Maria Canteras

July 19, 2016

Angelo James Levantino

Engr. Lomboy
Draft of Report
DAB, DOLBY VS DTS

Digital Audio Broadcasting

DAB Digital Radio, which is also known as digital audio broadcasting, is an entirely new system
for broadcasting and receiving radio stations. As the name indicates signals are broadcast in a
digital format to enable CD quality to be achieved. People who have heard DAB digital radio
have commented on the significantly better sound quality and "presence" of the new radio
system. Also it does not suffer from the multipath effects often experienced on FM transmissions
and as the system uses what it known as a single frequency network (SFN) there is no retuning
required when moving from one coverage area to the next.
Evolution of DAB

The EUREKA-147 consortium was founded in 1987.

First equipment was assembled for mobile demonstration in Geneva in 1988.

In 1992, the frequencies of the L- and S-band were allocated to DAB on a worldwide basis.

The first consumer-type DAB-receivers were presented in 1995 in Berlin.

An extensive testing program has been carried out from 1994 until 1997 by the American
"Electronics Industries Association" (EIA).

Totally 6 candidate systems were tested.

Conclusions:

"Of all systems tested, only the EUREKA-147 DAB system offers the audio quality and signal
robustness performance that listeners would expect a new DAR (Digital Audio Radio) service".

EUREKA-147 consortium joined the WorldDAB Forum, a forum of Digital Audio Broadcasting
with worldwide membership.

The introduction of terrestrial DAB in Europe was discussed in 1995.

A total of 73 frequency blocks to be used in the future and current DAB was agreed in
cooperation with European Broadcasting Union (EBU), European Commission (EC) and
International Telecommunications Union (ITU).

Regular DAB services are already in operation in the U.K., Sweden and Germany.

Overview and summary of main system features

Can be operated at any frequency from 30 MHz to 3 GHz for mobile reception.

May be used on terrestrial, satellite, hybrid (terrestrial with satellite) and cable broadcast
networks.

Allows flexible, general purpose digital multiplex which can carry a number of services (Not
just audio).

Meets all the demanding requirements drawn up by the ITU (in ITU-R Recommendations
774 and 789).

Is adopted by the European Telecommunications Standards Institute (ETSI) as an European

Standard (ETS 300401, Mar 1997).

The transmitted information is spread in both frequency and time so that the effects of
channel distortions and fades are eliminated in the receiver, even under severe multipath
propagation conditions.

Summary of the Main System Features

The DAB transmission signal carries a multiplex of several digital services (audio and data)
simultaneously.

Its overall bandwidth is 1.536 MHz, providing a useful bit-rate capacity of approximately 1.5
Mbit/s in a complete "ensemble".

Each service is independently error protected with a coding overhead ranging from about
25% to 300% (25% to 200% for sound), the amount of which depends on the requirements
of the broadcasters (transmitter coverage, reception quality).

A specific part of the multiplex contains information on how the multiplex is actually
configured, so that the receiver can decode the signal correctly. It may also carry information
about the services themselves and the links between different services.

In particular, the following principal features have been specified:

Flexible audio bit-rate

Varies from 8 kbit/s to 384 kbit/s

An ensemble can provides typically 5 to 6 high-quality stereo audio programmes or up to

20 restricted quality mono programmes.

Data services
Can be a separately defined stream or can be divided further by means of a packet
structure.
Programme Associated Data (PAD)

Embedded in the audio bitstream, for data transmitted together with the audio programme
(e.g. lyrics, phonein telephone numbers).

The amount of PAD is adjustable (min. 667 bit/s), at the expense of capacity for the coded
audio signal.

Conditional Access (CA)

Applicable to each individual service or packet in the case of packet-mode data.

The DAB ensemble transports the CA information and provides the actual signal scrambling
mechanisms.

Service Information (SI)

Used for operation and control of receivers

Provides information for programme selection to the user

Establishes links between different services in the multiplex as well as links to services in
other DAB ensembles and even to FM/AM broadcasts.

Implementation of DAB networks

The specification of the DAB signal gives the details of the characteristics of a signal.

A terrestrial DAB distribution network can be implemented as follows.

A Service Provider creates and manages the data.

An Ensemble Provider assembles information/data from many different services Providers

into a set of data representing the complete DAB ensemble.

Transmitter Stations generate and radiate an ensemble.

DAB system is suitable for satellite as well as for hybrid/mixed terrestrial/satellite

broadcasting, using a simple Omni-directional receiving antenna.

Complementary terrestrial transmitters may be necessary.

The DAB satellite system will have the same modulation/coding system parameters as the
terrestrial system such that the same receiver and antenna can be used both for terrestrial
and satellite DAB.

Dolby vs DTS
Dolby
Dolby Digital is the name for audio compression technologies developed by Dolby Laboratories.
It was originally named Dolby StereoDigital until 1994. Except for Dolby True HD, the audio
compression is lossy. The first use of Dolby Digital was to provide digital sound in cinemas from
35mm

film

prints.

It

is

now

also

used

for

other

applications

such

as

HDTV

broadcast, DVDs, Blu-ray Discs and game consoles. Batman Returns was the first film to use
Dolby Digital technology when it premiered in theaters in the summer of 1992.
Birth of Dolby Digital and DTS
With the birth of Dolby Surround in movie theaters, it was only a matter of time before we the
consumers would reap the benefits of this trickle down technology into the consumer A/V
marketplace. However, this would soon not be enough for a society that thrives on the "bigger
and better" mentality. We wanted more. Enter Dolby's newest creation, Dolby Digital (DD). For
the first time, a fully discrete digital 5.1 channel surround format was created for both the
theaters and home audio marketplace. When the consumer-electronics industry DVD Working
Group (DVDWG) sought the best audio coding technology for the new format back in 1995,
Dolby Labs jumped at the opportunity. Dolby argued that its name recognition, familiarity with
the movie industry, and the choice of its system for audio coding in the new DTV standard made
it a logical choice for DVD as well. The DVDWG agreed, and DD was selected as 1 of 2
required soundtracks, the other being PCM, on all DVD releases in the USA.

Dolby Digital soundtracks are optically recorded on the 35mm film strip itself using sequential
data blocks placed between sprocket holes, at a fixed reduced raw bit rate of 320kbit/s. With
four squares of digital information per frame and 24 frames passing through the projector each
second, each space between individual sprockets has to hold about 3330 bits of data; this data
Technologies
Analog audio noise reduction

Dolby A/B/C/S-Type NR: professional and consumer noise reduction systems

for tapes and analogcassettes.

Dolby SR (Spectral Recording): professional four-channel noise reduction system in use

since 1986, which improves the dynamic range of analog recordings and transmissions by
as much as 25 dB. Dolby SR is utilized by recording and post-production engineers,
broadcasters, and other audio professionals. It is also the benchmark in analog film sound,
being included today on nearly all 35 mm film prints. On films with digital soundtracks, the
SR track is used in cinemas not equipped for digital playback, and it serves as a backup in
case of problems with the digital track.

Dolby FM: noise reduction system for FM broadcast radio. Dolby FM was tried by a few
radio stations starting with WFMT in 1971. It used Dolby B, combined with 25
microsecond pre-emphasis. A small number of models of tuners and receivers were offered
with the necessary decoder built in. In addition, a few cassette deck models appeared that
allowed the deck's internal Dolby B decoder to be put in the line in to line out "pass-through"
path, permitting its use with Dolby FM broadcasts. The system was not successful and was
on the decline by 1974.

Dolby HX Pro: single-ended system used on high-end tape recorders to increase

headroom. The recordingbias is lowered as the high frequency component of the signal
being recorded increases, and vice versa. It does nothing to the actual audio that is being
recorded, and it does not require a special decoder. Any HX Pro recorded tape will have, in
theory, better sound on any deck.

Dolby Advanced Audio: Dolby surround sound, locking preferred volume level,
optimizes audio performance for specific PC model and lets turning up the volume to the
built-in speakers without distorting the sound.[7]

Audio encoding/compression

Dolby Digital (also known as AC-3) is a lossy audio compression format. It supports
channel configurations from mono up to six discrete channels (referred to as "5.1"). This
format first allowed and popularizedsurround sound. It was first developed for movie theater
sound and spread to Laserdisc and DVD. It has been adopted in many broadcast formats
including

all North

American

digital

television

(ATSC), DVB-T, direct

broadcast

satellite, cable television, DTMB, IPTV, and surround sound radio services. It is also part of
both the Blu-ray and the now defunct HD DVD standards. Dolby Digital is used to enable
surround sound output by most video game consoles. Several personal computers support
converting all audio to Dolby Digital for output.

Dolby Digital EX: introduces a matrix-encoded center rear surround channel to

Dolby Digital for 6.1 channel output.[8] This center rear channel is often split to two rear
back speakers for 7.1 channel output.

Dolby Digital Plus (also known as E-AC-3) is a lossy audio codec based on
Dolby Digital that is backward compatible, but more advanced. The DVD Forum has
selected Dolby Digital Plus as a standard audio format for HD DVD video. It supports
datarates up to 6 Mbit/s, an increase from Dolby Digital's 640 kbit/s maximum. On Bluray, Dolby Digital Plus is implemented differently, as a legacy 640 kbit/s Dolby Digital
stream plus an additional stream to expand the surround sound, with a total bandwidth
of approximately 1.7 Mbit/s. Dolby Digital Plus is also optimized for limited datarate
environments such asDigital broadcasting.

Dolby Digital Live is a real-time hardware encoding technology for interactive

media such as video games. It converts any audio signals on a PC or game console into
the 5.1-channel Dolby Digital format and transports it via a single S/PDIF cable.[9] A
similar technology known as DTS Connect is available from competitor DTS.

Dolby E: professional coding system optimized for the distribution of surround and
multichannel

audio

through

digital

two-channel

post-production

and

broadcasting

infrastructures, or for recording surround audio on two audio tracks of conventional digital
video tapes, video servers, communication links, switchers, and routers. The Dolby E signal
does not reach viewers at home. It is transcoded to Dolby Digital at lower datarate for final
DTV transmission.

Dolby Stereo (also known as Stereo A): original analog optical technology developed for
35 mm prints and is encoded with four sound channels: Left/Center/Right (which are located

behind the screen) and Surround (which is heard over speakers on the sides and rear of the
theatre) for ambient sound and special effects. This technology also employs A-type or SRtype noise reduction, listed above with regards to analog cassette tapes. See also Dolby
Surround

Dolby TrueHD: Dolby's current lossless coding technology. It offers bit-for-bit sound
reproduction identical to the studio master. Over seven full-range 24-bit/96 kHz discrete
channels are supported (plus a LFE channel, making it 7.1 surround) along with
the HDMI interface. Theoretically, Dolby TrueHD can support more channels, but this
number has been limited to 8 for HD DVD and Blu-ray Disc.

aacPlus: A codec developed by the Swedish company Coding Technologies that

combines MPEG-2 AAC with Spectral Band Replication. The format would be standardized
as MPEG-4 HE-AAC. Coding Technologies was acquired by Dolby Labs in 2007.

Dolby Pulse: released in 2009, it is identical to the HE-AAC v2 codec except for the
addition of Dolby metadata, which is common to Dolby's other digital audio codecs. This
metadata "ensures consistency of broadcast quality."

Audio processing

Dolby Headphone: an implementation of virtual surround, simulating 5.1 surround

sound in a standard pair of stereo headphones.

Dolby Virtual Speaker: simulates 5.1 surround sound in a setup of two standard stereo
speakers.[13]

Dolby Surround, Dolby Pro Logic, Dolby Pro Logic II, Dolby Pro Logic IIx,
and Dolby Pro Logic IIz: these decoders expand sound to a greater number of channels.
All can decode surround sound that has been matrixed into two channels; some can expand
surround sound to a greater number of speakers than the original source material. See the
referenced articles for more details on each decoder.

Audistry: sound enhancement technologies

Dolby Volume: reduces volume level changes

Dolby Mobile: A version of Dolby's surround sound technology specifically designed for
mobile phones, notably the HTC Desire HD, LG Arena and LG Renoir

Dolby Audio Plug-in for Android: An API packaged as a Java Library that allows
Android Developers to take advantage of Dolby Digital Plus Technology embedded into
mobile and tablet devices, notably the Kindle Fire HD & HDX and Samsung Galaxy Tab 3
series

Video processing

Dolby Contrast provides enhanced image contrast to LCD screens with LED backlight
units by means of local dimming.

Dolby Vision supports both high dynamic range (HDR) and wide color gamut (Dolby PQ
color space andRec. 2020) from content creation and production, transmission, and
playback. It is backward compatible with current 8-bit video system. Dolby Vision is
available in TV, monitor, mobile device and theater. Dolby Vision content can be delivered
over conventional broadcasting, OTT, and online streaming.

Dolby Perceptual Quantizer (PQ), published by SMPTE as SMPTE ST 2084, is

a transfer function that allows for the display of high dynamic range (HDR) video with
a luminance level of up to 10,000 cd/m2 and can be used with the Rec. 2020 color space.[18]
[19][20][21]

On August 27, 2015, the Consumer Electronics Association announced the HDR10

Media Profile which uses the Rec. 2020 color space, SMPTE ST 2084, and a bit depth of
10-bits.[22] On April 18, 2016, the Ultra HD Forum announced industry guidelines for UHD
Phase A which defines PQ10 as PQ, a bit depth of 10-bits, and the Rec. 2020 color space.

ICtCp provides an improved color representation that is designed for high dynamic
range (HDR) and wide color gamut (WCG).[24] For CIEDE2000 color quantization errors 10bit ICtCp would be equal to 11.5 bitYCbCr.[24] Constant luminance is also improved with
ICtCp which has a luminance relationship of 0.998 between the luma and encoded
brightness while YCbCr has a luminance relationship of 0.819. [24] An improved constant
luminance is an advantage for color processing operations such as chromasubsamplingand
gamut mapping where only color information is changed. [24] A draft document for ICtCp has
been released by the JCT-VC.

DTS
DTS (Dedicated To Sound) is a series of multichannel audiotechnologies owned by DTS,
Inc. (formerly known as DigitalTheater Systems, Inc.), an American company specializing in

digitalsurround sound formats used for both commercial/theatrical and consumer grade
applications. It was known as The Digital Experience until 1995.
DTS licenses its technologies to consumer electronics manufacturers. Work on the new Audio
format started in 1991, four years after Dolby Laboratories started work on its new codec,Dolby
Digital. The basic and most common version of the format is a 5.1-channel system, similar to a
Dolby Digital setup, which encodes the audio as five primary (full-range) channels plus a special
LFE (low-frequency effects) channel for the subwoofer.
Encoders and decoders support numerous channel combinations, and stereo, four-channel, and
four-channel+LFE soundtracks have been released commercially on DVD, CD, and Laserdisc.
Other, newer DTS variants are also currently available, including versions that support up to
seven primary audio channels plus one LFE channel (DTS-ES). These variants are generally
based on DTS's core-and-extension philosophy, in which a core DTS data stream is augmented
with an extension stream which includes the additional data necessary for the new variant in
use. The core stream can be decoded by any DTS decoder, even if it does not understand the
new variant. A decoder which does understand the new variant decodes the core stream, and
then modifies it according to the instructions contained in the extension stream. This method
allows backward compatibility.
DTS's main competitors in multichannel theatrical audio are Dolby Digital and SDDS, although
only Dolby Digital and DTS are used on DVDs and implemented in home theater hardware.
One of the DTS Inc.'s initial investors was film director Steven Spielberg, who felt that theatrical
sound formats up until the company's founding were no longer state of the art, and as a result
were no longer optimal for use on projects where quality sound reproduction was of the utmost
importance. Spielberg debuted the format with his 1993 production of Jurassic Park, which
came slightly less than a full year after the official theatrical debut of Dolby Digital (Batman
Returns). In addition, Jurassic Park also became the first home video release to contain DTS
sound when it was released on LaserDisc in January 1997, two years after the first Dolby Digital
home video release (Clear and Present Danger on Laserdisc), which debuted in January 1995.
In 2008, the cinema division was divested to form DTS Digital Cinema. In 2009 DTS Digital
Cinema was purchased by Beaufort International Group Plc. and became known as Datasat
Digital Entertainment.

The DTS-610 product from Creative digitally connects your Media Center or standard PC's
audio to a home theater receiver via DTS Interactive technology. This is a real-tim encoding
system that takes analogue 5.1 output from your sound card and converts it to a standard DTS
signal. It is currently the only way to listen to DRM music from your PC to your home theater
system with a digital connection (though it of course goes through an additional digital-toanalogue and analogue-to-digital conversion.
DTS Technologies
In addition to the standard 5.1-channel DTS Surround codec, the company has several other
technologies in its product range designed to compete with similar systems from Dolby Labs.
Those which conceptually extend DTS (to add more channels and/or more accurate sound
reproduction) are implemented as extensions to a core DTS Coherent Acoustics data stream.
[7]

The core stream is compatible with DTS decoders which do not support the extension(s); the

extension(s) provide the additional data required to implement the additional functionality.
The primary new technologies are:
DTS 70 mm
This is a process designed specifically for playback in motion picture theaters equipped
with 70mm projection and 6-track surround sound. The 70 mm DTS prints do not have 6-track
magnetic striping, so there is no analog backup should the digital sound fail. The time code
track on the film is many times wider than the 35mm version, since it can occupy the real estate
formerly taken up by a magnetic track. Theaters with 70 mm DTS frequently install two time
code readers for greater reliability.
The gradual disappearance of 70 mm as a common exhibition format has led to DTS-70 being
reserved for niche engagements of 70 mm revivals and restorations. Dolby Digital has not been
adapted to the 70 mm format.
DTS-ES
DTS-ES (DTS Extended Surround) includes two variants, DTS-ES Matrix and DTS-ES Discrete
6.1, depending on how the sound was originally mastered and stored. [8] Both variants are
implemented in ways which are compatible with DTS decoders which do not include support for
DTS-ES.

DTS-ES Matrix provides 5.1 discrete channels, with a matrixed center-surround audio channel.
DTS processors that are compatible with the ES codec look for and recognize "flags" built into
the audio coding and "unfold" the rear-center sound from data that would otherwise be sent to
rear surround speakers. DTS decoders which do not understand ES process the sound as if it
were standard 5.1, and the matrixed audio for the center surround channel is output equally
from the two surround speakers (very much as a sound intended to be in the centre of the
sound field in a stereo recording is played equally by the left and right speakers). This is notated
as DTS-ES 5.1.
DTS-ES Discrete provides 6.1 discrete channels, with a discretely recorded (non-matrixed)
center-surround channel; in home theater systems with a 7.1 configuration, the two rear-center
speakers play in mono. To maintain compatibility with DTS decoders which do not support DTSES, the center-surround channel is also matrixed into the left and right surround channels, so
that the rear center channel's sound is still present when played in 5.1 on a non-ES system; an
ES decoder removes the matrixed audio from these two channels when playing back DTS-ES
Discrete soundtracks. DTS-ES Discrete is sometimes notated as DTS-ES 6.1. Only a few DVD
titles have been released with DTS-ES Discrete.
In contrast, Dolby's competing EX codec, which also boasts a center rear channel, can only
handle matrixed data and does not support a discrete sixth channel; it is most directly
comparable to DTS-ES Matrix.
Note: The center-rear/surround channel is encoded and decoded in exactly the same way as
the center-front. The center surround channel can be decoded using any surround sound
processor by feeding the left and right surround signals to the processor inputs. Left-CenterRight surround is produced. This will work for a "center surround" reproduction, whether the
source material is explicitly encoded, as in DTS-ES, or hidden as ambience in any 5.1 source,
including DTS-ES 5.1 and Dolby 5.1.

DTS Neo:6
DTS Neo:6, like Dolby's Pro Logic IIx system, can convert 2.1, 5.1, 6.1, and 7.1 content sound
to 3.1, 4.1, 5.1, 6.1, and 7.1 channel systems. A 7.1 system's 2 rear speakers are mono. Neo:6
is a multi-band decoder, unlike Dolby Pro Logic II's broadband logic steering, meaning that the
decoder can enhance more than one predominant signal at a time provided each
predominant signal lies in a different frequency band than the others. The number of bands

steered varies in each Neo:6 implementation, with the first decoders steering in 12 separate
bands and later units steering up to 19.
DTS Neo:X
DTS Neo:X can take stereo, 5.1, 6.1, or 7.1 source material and output up to 11.1 channels
including front heightand width channels. Unlike Dolby's Pro Logic IIz's system, which only adds
front height channels to the 7.1 configuration, Neo:X supports both front height and front wide
channels. DTS Neo:X also supports 11.1 encoding through matrixing of front height and front
wide channel information into the front and surround channels, respectively, of a 5.1 or 7.1
audio mix.
DTS 96/24
DTS 96/24 allows the delivery of 5.1 channels of 24-bit, 96 kHz audio and high quality video on
the DVD-Videoformat. Prior to the development of DTS 96/24, it was only possible to deliver two
channels of 24-bit, 96 kHz audio on DVD Video. DTS 96/24 can also be placed in the video
zone on DVD-Audio discs, making these discs playable on all DTS-compatible DVD players.
DTS 96/24 is implemented as a core DTS stream plus an extension containing the deltas to
enable 96/24 sound reproduction.
DTS-HD High Resolution Audio
DTS-HD High Resolution Audio, along with DTS-HD Master Audio, comprise the DTS-HD
extension to the original DTS audio format. It delivers up to 7.1 channels of sound at a 96 kHz
sampling frequency and 24-bit depth resolution. DTS-HD High Resolution Audio is selected as
an optional surround sound format for Blu-ray Disc and HD DVD, with constant bit rates up to
6.0 Mbit/s and 3.0 Mbit/s, respectively. It is intended to be an alternative for DTS-HD Master
Audio where disc space may not allow it. DTS-HD High Resolution Audio is implemented as a
core DTS stream plus an extension containing the two additional channels plus deltas to enable
96/24 sound reproduction.
DTS-HD Master Audio, previously known as DTS++, is the second of two DTS-HD audio
formats. It supports a virtually unlimited number of surround sound channels, can downmix to
5.1 and two-channel, and can deliver audio quality at bit rates extending from DTS Digital
Surround up to lossless (24-bit, 192 kHz).
DTS-HD Master Audio is selected as an optional surround sound format for Blu-ray and HD
DVD, where it has been limited to a maximum of 8 discrete channels. DTS-HD MA supports
variable bit rates up to 24.5 Mbit/s on a Blu-ray Disc and up to 18.0 Mbit/s for HD DVD, with up

to 6 channels encoded at up to 192 kHz or 8 channelsand nine objects encoded at 96 kHz/24

bit. If more than two channels are used, a "channel remapping" function allows for remixing the
soundtrack to compensate for a different channel layout in the playback system compared to the
original mix.
All Blu-ray and HD DVD players can decode the DTS "core" resolution soundtrack at 1.5 Mbit/s,
however, as DTS-HD Master Audio is also implemented as a standard DTS core plus
extensions. DTS-HD Master Audio andDolbyTrueHD are the only technologies that deliver
compressed lossless surround sound for these new disc formats, ensuring the highest quality
audio performance available in the new standards. (DTS Coherent Acoustics' coding system
has been selected as mandatory audio technology for both the Blu-ray Disc [BD] and HD DVD).
Rather than define a fixed number of channels, one for each speaker, DTS:Xallows the
"location" (direction from the listener) of "objects" (audio tracks) to be specified as polar
coordinates. The audio processor is then responsible for dynamically rendering sound output
depending on the number and position of speakers available. Dolby Atmos uses a similar
technique,[12][13] although the speaker layout employed by cinema DTS:X is the sum of Dolby
Atmos andAuro-3D. The layout showcased at AMC Burbank theatre number 8 has a standard
eight channel base layer, a five channel height layer on top of the base layer (on the front and
side walls) and three rows of speakers on the ceiling. The surround arrays are bass managed
by woofers suspended from the ceiling.
DTS Headphone:X reproduces 12 channel of binaural surround sound using any pair of stereo
headphones. The head

related

transfer

function is

developed

by

DTS

and

includes

compensation for room cues such as reflection and delay by mapping the acoustic characteristic
of the original mixing studio, or other professional audio lab as a reference.
DTS Connect
DTS Connect is a blanket name for a two-part system used on the computer platform only, in
order to convert PC audio into the DTS format, transported via a single S/PDIF cable.[17] The two
components of the system are DTS Interactive and DTS Neo:PC. It is found on various CMedia
soundcards and onboard audio with Realtek ALC883DTS/ALC889A/ALC888DD-GR/ALC892DTS-CG and SoundMAX AD1988 chips, as well as several cards based on the X-Fi chipset,
such as the SoundBlaster Titanium series and Auzentech's X-Fi Forte, X-Fi Prelude, X-Fi Home
Theater HD and X-Fi Bravura cards.

DTS Interactive: This is a real-time DTS stream encoder. On the PC, it takes
multichannel audio and converts it into a 1.5 Mbit/s DTS stream for output. Because it uses

the original DTS codec to transmit audio, fidelity is limited to 5.1 channel at 48 kHz, 24bit.
More than 5.1 channels, a higher sampling frequency or data rate are not supported, due to
the lack of support for DTS variants such as DTS 96/24. It can also be found on some
standalone devices (e.g., Surround Encoder). Nearly a dozen titles on the PlayStation
2 feature the "DTS Interactive" real-time stream encoder, such as Grand Theft Auto: Vice
City and Terminator 3: Rise of the Machines.

DTS Neo:PC: This is a technology based on the DTS Neo:6 matrix surround technology,
which transforms any stereo content (MP3, WMA, CD Audio, or games) into a simulated
7.1-channel surround sound experience. The 7.1-channel surround sound is output as a
DTS stream for output via a S/PDIF cable port.

Others

DTS Surround Sensation: Previously known as DTS Virtual. It allows a virtual 5.1
surround sound to be heard through a standard pair of headphones.

DTS Encoding - DTS Interactive

The DTS Interactive-enabled DTS-610 supports interactive real time, discrete multi-channel
interactive DTS encoding up to 5.1 channels. Because the unit is external and not a purely
digital technology product, the DTS-610 has a potentially distracting latency of < 50ms which
could interfere with A/V sync. The output of the DTS-610 is a fully-compatible DTS bitstream
which can be decoded by most modern A/V receivers. The unit has two operational modes
which are selectable via a pushbutton on the front panel. The frst mode is Encode, which takes
5.1 analogue input and converts it into a DTS-compatible bitstream. The second is Bypass,
which merely passes through digital input for PCM or compressed audio formats.
Downsides and Future Growth
Currently, there are no sound cards or motherboards with DTS Interactive technology. This
means that a full D-A/A-D conversion must be made through an external device (like the DTS610) which results in a high potential for latency (up to 50ms) as well as unneccessary
analogue-realm conversion. The advantage, of course, is that an external device like the DTS610 will take any multi-channel analogue input - so this device could be used for converting a
multi-channel SACD or DVD-Audio source into a DTS-compatible stream, not just an EAX/A3D
game. While promising, DTS does not appear to be getting as entrenched into new sound cards
and motherboards as is its competition.

Pros and Cons of Dolby Digital / DTS

Dolby Digital (DD)

Digital Theatre Systems (DTS)

Pro's
#

Good

toVery

Good sound for

Con's

Pro's

No Audio CD's.

Great

Con's
sound

for

Limited

movies and music.

Software.

Many

DTS

DVD

movies.
#

Industry

Dolby

standard.

licensing of MLP forcng

soundtracks sound

*sometimes*

consumers to purchase

richer

more

expensive than DD

new hardware for multi

detailed than DD

counterpart ($5 to

channel audio discs.

counterpart.

$10 extra).

Limited

16-24 bit system,

limited

48/96

KHz

software available.

sampling

rate

16-20

system.

bit

and

to

Meridian

48KHz

sampling.

DTS
and

software
more

96/24

(scalable).
#

EX mode with

Added

added

channel is matrixed and

added

not discrete.

rear

rear

center channel.

rear

center

ES

mode

with

Very little software

discrete

available to support

center

this option.

channel.
#

Channel

are usually very

accurately
transferred

levels

to

Dynamics

are

transfers

Rear channels are

sometimes lacking due

from originals with

sometimes a tad too

from

excellent

loud and must be

frequency

attenuated on some

too

much

compression.

disc.

Superb

response

and

discs.

dynamic range.
#

Edless software

Most of these videos

Excellent sounding

No Genesis Concert

options for DVD

suffer from substandard

music DVD's and

DVD. :(

concert videos.

audio quality due to too

concert videos.

much compression.
#

DVD

software

DVD

easibly

becoming

accessible.

available.

Software
more

Not quite as much

as DD

Dolby vs. DTS: Bit Rate & Data Reduction

Dolby Digital and DTS Digital Surround are both 5.1 surround sound systems that encode six
discrete audio channels into blocks of data in their respective Dolby or DTS bit streams.
Sound on audio CDs uses 16-bit linear PCM-encoded samples at a sampling rate of 44.1 kHz
for each audio channel; this yields a data bit rate of 705 kbits/s for each channel, and a dynamic
range of 96dB from the loudest sound that can be handled by the system to noise floor.
Encoding 5.1 sound at CD-audio sampling rate and resolution yields a bit rate in excess of 3.5
Mbit/s.
Now, both Dolby Digital and DTS Digital Surround encoding schemes allow for an even higher
sampling rate of 48 kHz at 20-bits per sample - thus yielding an even wider dynamic range
between sound level extremes of approximately 120dB.
This means that these surround sound formats would yield too much data to store, and equally
important, to process in an efficient and economical manner in real time during playback. In
other words, under a multi-channel scenario, compression becomes a necessary evil.
Dolby vs. DTS - Bit Rates and Compression Levels
Dolby Digital compresses the resultant data for the discrete 5.1 channels of digital audio down
to a maximum raw bit-rate of 640 kbits/s. Yet the 640 kbits/s limit is only supported on Blu-ray
discs; HD DVD, DVD-video and DVD-Audio limits the Dolby Digital maximum bit rate to
448kbit/s, while the optical implementation of this format in theatrical applications limits the
maximum bit rate even further.

In order to be able to squeeze in all relevant data, Dolby Digital applies variable compression of
approximately 10 to 12:1.
DTS Digital Surround uses a maximum raw bit-rate of 1.5 Mbits/sec even though on DVD-video,
this is limited to around 768 kbits/sec. At this higher bit-rate supported by the format, DTS
requires substantially less compression - approx. 4:1 - than its Dolby counterpart. This means
that theoretically, DTS Digital Surround has the potential to produce higher quality sound. But as
stated earlier on...
In this Dolby vs. DTS comparative analysis, raw bit rates and compression levels alone cannot
be taken as a direct measure of sound quality since there are other factors that come into play
here - in particular, the efficiency of the coding/decoding algorithms, as well as the overheads in
terms of bits required to manage the raw bit stream itself.

Stereo audio is simply two channels of audio, one for the left speaker and one for the right
speaker. Its the most minimal setup required to provide the illusion of sound directionality and
perspective for the listener. In surround sound notation, this simple two channel setup is referred
to as a 2.0 system (or, 2 channels with no subwoofer). Adding in a subwoofer changed the
notation to 2.1the .1 represents the subwoofer and the accompanying Low Frequency Effects
channel that powers it.
More complex audio systems build on the 2.1 system and add additional channels to create a
360-degree envelope of sound around the listener. Unlike simple 2 channel systems that are
usually driven by hardware on the main device (such as the portable music player or television
set), multi-channel surround sound systems generally require a separate component known as
an receiver to amplify and distribute the audio signals from the source (like the Blu-ray player or
cable box) to the speakers. Current consumer audio receivers support anywhere between 5.1 to
11.2 channels of audio. The vast majority of receivers currently support 5.1 and 7.1 channel
surround soundvery few Blu-ray movies currently ship with audio support for anything higher
than 7.1 so there is little reason for consumers to incur the expense of outfitting their homes with
larger speaker systems. (If you are curious what happened to 6.1 sound, it was never widely
adopted, there are very few home theaters configured for it, and even fewer 6.1 mastered media
sources to use with it.)
How Do I Configure Optimum Stereo (2.1) Sound?

Placing
the
Subwoofer: First, lets place the subwoofer (4 in the diagram above) as its the simplest
speaker to place. The low-frequency sound generated by the subwoofer is omnidirectional and
as such you can place the subwoofer just about anywhere you want thats convenient within the
room and easy to link to the receiver.
The only caution to observe in placing the subwoofer is to avoid placing it directly into a corner
or inside any sort of recessed cabinetry or architectural detail. Placing the subwoofer very close
to walls and in semi-enclosed spaces changes the speaker from an omnidirectional one to a
more directional one and usually results in the subwoofer sounding overpoweringly loud and
boomy compared to its companion speakers. If you cannot avoid such placement we strongly
suggest dialing down your subwoofer (either at the physical speaker if possible or via your
receivers interface) to compensate.
Placing

the

channels: In a 2.1 channel setup all audio (save for the low frequency effects generated by the
subwoofer) will be produced by the left and right channels. All the sound effects, music, and
dialogue from the speakers will be broadcast into the room towards you from the front.

The two primary channel speakers, left and right, should be placed roughly 3-4 feet off the
center of the viewing screen (feel free to shrink these offsets if you have a particularly large
screen to contend with) and at roughly ear height with the listener. Keep in mind that ear height
for the listener is dependent on their height when seatedaround 3.5-4 feet for most situations.
You dont need the speakers to be adjusted in height precisely for the height of the listener but
they should be within 6-8 inchesany higher or lower and you will get the unsettling sense that
the actors you see on the screen are throwing their voices from a higher or lower location.
In addition to positioning the speakers off to the sides of the screen and at listening height to the
viewer, you want to angle the speakers inwards towards the listener (known as toe-in, as
opposed to facing them toe-out or straight ahead). The ideal angle for your toe-in speakers is
between 22-30 degrees. Place your speakers accordingly to create this cone-of-sound directed
towards the center of the listening area (e.g. the middle seat in your couch).

How Do I Configure Optimum 5.1 Channel Surround Sound?

5.1 channel sound is widely regarded as the absolute minimum speaker setup required to
create immersive surround sound. The 5.1 channel setup builds on the arrangement of the 2.1
setup but adds in a center channel and a left and right surround sound channel.
In order to configure a 5.1 setup, first start by placing the subwoofer and the left and right front
channels (the 2 channels from the 2.1 setup outlined above). Once you have placed and angled
the left and right front channel, its time to add in the center and surround channels.

Placing the center channel: In the 2.1 setup, the left and right front speakers are responsible
for delivery of all the music, dialogue, and sound effects. In the 5.1 setup the sound delivery is
spread around to the additional speakers. The center channels most important role is that of
dialogue delivery. Since the actors are generally in frame and roughly around the center of the
screen the new center channel is perfect for delivering their dialog so that the speaking sounds
as if it is coming directly from the actor on screen.
The center channel should be placed dead center to the main viewing seat and should be toeout (no angle to either the left or right). The center channel should be as close to ear height as
your setup allows and can be placed either above or below the screen. If you cannot place the
speaker as close to the bottom or top of the screen as you would like, you can angle the
speaker up or down slightly to direct the sound more towards the listeners head.

Placing the left and right surround sound channels: Just like the addition of the center
channel offloads some of the work from the original left and right channels of the 2.1 setup, the
addition of the left and right surround sound channels also spreads out the load. The surround
sound channels are responsible for environmental and ambient sounds. If you are watching a
concert recording, for example, the cheers and whistles of the audience would be delivered over
these channelscreating the auditory illusion that youre setting in the front row of the concert.
In order to place the left and right surround sound channels for maximum impact, you want them
positioned at roughly 90-110 degrees relative to your listening positionin other words, right
beside each of your ears or slightly behind them by 10-20 degrees. In addition you want to place
them slightly above the head of the viewer.
If you have to compromise on the placement of the speakers because of the shape of the room
or location of furniture within it, its better to position the surround sound channels further back
and higher rather than forward and lower (its disorienting to have ambient background noise

sound as if it is coming from in front of you instead of from the sides and background where it
belongs).
How Do I Configure Optimum 7.1 Channel Surround Sound?

If a 5.1 channel system is the absolute minimum for surround sound, 7.1. channels is definitely
the return-on-investment sweet spot for consumer home theater setups. While there are
currently more 5.1 channel DVD and Blu-ray discs released than discrete 7.1 channels discs,
more and more releases are coming out with 7.1. sound and most receivers will intelligently split
the surround channels on a 5.1 mastered media source between the two additional surround
sound channels in the 7.1 setup for an even more immersive experience.To setup a 7.1 system
you will first place the subwoofer, front left, right, and center channels, and the two surround
sound channels (labeled 4 in the diagram below). In addition to those five channels and woofer
you now have two more channels: the left and right back speakers (labeled 5).

Placing the left and right back speakers: The 7.1 setup adds even more auditory realism to
your home theater experience via the addition of two more surround sound channels. These
channels should be placed roughly 135-150 degrees behind the viewer and just above head
level.
Again, if you have to compromise with the placement of the back speakers we recommend you
move them further back, closer together, and/or higher. Doing so will affect the sound quality
and envelope of sound you are striving to create less than if you moved them forward/further
apart (and thus risked rear-placed sounds seeming out of place and other sounds just blending
in with the left and right surround channels) or lower (ambient noise emanating from near the
ground can be disorienting to the listener and would end up partially blocked by furniture).