your own metadata
values.
Table A-3 Examples of Possible Metadata Settings
Extended Bitstream Information parameters are in italics.
Parameter
Dialogue Level
Channel Mode
LFE Channel
Bitstream Mode
Line Mode Pro
RF Mode Pro
RF Ovrmd Protect
Center Dwnmix
Lev
Srnd Dwnmix Lev
Action Film
(5.1)
Drama
(Lt/Rt)
Local News
(Mono)
Music (5.0)
Live
Sporting
Events (5.0)
–27 dB
3/2L
Enable
Main
Complete
Film
Standard
Film
Standard
Disable
0.707 dB
(–3 dB)
0.707 dB
(–3 dB)
–27 dB
2/0
N/A
Main
Complete
–20 dB
1/0
N/A
Main
Complete
Film Light
Speech
Film Light
Speech
Disable
Disable
N/A
N/A
N/A
N/A
–15 dB
3/2
Disable
Main
Complete
Music
Standard
Music
Standard
Disable
0.707 dB
(–3 dB)
0.707 dB
(–3 dB)
–18 dB
3/2
Disable
Main
Complete
Film
Standard
Film
Standard
Disable
0.707 dB
(–3 dB)
0.707 dB
(–3 dB)
N/A
N/A
N/A
Yes
101 dB
Large
Yes
Yes
Dolby
Surround
Yes
90 dB
Small
Yes
Yes
No
N/A
N/A
Yes
Yes
Yes
95 dB
Large
Yes
Yes
No
N/A
N/A
Yes
Yes
Lt/Rt
Lt/Rt
N/A
Lo/Ro
Lt/Rt
0.707
(–3 dB)
0.707
(–3 dB)
1.0
(0.0 dB)
0.595
(–4.5 dB)
Dolby Srnd Mode
N/A
Audio Prod Info
Mix Level
Room type
Copyright
Original Bitstream
Preferred Stereo
Downmix
Lt/Rt Center
Downmix Level
Lt/Rt Surround
Downmix Level
A-23
N/A
N/A
0.707
(–3 dB)
0.707
(–3 dB)
N/A
N/A
DP564 Multichannel Audio Decoder
Appendix A: Metadata
Extended Bitstream Information parameters are in italics.
Parameter
Lo/Ro Center
Downmix Level
Lo/Ro Surround
Downmix Level
Dolby Surround
EX Mode
A/D Converter
Type
DC Filter
Lowpass Filter
LFE Lowpass
Filter
Srnd 3 dB Atten
Srnd Phase Shift
Action Film
(5.1)
Drama
(Lt/Rt)
Local News
(Mono)
Music (5.0)
N/A
N/A
N/A
N/A
N/A
N/A
N/A
N/A
Dolby
Surround
EX
N/A
N/A
N/A
N/A
Standard
Standard
Standard
Standard
Standard
Enable
Enable
Enable
Enable
Enable
Enable
Enable
Enable
Enable
Enable
Enable
N/A
N/A
N/A
N/A
Enable
Enable
N/A
N/A
N/A
N/A
Disable
Enable
Disable
Enable
A-24
Live
Sporting
Events (5.0)
0.707
(–3 dB)
0.595
(–4.5 dB)
DP564 Multichannel Audio Decoder
Appendix B
Latency Values
The latency of the DP564 is defined as the difference in time between the beginning
of a valid Dolby® Digital frame entering the DP564 and the output of the first PCM
sample represented by that frame.
Note: At any sample rate, a Dolby Digital frame represents 1,536 audio samples.
The DP564 accepts data over both professional and consumer industry standardized
interfaces. The professional interface is specified by SMPTE2. The consumer
interface is specified by IEC 619373. Each interface specification includes a
specification for the latency of the decoder with respect to a reference point in the
data stream. The DP564 may add a small additional delay over that specified in the
SMPTE or IEC standards, if extra processing is performed.
B.1
SMPTE Specification (Professional AES3)
The SMPTE specification describes placement of the Dolby Digital frame on the
AES3 interface such that a decoder with the specified latency produces audio that is
timed correctly. The specified decoder latency is exactly one Dolby Digital frame
period, with respect to the reference point. The reference point is the first bit of the
Dolby Digital frame occurring on the interface. The SMPTE specification allows
equipment that outputs Dolby Digital streams on the AES3 interface to know when,
with respect to timecode or associated video, to output each Dolby Digital frame of
data in order to allow a standard decoder to reproduce audio at the proper presentation
time. The specification also allows equipment that receives the Dolby Digital data to
know when the audio in each frame should be reproduced.
Another way to maintain synchronization is by using time stamps. The SMPTE
specification provides for a time stamp to be associated with an audio frame of data.
The time stamp can indicate the timecode value that applies to an identified sample
within a Dolby Digital frame. The time stamp can also indicate an absolute time
offset of the stream, so that a Dolby Digital encoder, for example, can identify its own
latency to another piece of equipment, for example an MPEG multiplexer.
2
3
SMPTE 340M Format for Non-PCM Audio and Data in AES3 - ATSC A/52 (AC-3) Data Type
IEC 61937 Interface for non-linear PCM encoded audio bistreams applying IEC 60958
B-1
DP564 Multichannel Audio Decoder
Appendix B: Latency Values
Table B-1 shows the SMPTE Standard specified decoder latency with respect to the
first word of the Dolby Digital frame (which is the reference point).
Table B-1 SMPTE-Specified Latency
B.2
Sample Rate
Decoder Latency with
Respect to Reference Point
48 kHz
44.1 kHz
32 kHz
32 ms
34.83 ms
48 ms
IEC 61937 Specification (Consumer S/PDIF)
Like the SMPTE professional specification, the IEC consumer specification also
describes placement of the Dolby Digital frame on the S/PDIF interface such that a
decoder with the specified latency will produce correctly timed audio. The specified
decoder latency is exactly one Dolby Digital block period, with respect to the
reference point. Note that since there are six blocks in a frame, the latency
specification is for one sixth of a frame time, or the time span of 256 audio samples.
In the IEC specification, the reference point is defined as the point two thirds of the
way through the frame of Dolby Digital data. Since the frame size depends on the
data rate, the reference point follows the beginning of the frame by a variable amount
based on the data rate.
Table B-2 shows the latency specified by IEC 61937, with respect to the beginning of
the Dolby Digital frame on the S/PDIF interface.
B-2
DP564 Multichannel Audio Decoder
Appendix B: Latency Values
Table B-2 IEC 61937 Specified Latency, with Respect to Beginning of Dolby Digital (AC-3) burst payload
Data
Rate
in kbps
56
64
80
96
112
128
160
192
224
256
320
384
448
512
576
640
Latency in Milliseconds
Sample Rate:
48 kHz
Sample Rate:
44.1 kHz
Sample Rate:
32 kHz
6.11
6.22
6.44
6.67
6.89
7.11
7.56
8.00
8.44
8.89
9.78
10.67
11.56
12.44
13.33
14.22
6.73
6.86
7.12
7.38
7.65
7.91
8.44
8.96
9.49
10.02
11.07
12.12
13.18
14.23
15.28
16.34
9.75
10.00
10.50
11.00
11.50
12.00
13.00
14.00
15.00
16.00
18.00
20.00
22.00
24.00
26.00
28.00
PCM Latency
The DP564 offers two Bitstream Detection modes, Normal and Silent Switch, for
automatically identifying bitstream type. In the Silent Switch mode, an additional
latency is applied to an incoming PCM signal in order to detect bitstream type prior to
decoding. This allows the DP564 to minimize any audio artifacts that may occur
when switching between different bitstream types.
Table B-3 shows the additional latency applied to PCM bitstreams when decoded
using Silent Switch mode.
Table B-3 Additional Latency in Silent Switch Mode
Sample Rate
Additional Latency in
Silent Switch Mode
48 kHz
44.1 kHz
32 kHz
32 ms
34.83 ms
48 ms
B-3
Virtual Dolby Technologies Test DVD Track List
iv
DP564 Multichannel Audio Decoder
Appendix C
Specifications
Audio Coding Algorithms
Dolby® Digital, Dolby Surround Pro Logic®, Dolby Digital Surround EX™, Dolby
Pro Logic II, Dolby Headphone
Audio Input Sampling Rates
32, 44.1, 48, 88.2, or 96 kHz
Audio Output Sampling Rates
32, 44.1, or 48 kHz
Frequency Response
Digital Outputs: 20 Hz to 20 kHz, ±0.01 dB
Analog Outputs: 20 Hz to 20 kHz, ±0.5 dB
Distortion
<0.02%, 20 Hz to 10 kHz
Dynamic Range
>106 dB
Trim Level Adjust
+6 to –20 dB in 0.125 dB steps
Crosstalk
<100 dB at 1 kHz
Digital Audio Inputs
Two BNC female connectors, unbalanced, 75Ω per AES-3ID-1995 (SMPTE 276M)
Fiber optic via Toslink connector
Formats supported: Dolby Digital in IEC 61937 format as specified in ATSC A/52
Annex B; PCM in AES3 format
AES Reference Input
BNC female with loop-through, unbalanced, 75Ω, signal levels per AES3-ID
C-1
DP564 Multichannel Audio Decoder
Appendix C: Specifications
Digital Audio Outputs
Four BNC female connectors, unbalanced, 75Ω per AES-3ID-1995 (SMPTE 276M)
Analog Audio Outputs
0 dBFS = +24 dBu; balanced floating; eight 3-pin male XLR connectors, 24-bit DAC
Headphone Output
+7 dBu maximum output into 50Ω nominal; 1/4-inch standard stereo headphone jack;
level adjustable
Linear Timecode Output
One SMPTE 12M-1995, BNC female, unbalanced, nominal output signal 1 Vp–p,
output impedance 50Ω
Serial Remote Control Input/Output
Front: RS-232, 8-pin female mini-DIN
Rear: RS-485, 9-pin female D-connector (SMPTE 207M)
General Purpose Input/Output (GPI/O) Port
37-pin female D-connector, TTL compatible, may be configured to be level or edgesensitive using either polarity
Ethernet Port
10/100BASE-T with auto-detection; RJ-45 female connector
Front-Panel Display
128 × 64 pixel vacuum fluorescent display (VFD)
Volume Controls
One large master volume control knob
One small headphone volume control knob
Downmix Modes
Lt/Rt, Stereo, Mono
Listening Modes
Full, 3 Stereo, Phantom
Compression Modes
Custom, Line, RF; Custom mode has adjustable parameters
C-2
DP564 Multichannel Audio Decoder
Appendix C: Specifications
Test Noise
Auto: Sequences wideband or band-limited pink noise through enabled channels at
two-second intervals
Manual: Feeds continuous noise to selected channel when unit is in Trim Level mode
Power Requirements
90 to 264 VAC, 50 to 60 Hz, auto-sensing, 40 W maximum; this unit is designed to
operate from a centrally switched power source
Dimensions and Weight
2-U rack-mount: 88 × 483 × 376 mm (3.5 × 19 × 14.8 inches)
Net: 4 kg (8.5 lbs)
Environmental Conditions
Operating: 0° to 50°C (32° to 122°F), natural convection cooling, 0 to 98% relative
humidity (non-condensing)
Non-operating: –20° to +70° C (–4° to +158°F)
C-3
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