Page 1 ® Dolby DP570 Multichannel Audio Tool User’s Manual Issue 3 Part Number 91753...
Page 2 Dolby Laboratories, Inc. Corporate Headquarters Dolby Laboratories, Inc. 100 Potrero Avenue San Francisco, CA 94103‐4813 USA 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 DISCLAIMER OF WARRANTIES: EQUIPMENT MANUFACTURED BY DOLBY LABORATORIES IS WARRANTED AGAINST DEFECTS IN MATERIALS AND WORKMANSHIP FOR A PERIOD OF ONE YEAR FROM THE DATE OF PURCHASE. THERE ARE NO OTHER EXPRESS OR IMPLIED WARRANTIES AND NO WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, OR OF NONINFRINGEMENT OF THIRD‐PARTY RIGHTS (INCLUDING, BUT NOT LIMITED TO, COPYRIGHT AND PATENT RIGHTS). LIMITATION OF LIABILITY: IT IS UNDERSTOOD AND AGREED THAT DOLBY LABORATORIES’ LIABILITY, WHETHER IN CONTRACT, IN TORT, UNDER ANY WARRANTY, IN NEGLIGENCE, OR OTHERWISE, SHALL NOT EXCEED THE COST OF REPAIR OR REPLACEMENT OF THE DEFECTIVE COMPONENTS OR ACCUSED INFRINGING DEVICES, AND UNDER NO CIRCUMSTANCES SHALL DOLBY LABORATORIES BE LIABLE FOR INCIDENTAL, SPECIAL, DIRECT, INDIRECT, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, DAMAGE TO SOFTWARE OR RECORDED AUDIO OR VISUAL MATERIAL), COST OF DEFENSE, OR LOSS OF USE, REVENUE, OR PROFIT, EVEN IF DOLBY LABORATORIES OR ITS AGENTS HAVE BEEN ADVISED, ORALLY OR IN WRITING, OF THE POSSIBILITY OF SUCH DAMAGES. Dolby, Pro Logic, and the double‐D symbol are registered trademarks of Dolby Laboratories. ...
Page 3: Table Of Contents
Table of Contents List of Figures ............................viii List of Tables ............................xi Chapter 1: Overview 1.1 Analog Monitoring Capabilities......................1 1.2 Remote Control Capabilities ......................1 1.3 Principles of Operation........................1 1.4 Main Applications ..........................4 1.4.1 Use in DVD Mastering ......................4 1.4.2 Use in Digital Television......................
Page 4 3.5 Using the Setup Menu........................18 3.5.1 Selecting Parameters......................18 3.5.2 Entering Text.......................... 19 3.5.3 Exiting the Setup Menu......................19 3.5.4 Other Commands........................19 3.5.5 Contrast Adjustment for the Front-Panel Display..............19 3.5.6 Analog Output Master Volume....................20 3.6 Using the GPI/O Connector ......................20 3.6.1 Selecting GPI/O Functions.....................20 3.6.2 Assigning GPI/O Functions to Specific Pins ................
Page 5 5.3 Using the DP570 with Other Dolby Equipment ................45 5.4 Most Important Metadata .......................45 Chapter 6: Using the DP570 in Live Remote Broadcast 6.1 Connecting the DP570 for Live Remote Broadcast ............... 47 6.2 Typical Tasks ..........................48 6.2.1 Measuring and Setting Dialogue Level ..................49 6.2.2 Monitoring the Dialogue Level ....................50 6.2.3 Monitoring Downmixes......................50 6.3 Using the DP570 with Other Dolby Equipment ................50...
Page 6 A.3.5 Generating Test Noise......................68 A.3.6 Increasing the System Volume....................68 A.3.7 Measuring SPL ........................69 A.3.8 Computing Channel Trims.....................69 A.3.9 Subwoofer Calibration ......................69 A.3.10 Calibrating Emulator Output ....................70 A.4 Assigning a Dim Setting......................... 70 Appendix B: Connector Specifications B.1 Front-Panel Remote Connector.....................71 B.2 Digital Audio Inputs........................71 B.3 Digital Audio Outputs ........................71 B.4 Video Ref ............................72...
Page 7 D.7.3 Lt/Rt Surround Downmix Level....................102 D.7.4 Lo/Ro Center Downmix Level....................102 D.7.5 Lo/Ro Surround Downmix Level..................103 D.7.6 Surround EX Mode......................103 D.7.7 A/D Converter Type......................104 D.8 Metadata Combinations....................... 104 Appendix E: Regulatory Notices and Fuse Information E.1 Regulatory Notices ........................107 E.1.1 USA .............................107 E.1.2 Canada ..........................108 E.1.3 UK............................
Page 8: List Of Figures
List of Figures DP570 Functional Block Diagram..................3 Figure 1-1 Monitor Configuration Tab ....................10 Figure 2-1 Program Configuration Selector ..................11 Figure 2-2 DP570 Control Options......................13 Figure 3-1 Front-Panel Buttons......................14 Figure 3-2 Default Status Menu Screen....................16 Figure 3-3 Basic LED Indicators ......................
Page 9 List of Figures Monitor Control Submenu....................77 Figure C-4 Pro Logic II Submenu ......................77 Figure C-5 User Presets Submenu ....................... 78 Figure C-6 I/O Control Submenu......................78 Figure C-7 Router Config Submenu ...................... 79 Figure C-8 GPI/O Setup Submenu......................79 Figure C-9 Monitor Config Menu ......................
Page 10 List of Figures Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 11: List Of Tables
List of Tables Front-Panel Navigation Buttons ....................14 Table 3-1 Shifted Key Functions ......................15 Table 3-2 Basic Status Indications ......................17 Table 3-3 Channel Activity LED Indications ..................... 18 Table 3-4 Text Entry Commands......................19 Table 3-5 GPO Functions Available ......................20 Table 3-6 GPI Functions Available ......................21 Table 3-7...
Page 12 List of Tables Metadata Combinations ......................104 Table D-28 Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 13: Chapter 1: Overview
Chapter 1 Overview The Dolby ® DP570 provides unprecedented control and reference monitoring for the creation and delivery of Dolby Digital and Dolby E surround sound as well as metadata for DTV and DVDs. The DP570 Multichannel Audio Tool simplifies the preparation of content for Dolby E and Dolby Digital encoding. Its ability to control and configure the monitoring environment and its ability to set and edit metadata parameters makes it a key tool for postproduction, DVD, and digital television facilities. You can monitor exactly what the consumer ultimately hears in real time, without the need to decode and reencode material. The convenient interface lets you take full advantage of the audio metadata that Dolby Digital bitstreams deliver to consumer decoders, ensuring that home listeners hear programs exactly as originally intended. The DP570 enables the user to create new metadata, and to modify any previously generated metadata. Its built‐in Leq(A) meter provides the crucial ability to determine and set the dialogue normalization (dialnorm) value. The DP570 outputs metadata as a separate data stream, to be combined later with the multichannel audio in a Dolby E or Dolby Digital encoder. Analog Monitoring Capabilities The DP570 is particularly useful in conjunction with audio consoles lacking adequate multichannel monitoring facilities. With the addition of the high‐performance 24‐bit Cat. No. 548 Analog Option Card, independent 5.1‐channel, two‐channel, and mono outputs are available to feed three separate speaker systems. The card also gives users control over levels, channel mutes, and channel solos through a master volume control, speaker trim controls, and an input for a console solo bus. An additional input and integrated Dolby Pro Logic ® II and Pro Logic decoders allow proper monitoring of Lt/Rt sources and downmixes from all other inputs. Remote Control Capabilities The DP570 contains extensive GPI/O control and includes a software remote application for use with a Windows ® ‐based PC. The optional Cat. No. 549 GPI/O Controller provides key remote control functions.
Page 14 Overview Principles of Operation level, Pro Logic decoding, and the other functions controlled by metadata and experienced by consumers. The DP570’s convenient and user‐friendly interface simplifies multichannel audio production and mastering. Figure 1‐1 shows the audio path of the DP570 broken into major functional blocks. Features that control the operation of a block are connected to it by a dotted line. Digital audio input on the DP570 is via four female BNC connectors, allowing a total of eight channels. The emulator section of the DP570, like the DP571, requires the input channel assignment to conform to a fixed SMPTE 320M definition based upon the program configuration selected. Since previously recorded material may arrive in formats that do not match the chosen program configuration, the DP570 provides the ability to reroute the input channels to match the expected configuration, allowing other equipment to be sent the correct channel assignment. The emulator section provides the bulk of the audio processing, including application of metadata, downmixing, and Pro Logic decoding. All possible listening options allowed by consumer decoders are provided in the emulator (from high‐end home theaters to mono TV sets). Note that the inputs to the emulator section may be multiple, unrelated channels but the outputs are referred to as speaker channels and represent only the active program (the program currently being worked on or monitored). Once the input channel configuration has been set, the selected active program appears in the appropriate speaker channels irrespective of the programʹs appearance on the input channels, thereby simplifying installation and integration into existing multichannel monitoring environments. The emulator section is followed by the bass management section, which provides the ability to route low frequencies to the appropriate speaker channels. The output of the bass management section is sent to the digital audio (emulator) outputs as well as the analog monitor section (if fitted). Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 15: Figure 1-1 Dp570 Functional Block Diagram
Overview Principles of Operation Output Meter Input Meter Measurement Measurement Point Point Emulator Bass (DRC, Rcvr Router manage- Xmit dialnorm, ment downmix, P/L decode) From Xmit router Output Trims outputs Volume Bal. Rcvr Output Router Solo Mode Spkr Select Bal. (2) Output Mono Bal.
Page 16: Main Applications
Overview Main Applications The Cat. No. 548 Analog Option Card provides an analog monitor section and some additional features to ease interfacing to existing mixing and monitoring environments. This optional analog monitor section provides features including multiple speaker‐configuration outputs, a master volume control, speaker trim controls, and an input for a console solo bus. Main Applications The DP570 can be successfully deployed wherever there is a need to monitor the quality of digital audio, and to review existing metadata. It is currently most common in two applications: • DVD mastering • Creation and broadcast of DTV content 1.4.1 Use in DVD Mastering A DVD author is typically preparing mixed audio for writing to the DVD: generating metadata, verifying levels, and auditioning downmixes. This process is described in detail in Using the DP570 in DVD Mastering on page 43. 1.4.2 Use in Digital Television Here’s an example of the process flow in DTV: 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 data and sent to the television station via fiber, microwave, or other transmission link. This process is discussed in detail in Using the DP570 in Live Remote Broadcast on page 47. At the receiving end of this transmission, the Dolby E stream is decoded back to baseband audio and metadata. The audio program and the metadata are monitored, altered, or re‐created as other elements of the program are added in preparation for broadcast. This ...
Page 17: Chapter 2: Getting Started
Chapter 2 Getting Started This chapter describes the actions necessary to begin using the DP570 in a basic configuration. Unpacking and Inspection Before unpacking the unit, inspect the outer carton for shipping damage. If the carton shows damage, inspect the unit in those areas. Several essential items are provided with the unit, including: • Power cords for use in the United States and continental Europe. • A CD‐R containing the DolbyRemote 570 application and soft copy documentation. • A bag containing 75Ω terminators, rackmount screws and washers, and a serial connection cable for the front‐panel RS‐232 port. • Safety notices. • Warranty information. Fill out the warranty card and return it to Dolby Laboratories. Note: To maintain your eligibility for software upgrades, register your product on the software upgrades page at www.dolbysupport.com Safety Information Before you begin installing your DP570, refer to the important safety notices and fusing information included in Regulatory Notices and Fuse Information on page 107. Installing the DP570 Operating a DP570 requires: • A rackspace two standard units high • Venting • Input connections •...
Page 18: Venting
Getting Started Installing the DP570 2.3.1 Venting Dolby ® professional audio products are designed to operate within a temperature range of 5°C to 45°C. They use natural convection cooling and therefore should not be mounted directly above any heat‐generating equipment. The DP570 has vent holes in the front and back of the unit, and can be placed directly above or below other rack‐mounted gear. 2.3.2 Making Input Connections Connect the mandatory multichannel PCM signals to the digital jacks. Use care to attach the input cables to the proper connector to avoid inadvertently moving channels. For a discussion of the connector types used on the DP570, see Connector Specifications on page 71. Note: The DP570 will not operate without a valid sample clock signal present at the channel 1/2 input connection. You may also connect a Dolby Surround encoded stereo PCM mix to either of the Lt/Rt jacks. Use the second jack either to pass the signal to another device or to terminate Inputs the connection with a 75Ω impedance. 2.3.3 Making Output Connections There are two sets of digital audio outputs on the rear panel. One is the output from the router and the other is from the emulator. For a discussion of the connector types used on the DP570, see Connector Specifications on page 71. Router Output Use the ...
Page 19: Making A Power Connection
Getting Started Installing the Remote Software If there is no video input or the video input fails, the DP570 generates a default frame based on 1,536 samples at the current audio clock rate, to match Dolby Digital frame rates. For a discussion of the connector types used for the connection on the DP570, see V Ref Connector Specifications on page 71. 2.3.5 Making a Power Connection The DP570 contains a 90–264 VAC, 50–60 Hz, auto‐sensing power supply, 40W maximum; designed to operate from a centrally switched power source. The power cord supplied with the unit is six feet long. Installing the Remote Software Once power is applied the DP570 will display the main status screen. We strongly recommend that you continue on to install the remote management software. DolbyRemote 570 provides quick access to the DP570ʹs functions including some that are not available from the DP570 front‐panel interface. Use of DolbyRemote 570 allows the DP570 to be located in another room or at a distance from the operator. While DolbyRemote 570 is in operation, the LED on the front Remote panel of the DP570 is lit and access to the setup menu via the front‐panel buttons is disabled. Note: The RS‐232 specification limits serial cable length to 50 feet. Using low capacitance cables can, however, extend this limit up to 147 feet. Refer to the specification for exact information. 2.4.1 System Requirements DolbyRemote 570 can be run on a PC that meets these minimum requirements: •...
Page 20: Hardware Connection
Getting Started Installing the Remote Software 2.4.3 Hardware Connection To connect the DP570 to its remote control device, use a serial cable from your computer to either the front‐panel port or the rear‐panel port. For Remote RS-232 Remote RS-485 connector and pin descriptions, see the Front‐Panel Remote Connector on page 71 and the Rear‐Panel Remote Port on page 73. Note: You can use a USB‐to‐serial adapter to connect the serial cable to a laptop. However, these adapters occasionally cause enough delay to interfere with data communications. This problem is mostly likely to occur during firmware upgrades. Take care to establish the best possible connection before beginning an upgrade. 2.4.4 Configuring the Unit for Remote Operation A DP570 arrives preconfigured to communicate with the remote application at 115,200 baud, using a unit address 8280. The remote response from the unit is fastest at 115,200 baud, so we recommend using that rate if possible. The unit does support slower communication rates. The unit address is only important when more than one DP570 is attached to the same COM port. Contact if you need assistance with unit addressing in that situation. Technical Support You can change the default remote operation settings from the unit front panel on the ...
Page 21: Starting The Remote Software
Getting Started Installing the Remote Software To end remote operation and resume using the front‐panel interface, press then Shift again. 2.4.6 Starting the Remote Software To start the remote software: Double‐click the program icon. 2. Review the communication settings, and modify them if necessary. 3. Click OK. The DP570 alerts you that it is opening the device and, when communication is established, displays the main application screen shown in Figure 4‐1. 2.4.7 Configure the Setup Monitor Tab Before the DP570 can begin service you must configure it to reflect your monitoring system. Click on the application button bar. The system opens the tab shown in Setup Monitor Figure 2‐1. 2. Check the appropriate settings. For a detailed discussion of the concepts and procedures for setting up a monitoring ...
Page 22: Selecting A Program Configuration
Getting Started Selecting a Program Configuration Figure 2-1 Monitor Configuration Tab Selecting a Program Configuration The first step in monitoring is to select a program configuration that reflects the number of channels within the program(s) you will monitor. The DP570 supports 22 program configurations shown in Program Configuration Settings on page 93. The number of channels in the selected program configuration affects the default metadata applied by the DP570. Tip: Take care to select the program configuration that matches your input exactly. To set the Program Configuration, choose the appropriate one from the drop‐down list shown in Figure 2‐2. This area is also where you choose a source for the program configuration: Int, meaning internal, the DP570 detects it; or Ext1, or Ext2, meaning it is derived from one or the other of the external metadata inputs. Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 23: Figure 2-2 Program Configuration Selector
Getting Started Selecting a Program Configuration Figure 2-2 Program Configuration Selector Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 24 Getting Started Selecting a Program Configuration Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 25: Chapter 3: Controlling The Dp570
Chapter 3 Controlling the DP570 As shown in Figure 3‐1, you can control the DP570 in three ways: • Directly, by pushing buttons on the front panel of the unit • Remotely, using the DolbyRemote 570 software over a serial connection to a PC • Remotely, using a hardware remote panel connected to the unit connector GPI/O Note: Direct control and remote control using DolbyRemote 570 are mutually exclusive. You cannot use both the front panel and the remote application at the same time. However, you can use GPI/O simultaneously with the either the remote application or direct control. GPI/O Interface (Cat. No. 549) DP570 GPI/O Laptop PC V Ref Remote Remote SW MD Out DP571 or DP569 Inputs Figure 3-1 DP570 Control Options Most users will control their units with the remote software, and most of this manual ...
Page 26: Main And Shifted Functions Of The Buttons
Controlling the DP570 Using the Front-Panel Buttons Remote Delete Insert Status Bypass Contrast Volume Figure 3-2 Front-Panel Buttons 3.1.1 Main and Shifted Functions of the Buttons Most of the buttons have two functions: a main function and a shifted function. The main function, indicated on the button itself, is active when the button is not lit. The shifted Shift function is active when the button is pressed and lit. This function is indicated on the Shift panel above or below the button as shown in Figure 3‐2. 3.1.2 Navigating the Front-Panel Menus To navigate the menus, use the main function of the buttons described inTable 3‐1. ...
Page 27: Other Shifted Functions
Controlling the DP570 Menu Structures 3.1.4 Other Shifted Functions When the Shift button is pressed and lit, the other keys have the functions listed in Table 3‐2. Table 3-2 Shifted Key Functions Shift + Key Action Puts the unit in remote mode. Deletes the current character from text fields. Opens the contrast control for the DP570 display, letting you increase or decrease the contrast. Inserts a character at the cursor in text fields. Enter Opens the main volume control for the optional analog outputs. Engages Bypass mode, discussed in Emulator Bypass on page 39, skipping most processing. Menu Structures The DP570 front panel displays one or the other of two separate menu structures: • The panels of the status menu, which display the current status of the unitbut do not allow changes • The Setup menu, which allows you to change the way the unit operates Tip: When you operate the DP570 using the front panel, take care to note whether you are using the Setup or status menu and memorize the methods of moving from one ...
Page 28: Viewing Status Screens
Controlling the DP570 Monitoring Status Using the Front Panel 5.1 + 2 Internal Prog 1 3/2L 27 Figure 3-3 Default Status Menu Screen The main status display includes five elements: Program configuration: can contain any of the supported program configurations listed in Program Configuration Settings on page 93. The example in Figure 3‐3 includes two programs: a 5.1 mix and a two‐channel mix. Metadata for the programs is controlled separately. 2. Metadata source in use. The options are: Internal, Ext 1, or Ext 2. 3. Program name: text, which can be user‐entered, describing the program that is selected for emulation and metadata authoring. Naming Programs on page 25 explains the value of this feature. 4. Channel mode: Displays the current program selection, in this example a 5.1 mix. Here 3/2 is the Channel mode (three front channels, two rear channels). The L ...
Page 29: Figure 3-4 Basic Led Indicators
Controlling the DP570 Monitoring Status Using the Front Panel Basic Status Indicators The indicators shown in Figure 3‐4 display the basic status information listed in Table 3‐4. Lt/Rt Lt/Rt Metadata Metadata Input Input Input Input Delay Solo Remote V Ref V Ref Fault Error Figure 3-4 Basic LED Indicators Table 3-3 Basic Status Indications Indication and Meaning Delay This LED is not active in this version.
Page 30: Using The Setup Menu
Controlling the DP570 Using the Setup Menu Channel Activity Output Input Figure 3-5 Channel Activity LED Indicators Channel Activity LED indicator meanings are detailed in Table 3‐4. Table 3-4 Channel Activity LED Indications Signal Status Display YELLOW Peak signal level is less than –60 dBFS; or no is signal present. GREEN Peak signal level is greater than –60 dBFS and less than –0.1 dBFS; a signal is present and not clipping. Peak signal levelis greater than –0.1 dBFS; a signal is clipping, intervention is required. Blinking Input: Channel enabled but not locked; the channel is present in YELLOW the selected program configuration, but there is no clock signal present at the input.
Page 31: Entering Text
Controlling the DP570 Using the Setup Menu If the cursor is flashing after an option value, that option is not currently selected. Press to select it. Pressing at an option with the flashing cursor displayed returns the Enter display to the selected value. 3.5.2 Entering Text In certain situations you will be prompted to enter text. In the text entry window, the first line prompts you to enter text. The second line displays the current text for the parameter or, if no text is yet defined, a default text string. An underline cursor appears under the first character in the string. Enter text by using the navigation buttons as described in Table 3‐5. Table 3-5 Text Entry Commands Command Result Moves the cursor to the left or right. or Displays the previous character in the character set. Displays the next character in the character set. Enter Saves the text on line 2 temporarily, pending confirmation. Changes the display to a confirmation dialogue. Returns text on line 2 to initial display. If text is unmodified, displays the next higher menu level. Places a blank space at the cursor location. If there are Insert characters to the right of the cursor, moves all characters one (Shift + space to the right.
Page 32: Analog Output Master Volume
Controlling the DP570 Using the GPI/O Connector 3.5.6 Analog Output Master Volume Press , to access the master volume control for the optional analog outputs. Shift Enter Use the arrow buttons to adjust the volume. Press to keep the current value and Enter return to the previous menu, or press to restore the initial value. Any adjustment you make takes effect immediately. Using the GPI/O Connector You can use this port to connect the DP570 to your studio console or existing control equipment. A stand‐alone remote control unit, the Cat. No. 549 GPI/O Controller, is also available to provide easy access to the features of the port. By assigning specific GPI/O functions to the user‐definable pins, you can control and obtain status from the DP570. Many functions also allow you to adapt the DP570 to your existing environment by defining the type and polarity of the input or output logic. 3.6.1 Selecting GPI/O Functions Table 3‐6 provides a description for each function that can be assigned to GPO pins. Some functions have restrictions on the polarity or trigger type. The Active State column ...
Page 33: Table 3-7 Gpi Functions Available
Controlling the DP570 Using the GPI/O Connector Table 3-6 GPO Functions Available Function Polarity Trigger Active State Description Bs speaker mute Either Either Mute Indicates Mute is active. Speaker Select Either Either Speaker selected Indicates which speaker is selected. (Multi, Stereo, Mono) Program Select (1–8) Either Either Enabled Indicates which program is selected. Preset Select (1–32) Either Either Enabled Indicates which preset is selected. Downmix Mode Either Either Enabled...
Page 34: Assigning Gpi/O Functions To Specific Pins
Controlling the DP570 Using the GPI/O Connector Table 3-7 GPI Functions Available Function Polarity Trigger Active State Description Program Select (1–8) Either Either Enabled Indicates which program is selected. Preset Select (1–32) Either Either Enabled Indicates which preset is selected. Downmix Mode Either Either Enabled Indicates which mode is selected. (Full, Stereo, Mono, Phant, 3‐Stereo) Dynamic Range Either Either Enabled Indicates which compression mode is Control Mode selected.
Page 35 Controlling the DP570 Using the GPI/O Connector Table 3-8 GPI/O Pins Available Function Function Solo control input User‐defined input High polarity Level‐triggered Active state: Engaged User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input User‐defined output User‐defined input...
Page 36 Controlling the DP570 Using the GPI/O Connector The Function menu lets you assign a function to the pin you have selected. Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 37: Chapter 4: Using The Dp570 Features
Chapter 4 Using the DP570 Features This chapter covers each distinct feature of the DP570 in detail. The main power of the Dolby ® DP570 is its ability to accept any program input and play it back over any combination of speaker outputs using any combination of metadata parameters. This main power is backed up by its ability to adjust virtually any of those variables on the fly. As you listen, you can test your mix in different numbers and qualities of speaker in different numbers of channels with different surround decoding strategies applied. As you test, you can adjust metadata parameters to optimize the quality of the output. A few of the most important metadata adjustments are discussed separately in later sections of this chapter: • Downmix monitoring • Dialogue level • Dynamic range control Naming Programs On the Dolby E tab you can assign a unique name to each program. You can use this feature to make sure that the metadata stays properly identified throughout the production and broadcast chain. Typically programs are named after their content; such as Game A or Episode 5. Adjusting the Monitor System The monitoring system is fully configurable. You can modify any of its parameters at any time, by clicking Setup, and viewing the Monitor Setup Tab on page 62. Setting up your monitoring system is discussed in full in Configuring a Monitor System on page 61. Generating and Adjusting Metadata You can choose to use internal metadata values generated by the DP570 or external values ...
Page 38: Choosing The Source Of Metadata
Using the DP570 Features Generating and Adjusting Metadata 4.3.1 Choosing the Source of Metadata Normally you will use an entire metadata stream from one source, but that is not required. You control this source choice at three levels: You choose a program configuration. This defaults all parameters for all programs in the stream to the source you chose: internal, external 1, or external 2. An example of this configuration is a QC environment, where the operator uses the entire metadata stream to monitor the overall audio quality. 2. You choose a source for a particular program. This automatically sets the default source for all parameters in the program but does not affect any of the other programs in the stream. 3. You can choose an external source for an individual parameter which affects only that selected parameter. Typically you would do this to correct a known error. DolbyRemote 570 makes selecting the metadata source simple. Choosing an external program configuration or program changes parameter settings automatically. Individual parameters can still be changed without affecting other parameters. Metadata source choices stay set until: • You manually change a source choice. • You receive a different program configuration. 4.3.2 Using Generated Metadata When the source is internal the default values the DP570 applies are determined by the ...
Page 39: Figure 4-1 Metadata Tabs
Using the DP570 Features Generating and Adjusting Metadata Table 4-1 Metadata Parameter Defaults Four Metadata Parameter channels channels channels channel Center Mix Level –3 –3 –3 Surround Mix Level –3 –3 –3 Dolby Surround Mode Copyright Bit Original Bitstream Audio Production Info Mix Level 85 dB SPL 85 dB SPL 85 dB SPL 85 dB SPL Room Type Not Indicated Not Indicated Not Indicated Not Indicated Preferred Stereo ...
Page 40: Using External Metadata
Using the DP570 Features Generating and Adjusting Metadata Example 1—Overriding an Individual Parameter Value We’ll assume you are using an external metadata stream. The output of the DP570 is feeding a DP571 or DP569. You want to add a compression profile because none was originally included. To do so: Select the program you wish to change. 2. Click the Dynamic Range metadata tab on the DolbyRemote 570. 3. Click the radio button to change the source of the Line Mode Compression from external to internal. You can now select one of the five compression profiles (for example, Film Light). 4.3.3 Using External Metadata When using external metadata, make certain that the values are correct for the program. Particularly when you use external program configurations, it is important to ensure that the number of programs and the number of channels in each program are correctly set. Monitoring with the DP570 should alert you to any problems. Example 2—Adding a Second Program or Changing a Program Signal and metadata flow from this example are shown in Figure 4‐2.
Page 41: Troubleshooting Metadata Problems
Using the DP570 Features Troubleshooting Metadata Problems D 563 Digital Digital Router Digital Output Input Output Input DP570 DP572 DP571 Metadata Metadata 5.1+2 Metadata Metadata Out Metadata Adjustment • Change Program Config to 5.1+2 (internal source) • Set parameters for new two-channel program Figure 4-2 Adding a Second Program...
Page 42: Monitoring Downmixes
Using the DP570 Features Monitoring Downmixes Monitoring Downmixes The DP570 allows you to audition various downmixes before finalizing the content. Previewing downmix conditions is essential in providing the best possible audio quality in listening environments with fewer speakers. Select a Downmix mode and make necessary adjustments to the metadata or the source mix accordingly. You can set up separate sets of speakers for different downmix conditions, sending a stereo downmix to the left and right speakers in your 5.1 listening environment, then to a different set of stereo speakers just by changing your speaker selection setting. It is a good idea to have a low‐grade alternate speaker configuration set up to monitor the stereo and mono downmixes to make sure program content plays appropriately in “fidelity‐challenged” environments. To monitor the various downmixes in the DolbyRemote 570 application, click any of the buttons shown in Figure 4‐3, then adjust settings on the metadata tabs as necessary. Figure 4-3 Downmix Options Measuring and Setting the Dialogue Level The dialogue level parameter, also known as dialogue normalization or dialnorm, is a vital element in audio content creation. The proper dialogue level value ensures that the consumer hears different programs at the same level. See Dialogue Level on page 86 for a detailed explanation of the dialogue level parameter. The dialogue level for each program must be carefully measured and then appropriately set. This is easy using the control in the Dialogue Level Set area of the DolbyRemote 570, shown in Figure 4‐4. Figure 4-4 Measurement Control Options 4.7.1 Identifying Normal or Average Level Program Segments To set the dialogue level parameter, the first and most important step is selecting audio clip ...
Page 43: Measuring The Average Loudness Of Identified Clips
Using the DP570 Features Measuring and Setting the Dialogue Level characters with different vocal qualities. In programs without dialogue, such as a music concert, sections of average level need to be identified. With representative audio clips identified, you can use the DP570 to set the dialogue level parameter. You can use either the software interface or the front‐panel buttons; for this operation we describe using the software interface first. 4.7.2 Measuring the Average Loudness of Identified Clips The measurement feature complies fully with IEC 60804 (2000‐10): Integrating‐Averaging Sound Level Meters (Leq(A)) and includes the addition of two distinct measurement modes relating to the measurement period itself: infinite and short‐term. This section describes the behavior of both modes. Note: These changes harmonize both the core measurement algorithm and the measurement modes between the DP570 and the Dolby LM100 Broadcast Loudness Meter. Dialogue Intelligence™, however, is available only in the LM100. IMPORTANT NOTE REGARDING MEASUREMENT ACCURACY: Leq(A)‐based measurements are most accurate when they cover signals with similar spectra, such as dialogue; the more similar the spectra, the more accurate the measurement. This is why we recommend the use of Leq(A) measurements to provision the dialogue level value within Dolby E and Dolby Digital bitstreams. The DP570 measurement feature will yield best results when the operator measures portions of the program that contain only minimal nondialogue material.
Page 44: Figure 4-5 Short-Term Measurements
Using the DP570 Features Measuring and Setting the Dialogue Level This process allows you to accurately estimate the average level of all of the individual dialogue sections. The term representative section indicates a shorter section of the program being measured that contains spoken dialogue levels that are representative of the speech levels found throughout the entire program. Infinite mode is most often used in ingest, QC, and postproduction applications where audio metadata is being authored, the whole piece of content is available, and levels can usually be controlled and/or adjusted. Infinite mode should be used in automated and semi‐automated applications. Using Short-term Measurements Short‐term measurement mode displays the Leq(A) measurement value for only the previous ten‐second period. For example, the first measurement value is for the time interval between 0 and 10 seconds, the next between 1 and 11 seconds, next between 2 and 12 seconds, and so forth. Figure 4‐5 illustrates these measurements. Figure 4-5 Short-term Measurements Since the short‐term measurement considers only the previous ten seconds of program material, the measured value can be much more dynamic than the measured value in Infinite mode. Note: In programming that includes heavy dynamics processing, and therefore a smaller dynamic range, the shortterm may not be considerably more dynamic than the infinite. The benefit of short‐term measurement is that it allows the operator to see short‐term variations in loudness level within a program. Many skilled audio operators prefer to use The energy average of two or more quantities expressed on a decibel scale differs from the arithmetic average of the quantities.
Page 45: Table 4-2 Measurement Mode Applications
Using the DP570 Features Measuring and Setting the Dialogue Level the short‐term measurement, as they find the information on near‐term dynamics to be very useful when mixing or producing a program. These operators are capable of managing overall program loudness by continuously reading and interpreting the short‐term measure . Table 4‐2 lists several example applications for both measurement modes. Table 4-2 Measurement Mode Applications Short-term Infinite Live broadcast event Program ingest Postproduction and/or mixing with Postproduction to check conformance with audio engineer delivery requirements, including dialogue normalization value Quality control: measuring short‐term Quality control: measuring overall program program dynamics for normalization and/or dialogue normalization provisioning purposes Note: The measurement function used in the following procedures is designed to measure dialogue only. 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 ...
Page 46: Setting Dynamic Range Control
Using the DP570 Features Setting Dynamic Range Control 3. The default measurement mode is Infinite. Click the Infinite or Short Term button to move back and forth between the modes. The software displays the level of the audio clip. This level is displayed until you start a new measurement or change modes. 4. Repeat these steps with each audio clip selected. The DP570 should return similar values for each of the clips. If the variation between the clips is 4 dB or less, select a value for the dialogue level parameter within that range that best indicates the average level of the program content. At any time, to use the measurement level displayed on the software, click Accept, and the dialogue level parameter is set at that level. To set the dialogue level parameter manually, click and drag the Dialogue Level Set slider to the setting you want. Tip: If the DP570 measures more than a 4 dB difference in the audio clips, reconsider the clips you have chosen, recalling that these clips should represent normal speech level in your content. Setting Dynamic Range Control You can choose dynamic range control (DRC) profiles for RF and Line modes. Use the emulator to monitor the effects of each profile setting on the program content and select the profile that best suits the material in each mode. Both RF and Line modes can be set to any of the following profiles: None, Film Standard, Film Light, Music Standard, Music Light, and Speech. Each profile is a set of compression parameters such as ratio, attack, and release. Tip: Remember to set the dialogue level parameter properly before making judgments about DRC. For detailed information, see Dynamic Range Control Profiles on page 89. The Custom adjustment on the emulator allows you to simulate a consumer decoder with the ability to vary the amount of DRC applied. This variation is to the Line mode profile you have selected. Like all emulator controls, it does not affect the metadata or router ...
Page 47: User Presets
Using the DP570 Features User Presets 4.10 User Presets You can save system settings in up to 32 separate presets for quick recall in the Setup User Presets window shown in Figure 4‐7. You can store authoring‐only subsets, emulator‐only setting subsets, and combinations that recall both emulator and authoring settings at once. Authoring‐only presets, marked with an “A” after the number, include: • Dolby E program configuration • All metadata parameters for each program • The source for each metadata parameter Emulator‐only presets, marked with an “E” after the number, include: • DRC and downmix modes • Speaker‐system choice • Bass management • Router settings • LFE monitor mode The third type, all, includes both authoring and emulator settings. Figure 4-7 User Preset Window 4.10.1 Authoring-Only Presets Saving an authoring‐only preset allows you to test certain combinations of metadata ...
Page 48: Emulator-Only Presets
Using the DP570 Features Using Lt/Rt Input Mode 4.10.2 Emulator-Only Presets Emulator presets are particularly useful for checking specific combinations of downmix and compression modes, perhaps on a different speaker output. For example, you can audition current metadata settings for a 5.1‐channel program in Full mode (no downmix) with no compression (the default for the Custom selection), then check the mono downmix in RF mode on the mono speaker output in one click without altering the metadata settings. Once you select the listening parameters, choose a preset number under User Presets, and under Type choose Emulator. 4.10.3 All Settings Presets To save a combination of authoring and emulator settings as a preset, select All under Type when saving the preset. Presets that include both authoring and emulator settings do not display any letter after the preset number on the display. 4.10.4 Using Different Preset Types to Audition Settings If you are assigning metadata to a program, the different preset types can be used in sequence to speed your process. Example You set the emulator to Full (no downmix) with no compression (the default for the Custom selection). You then audition a few authoring presets until you find the combination that suits the program best. Next, you switch among the emulator presets to make sure the metadata you have selected works in a variety of downmix settings. Now ...
Page 49: Channel Mapping And Input Routing
Using the DP570 Features Channel Mapping and Input Routing For an example of monitoring a Dolby Surround program while creating metadata for a 5.1‐channel program, see Using the DP570 in Postproduction on page 53. 4.12 Channel Mapping and Input Routing Table 4‐3 shows how the DP570 routes input channels to emulator output channels. Channel mapping changes automatically according to the program configuration, and reflects how the channels will be connected to a Dolby Digital encoder. The DP570 input router enables you to reroute input channels to conform to the automatically assigned channel mapping. The program number (1–8) identifies the individual programs associated with each channel. So, the entry 2C/2S means ʺProgram 2, Center channel/Program 2, Surround channel.” Table 4-3 Input Channel Routings Program Configuration 5.1 + 2 1L/1R 1C/1LFE 1Ls/1Rs 2L/2R 5.1 + 2 ×...
Page 50: Using An External Shaft Encoder To Control Master Volume
Using the DP570 Features Using an External Shaft Encoder to Control Master Volume Note: The only four‐channel mode supported is 3/1. If you wish to use 2/2 channel mode, we recommend setting the program configuration to 5.1 and muting the unnecessary channels. The DP570 input router enables you to reroute input channels to conform to the automatically assigned channel mapping. The input router is active even when Emulator Bypass is enabled. The Setup Router window in the DolbyRemote 570 allows you to view or change router settings. To open the window, click Router on the application button bar. You can also resave and rename the factory input router presets. The factory presets, shown in Table 4‐4, match existing conventions for multichannel media channel order. Preset 1 works with a tape conforming to SMPTE Standards 320M and 320M‐A. Preset 3 works with a tape conforming to SMPTE Standard 320M‐B. Table 4-4 Default Router Presets Digital Preset 1 Preset 2 Preset 3 Preset 4 Input Output Output...
Page 51: Emulator Bypass
Using the DP570 Features Emulator Bypass Table 4‐6 describes the electrical characteristics. Table 4-6 Shaft Decoder Signal Electrical Characteristics Characteristic VT+ Positive‐going input threshold voltage 1.2 V 2.1 V VT– Negative‐going input threshold voltage 0.5 V 1.4 V VH Hysteresis voltage 0.4 V 1.5 V 4.14 Emulator Bypass When you enable Emulator Bypass, the front‐panel button is illuminated. In this mode, the only settings that affect the output are the router settings. Monitoring options are limited to program selection. If you are using the , that signal is sent, without Lt/Rt Input decoding, to the Left and Right emulator outputs. Bass management remains active. 4.15 Solo Input Mode The DP570 provides a two‐channel analog input that can be routed to the analog outputs. ...
Page 52: Sticky Settings
Using the DP570 Features Sticky Settings 4.17 Sticky Settings When you enable Sticky Settings, your last settings for dynamic range control profiles, downmix, speaker selection, LFE monitor, master volume, and emulator bypass for your listening environment remain with each program when you leave one program to monitor another. This allows you to switch to another program, monitor that program, then return to the original program without losing the settings you had chosen for the original program. When you disable Sticky Settings, settings for these monitoring modes do not change when you leave one program to monitor another. By default, Sticky Settings is enabled. To turn it off, uncheck the box. 4.18 Lt/Rt Gain Function This control allows you to control gain of the Lt/Rt input. To trim the Lt/Rt input level in the DolbyRemote 570: Click Setup in the Main window to open the Setup window. 2. Use the up and down arrows to increase or decrease the default Lt/Rt gain. Figure 4‐9 shows the Lt/Rt Gain control on the Setup window. Figure 4-9 Lt/Rt Gain Control 4.19 Dim Function The Dim button enables you to change your monitor level with one click. Click it, for instance, if a client walks in or you have to take a phone call. Return to your master level setting by clicking Dim again. 4.20 Master Trim and Master Volume The Master Trim slider allows you to raise or lower the volume of the signal input to the ...
Page 53: Dolby Pro Logic Ii Support
Using the DP570 Features Dolby Pro Logic II Support The master Volume slider allow you to raise or lower the volume of all the outputs simultaneously. Figure 4-10 Figure 4-11 Master Trim Control Master Volume Control 4.21 Dolby Pro Logic II Support The DP570 supports four Pro Logic II modes: Movie, Music, Pro Logic, and Matrix. Panorama, Dimension, and Center Width offer a variety of settings activated 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. Note: Movie is the recommended mode for professional monitoring. The wide range of possible choices in Music mode make it too complex and unpredictable to emulate. Music mode is the most versatile feature of Pro Logic II. The settings on the Panorama, Dimension, and Center Width menus 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.
Page 54 Using the DP570 Features Dolby Pro Logic II Support 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 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 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. Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 55: Connecting The Dp570
Chapter 5 Using the DP570 in DVD Mastering During the DVD mastering process, it is important to experience the program in the same way a viewer will in the home so that you can assess the quality of the mix and make appropriate adjustments. The DP570 provides a quick and accurate listening environment emulation. The instructions in this section allow you to use the DP570 to respond quickly with necessary changes and improvements. Connecting the DP570 In this scenario, content is sent through the DP570 before encoding. Metadata created in the ® DP570 is passed to the DP569 Dolby Digital Encoder. DP570 DP569 DP564 Audio Main 5.1 Mix In 1 Outputs Digital From Digital Digital C/LFE C/LFE Audio Master Router Inputs Ls/Rs Ls/Rs...
Page 56: Setting The Dialogue Level
Using the DP570 in DVD Mastering Typical Tasks 5.2.1 Setting the Dialogue Level As the mix is nearing completion, use the dialogue level indicators in DolbyRemote 570 shown in Figure 5‐2 during a representative period of speech to select the Dialogue Level value for the program. The measured value of the audio program appears in yellow; the Dialogue Level value set in the software appears in green. Figure 5-2 Dialogue Level Controls In most cases, selecting and measuring a representative period of speech within the program will serve as a good example of the overall dialogue level throughout the program, provided good mixing practices are observed. In some cases such as documentaries, location sound, and so on, it may be difficult to match the dialogue level from section to section, and while the dialogue level indicator on the DP570 can help, your ears are the best tool. Note: For 5.1 programming, the measurement channel should be set to Center, as most of the important speech content will occur in this channel. Measure both the Left and Right channels of stereo input. To determine a Dialogue Level value for the program, use short‐term measurements as they provide a measurement over a ten‐second period of program audio and do not average the measurement over a long period of time. For more information on the short and infinite term measurement modes, see Measuring the Average Loudness of Identified Clips on page 31. Pressing the Accept button resets the Dialogue Level parameter within the output metadata stream feeding downstream equipment to equal the yellow value. The green number changes to the value selected.
Page 57: Monitoring Downmixes
Using the DP570 in DVD Mastering Using the DP570 with Other Dolby Equipment 5.2.3 Monitoring Downmixes Once dialnorm has been set and a measurement mode selected, check downmixes and make any adjustments necessary so that the mix translates best across the appropriate listening environments. A full dynamic range 5.1 mix may sound more pleasing than the same mix that is stereo or Pro Logic downmixed. In some cases, a compromise on downmixes must be made to ensure that the 5.1 mix remains the best. Note: Remember to prioritize your mixes. Use the downmix parameters to help create the best downmix possible from your original multichannel mix. Figure 5-3 Downmix Monitoring Controls Check both compression modes on the full 5.1 mix as well as on downmixes. This is an important step because you cannot be certain which mode consumers may be using. See Dynamic Range Control on page 88 for detailed information on the DRC modes. Using the DP570 with Other Dolby Equipment The Cat. No. 549 GPI/O Controller provides a quick method to change downmix and ...
Page 58 Using the DP570 in DVD Mastering Most Important Metadata 3. Dialogue level: the dialnorm parameter. Compare the measured value (shown in yellow numbers) to the dialnorm metadata parameter value (shown in green numbers) periodically as you work. 4. Compression mode: select one that sounds best; None is not recommended as it may cause peak limiting in a consumerʹs decoder during downmixing. For more information on compression modes, see Setting Dynamic Range Control on page 34. Set it once for each program. 5. Surround –3dB Flag: Set this according to the setting of the original mixing room. Typically this flag is enabled when a mix was balanced on a theatrical dubbing or mixing stage where the surround channels were SPL‐adjusted to 82 and the main speakers were SPL‐adjusted to 85. 6. Downmix parameters: set according to taste: • Center downmix level • Surround downmix level • Preferred stereo downmix • Lt/Rt center downmix level • Lt/Rt surround downmix level • Lo/Ro center downmix level • Lo/Ro/ surround mix level Dolby ®...
Page 59: Chapter 6: Using The Dp570 In Live Remote Broadcast
Chapter 6 Using the DP570 in Live Remote Broadcast In preparation for and during a live remote broadcast, it is important to experience the audio program the same way a viewer will in the home so you can assess the mix quality and make appropriate adjustments. The DP570 provides quick and accurate emulation of a viewerʹs listening environment. The instructions in this section allow you to use the DP570 to respond quickly with necessary changes and improvements. Connecting the DP570 for Live Remote Broadcast Figure 6‐1 shows a typical live remote setup. In this application, 5.1 mixed audio is routed from the console to the MPEG encoder through the DP571, DP563, and DP570. The mix from the console is sent first to digital inputs 1–6 of the DP571 and on to the DP570 for metadata authoring and monitoring via the DP571’s loop‐through connections. The same mix is routed to the DP563 for downmixing to Lt/Rt and then to the DP571 for encoding. Lt/Rt output from the DP563 is directed by a distribution amplifier to four locations: To the input of the DP570 for quick and convenient monitoring Lt/Rt 2. To the digital inputs of the DP570 for inclusion in a 5.1 + 2 Dolby ® E program 3. To the digital inputs of the DP571 for digital encoding 4. To the MPEG encoder for stereo audio distribution At the DP571, metadata authored in the DP570 is joined to the audio from the DP563 and ...
Page 60: Typical Tasks
Using the DP570 in Live Remote Broadcast Typical Tasks LM100 DP571 Mixing Main Main Dolby E Metadata Console Video Ref DP570 PCM Delay Input Metadata Digital Audio Digital Digital Inputs Thru Audio Inputs MPEG Video Ref Encoder Lt/Rt Analog Outputs Lt/Rt Lt/Rt DP563...
Page 61: Measuring And Setting Dialogue Level
Using the DP570 in Live Remote Broadcast Typical Tasks Figure 6-2 Typical Downmix Parameters Further, you can assess whether the announcerʹs voice will survive during a Pro Logic ® or Pro Logic II decode from a stereo downmix by selecting Pro Logic while downmixing to stereo. While assessing the mix during downmixing, the mixer can make adjustments in order to ensure that the 5.1 mix provided will sound good in all manner of home environments, from mono to stereo to 5.1. 6.2.1 Measuring and Setting Dialogue Level Decide on a Dialogue Level value for the broadcast and refer to the dialogue level indicators during periods of representative speech during the show. The measured value from program material appears in yellow numbers ( in Figure 6‐3). The Dialogue Level –26 value set in the software appears in green numbers (–27 in Figure 6‐3). Figure 6-3 Dialogue Level Controls To change the value in the software, press the Accept button. The system will transfer the ...
Page 62: Monitoring The Dialogue Level
Using the DP570 in Live Remote Broadcast Using the DP570 with Other Dolby Equipment 6.2.2 Monitoring the Dialogue Level As you work, check the dialogue level indicators—the yellow numbers shown in Figure 6‐3—frequently. Make adjustments to the mix to keep the dialogue level value (during periods of representative speech) within a few decibels of your target. 6.2.3 Monitoring Downmixes Check downmixes occasionally and make sure the announcer and other important speech elements are not buried during stereo downmixing or Pro Logic decoding. Using the DP570 with Other Dolby Equipment The Cat. No. 549 GPI/O Controller allows quick changes of downmix and compression modes while monitoring. The DP570 can be used either with the DP569 Dolby Digital or DP571 Dolby E Encoders by attaching the metadata connectors. Using Unity Gain Mode Unity Gain mode, detailed in Unity Gain Mode on page 39, allows the output of the DP570 ...
Page 63: Importance Of Presets
Using the DP570 in Live Remote Broadcast Importance of Presets • Lt/Rt center downmix level • Lt/Rt surround downmix level • Lo/Ro center downmix level • Lo/Ro surround mix level Importance of Presets In a live broadcast situation, the ability to preview metadata parameters is limited. The DP570 presets are therefore very valuable. Preconfigured presets for news, sports, or music, as well as other live events, provide the flexibility necessary for use during setup, rehearsals, and final broadcast. Preset development, of course, can only be a product of experience, but that experience can be passed on easily with the DP570. A seasoned engineer can save presets for the live events to be produced. A less‐experienced engineer has only to select the appropriate preset for the event, and is then free to focus on other issues. In this situation, the engineer at the live event can confirm the validity of the chosen metadata by monitoring the effects with the DP570. Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 64 Using the DP570 in Live Remote Broadcast Importance of Presets Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 65: Connecting The Dp570
Chapter 7 Using the DP570 in Postproduction The DP570 can be used in a variety of postproduction settings. We discuss one example. The instructions in this section allow you to use the DP570 to respond quickly with necessary changes and improvements to the mix. Connecting the DP570 In the example shown in Figure 7‐1, the mixing console is used to create a 5.1‐channel mix, which is then fed to the DP570. The user selects dynamic range control and downmix parameters and auditions them in various monitor modes before starting to record the DP571 output. For playback of the recorded tape, the VTR audio outputs are fed to a DP572. Afterward, the DP572 outputs are rerouted to the DP570 for monitoring via a console or monitor box. ® This basic setup is effective for creation and editing of Dolby E recorded media. Mixing DP570 Console 5.1-Channel Monitor Analog Outputs Digital Audio Inputs DP571 DP572 Metadata Metadata Out Video Ref Video Ref Router Outputs...
Page 66: Typical Activities
Using the DP570 in Postproduction Typical Activities Typical Activities The DP570 is used in the monitor chain to emulate consumerʹs listening environment. 7.2.1 Measuring Dialogue Level As the mix is nearing completion, use the dialogue level indicators during a representative period of speech to determine and select the Dialogue Level value for the program. The measured value from program material appears in yellow numbers (–26 in Figure 7‐2). The Dialogue Level value set in the software appears in green numbers (–27 in Figure 7‐2). Figure 7-2 Dialogue Level Controls If it is necessary to change the value in the software, press the Accept button. The system will transfer the number appearing in the measured value window to the dialnorm value window, and set the parameter automatically. In most cases, selecting and measuring a representative period of speech within the program will serve as a good example of the overall dialogue level throughout the program, provided good mixing practices are observed. In some cases, (documentaries, location sound, and so on), it may be difficult to match the dialogue level from section to section. In these cases, while the dialogue level indicators on the DP570 can help, your ears are the best tool to achieve the best balance. In most cases, short‐term measurements are best for monitoring during editing as they provide a measurement over each ten‐second period of program audio and do not average the measurement over a long period of time. For a longer section of program that will be played back once, an infinite measurement can be used as it will integrate the measured value of the signal until the meter is manually reset, and, over the single pass, will return the average level of the program (presumably speech content) for that section. For more information on the measurement modes, see Measuring the Average Loudness of ...
Page 67: Monitoring Downmixes
Using the DP570 in Postproduction Using the DP570 with Other Dolby Equipment Identified Clips on page 31 for more information on these modes and to understand the differences between them. 7.2.3 Monitoring Downmixes Once dialnorm has been set and a measurement mode selected, check downmixes and make any adjustments necessary so that the mix translates best across the appropriate listening environments. A full dynamic range 5.1 mix may sound more pleasing than the same mix that is stereo or ® Pro Logic downmixed. In some cases, a compromise on downmixes must be made to ensure that the 5.1 mix remains the best. Note: Remember to prioritize your mixes. Use the downmix options shown in Figure 7‐3 to help create the best downmix possible from your original multichannel mix. Figure 7-3 Typical Options for Monitoring Downmixes Check both compression modes on the full 5.1 mix as well as downmixes. This is an important step because you cannot be certain which mode consumers may be using. See Dynamic Range Control on page 88 for detailed information on the DRC modes.
Page 68: Most Important Metadata
Using the DP570 in Postproduction Most Important Metadata Most Important Metadata The following highest‐priority parameters have the greatest impact on your work. We suggest you address them in this order: Program configuration: the number of type of programs included in the Dolby E stream. 2. Channel mode: the number of audio channels in the program; set it once for each program. Note: Ensure that these parameters are set correctly because other parameters depend on them. 3. Dialogue level: the dialnorm parameter. Compare the measured value (shown in yellow numbers) to the dialnorm metadata parameter value (shown in green numbers) periodically as you work. 4. Compression mode: select one that sounds best; None is not recommended as it may cause peak limiting in a consumerʹs decoder during downmixing. For more information on compression modes, see Setting Dynamic Range Control on page 34. Set it once for each program. 5. Surround –3 dB flag: Set this according to the setting of the original mixing room. Typically this flag is enabled when a mix was balanced on a theatrical dubbing or mixing stage where the surround channels were SPL‐adjusted to 82 and the main speakers were SPL‐adjusted to 85. 6. Downmix parameters: set according to taste: • Center downmix level •...
Page 69: Chapter 8: Using The Dp570 In Master Control
Chapter 8 Using the DP570 in Master Control ® Dolby E encoding is commonly used to distribute multichannel audio from a network center to multiple affiliate stations, usually via satellite or optical fiber. The DP570 provides quick and accurate emulation of multiple listening environments during Dolby E encoding. Connecting the DP570 Figure 8‐1 shows a typical setup for this application, where master control requirements dictate that audio switching occurs discretely, and that the audio must be encoded into a Dolby E signal prior to transmission. The source audio is a Dolby E stream, either played out from a VTR or server, or received live through an IRD. The stream is processed by the DP572, providing discrete signals to the master control switcher inputs. The switcher output is sent to the DP571 for Dolby E encoding, and also to the DP570 for monitoring and metadata modification. Note: In this example, the metadata output from the DP572 decoder is passed through the master control switcher via a serial layer. The “air” serial output is connected to the DP571 and the “preview” outputs of the master control switcher to the DP570. More than two metadata streams can be switched if necessary. The DP571 output then gets multiplexed with video in the MPEG transport stream and sent for distribution. Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 70: Typical Activities
Using the DP570 in Master Control Typical Activities DP571 MPEG Encoder Metadata Digital Audio Video Ref Main Outputs Dolby E DP572 Master Server Control Metadata Metadata Metadata Digital Audio Inputs Audio Main Digital Audio Video Outputs DP570 Digital Metadata Audio Inputs Video Ref 5.1-Channel Monitor...
Page 71: Monitoring Dialogue Level
Using the DP570 in Master Control Typical Activities Figure 8-2 Typical Downmix Options Or, if a viewer complains about the audio quality on a mono television when viewing a 5.1 program, the MC operator can quickly select Mono in the Downmix section, and RF to emulate the viewerʹs listening conditions. 8.2.2 Monitoring Dialogue Level When changing programs or channels, refer to the dialogue level indicators to verify that the Dialogue Level value set in the software—the green numbers in Figure 8‐3—and the measured value—the yellow numbers in Figure 8‐3—of speech match ± 2 dB. Figure 8-3 Dialogue Level Controls If the Dialogue Level value doesn’t match, we recommend adjusting the overall audio level until it does. Note: A single program must have a single dialnorm value, and this value should not change within the program. Adjust audio levels to match dialnorm if necessary, rather than the other way around. In most cases short‐term measurements are best as they provide a measurement over a ten‐ second period of program audio and do not average the measurement over a long period of time. For more information on the measurement modes, see Measuring the Average Loudness of Identified Clips on page 31. Dolby ®...
Page 72: Using Unity Gain Mode
Using the DP570 in Master Control Using Unity Gain Mode Using Unity Gain Mode Unity Gain mode should be off to best emulate a consumerʹs listening experience. To compare between off‐air (for example consumer emulation) and preview signals, Unity Gain mode may be enabled. Refer to Unity Gain Mode on page 39 for more information. Using the DP570 with Other Dolby Equipment The Cat. No. 549 Dolby GPI/O Controller provides a quick method to change downmix and compression modes while monitoring. Most Important Metadata We suggest monitoring these highest‐impact metadata parameters in priority order: Program configuration: the number of type of programs included in the Dolby E stream. 2. Channel mode: the number of audio channels in the program; set it once for each program. Note: Ensure that these parameters are set correctly because other parameters depend on them. 3. Dialogue level: the dialnorm parameter. 4.
Page 73: Appendix A: Configuring A Monitor System
Appendix A Configuring a Monitor System Configuring the monitor system 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 is a complex task that must be done correctly to achieve optimal results. The steps required to set up your listening environment are: Assigning Monitor System Configuration Settings on page 61 2. Setting Delay Values on page 65 3. Calibrating Speaker Playback Levels on page 67 4. Assigning a Dim Setting on page 70 Assigning Monitor System Configuration Settings Assigning these configurations consists of several steps: Opening the Monitor Setup Tab on page 61 2. Selecting Analog Outputs on page 62 3. Choosing Bass Management Settings on page 62 4. Choosing Back Surround Speakers on page 64 5. Setting the Lt/Rt Gain on page 64 6.
Page 74: Selecting Analog Outputs
Configuring a Monitor System Assigning Monitor System Configuration Settings Figure A-2 Monitor Setup Tab A.1.2 Selecting Analog Outputs The system automatically detects the presence of the Cat No. 548 Analog Outputs Card, and checks the Analog Outputs box when it is present. Uncheck the box if you do not wish to use them. If you uncheck the box, all the settings in this area will be grayed out and unavailable. A.1.3 Choosing Bass Management Settings If you have a 5.1‐channel monitor system with full‐range speakers at every channel and a subwoofer, you may not need to use bass management, and can leave this feature at the factory default, None. When no bass management is selected, only the LFE channel is sent to the subwoofer. If you have any other speaker configuration you should choose appropriate settings for Bass Management, Subwoofer Crossover, and LFE Monitor Mode. Use the controls shown in Figure A‐3. For example: • If your monitoring system consists of five satellite speakers and a subwoofer, you can redirect the low frequencies from the five main channels to the Subwoofer output. Dolby ®...
Page 75: Table A-1 Bass Management Options
Configuring a Monitor System Assigning Monitor System Configuration Settings • If you have small Center and Surround speakers, direct the low frequencies from those channels to the Left, Right, or Subwoofer outputs. • If no subwoofer is available, redirect the LFE channel to the Left and Right channel decoder outputs. Bass Management This option determines how low frequencies are directed in the monitor system. The choices are listed in Table A‐1 Table A-1 Bass Management Options Options None → C/S/LFE → SRND/LFE → CNTR/LFE → CNTR/SRND → → SURROUND → CENTER →...
Page 76: Choosing Back Surround Speakers
Configuring a Monitor System Assigning Monitor System Configuration Settings Figure A-3 Bass Management Settings A.1.4 Choosing Back Surround Speakers The setting records the number of back surround speakers you have in your monitoring system. The default is None. If this not correct, click either 1 or 2. A.1.5 Emulator Reversion This setting is not active in the current version. A.1.6 Setting the Lt/Rt Gain This is an input trim for the separate . The default value is 0 dB. Adjust it using Lt/Rt Input the dial shown in Figure A‐4. Figure A-4 Lt/Rt Gain Function A.1.7 Configuring Dolby Pro Logic II For a discussion of these features and their uses, see Dolby Pro Logic II Support on page 41.
Page 77: Setting Delay Values
Configuring a Monitor System Setting Delay Values Figure A-5 Pro Logic II Controls 3. Click Enabled to turn Panorama on. It is disabled by default. Setting Delay Values For optimal performance, signals from all the speakers should arrive at the reference listening position simultaneously. This is accomplished by assigning delays to each speaker. Measure and record the distance from the reference listening position to each of the following speakers. No measurement is necessary for Back Surround speakers, as this value is automatically calculated as a function of Dolby Surround EX™. • Left speaker (L) and Right speaker (R) Note: The L and R speakers should be equidistant from the reference listening position. Reposition them if necessary. • Center speaker (C) • Left Surround speaker (Ls) • Right Surround speaker (Rs) Note: The calculations below assume you are measuring in feet and inches. If you are measuring in metric units, multiply the distance measured by three to get the approximate distance in feet. In the calculations that follow: • L equals the distance from the Left speaker to the reference listening position •...
Page 78: Calculating Delay Values
Configuring a Monitor System Setting Delay Values A.2.1 Calculating Delay Values Center Delay L minus C (L – C) equals the Center delay setting in milliseconds. For example, if C is 2 feet less than L or R, set Center delay to 2 ms. If C is three feet more than L or R, set Center delay to –3 ms. If C = L = R, set Center delay to 0 ms. Note: If you set a negative Center delay value, the DP570 actually sets Center delay to 0 ms and adds corresponding positive delay time to the Left, Right, and Surround outputs. Surround Delay C minus S (C – S), the shorter of the two surround speaker distances, equals the surround delay setting in ms. Calculating Pro Logic Delay Pro Logic delay calculation includes an additional factor. C minus S plus 15 (C – S + 15) equals the Pro Logic setting in ms. A.2.2 Entering Delay Values Entering Delays in DolbyRemote 570 Use the dials to enter the delay values into the Delay fields shown in Figure A‐6. You can also type in the fields.
Page 79: Calibrating Speaker Playback Levels
Configuring a Monitor System Calibrating Speaker Playback Levels Calibrating Speaker Playback Levels The following sections discuss and illustrate the steps in speaker calibration in the order they should be performed. Normally this entire process need only be executed once for each set of monitor speakers. We do recommend periodic checks to verify that current settings are still appropriate. A.3.1 Setting the Digital Reference Level Set this level to match your studioʹs digital reference level before turning on a test noise when calibrating your speaker system. The default value is –20 dB. Adjust it using the dial shown in Figure A‐7. Figure A-7 Digital Reference Level A.3.2 Setting the Master Trim Set the Master Trim shown in Figure 4‐10 to 0. A.3.3 Setting the Master Volume Before generating test noise, make sure that master Volume is set low: –20 to –30. Use the ...
Page 80: Generating Test Noise
Configuring a Monitor System Calibrating Speaker Playback Levels • For music mixing, each speaker channel should be set to the same SPL (the same as 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 important. When mixing for television or music in small mixing rooms such as 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 in the home environment very close to the sound heard by the mixer. A.3.5 Generating Test Noise Warning: Before you turn on test noise, be sure that your playback system is set no higher than moderate volume. If the playback level is high, you risk damaging your speakers and possibly your hearing. The default test noise level from the DP570 is –20 dBFS to the digital outputs (+4 dBu to the analog monitor outputs). The DP570 generates two kinds of test noise: pink and filtered. Pink noise exerts an equal sound pressure level across the entire spectrum. Filtered noise is pink noise that has been highpass filtered at the preestablished LFE crossover frequency. Click a button to generate the appropriate kind of test noise. Click Pink if your bass management setting is None. Otherwise, click Filtered. The test noise buttons are shown in Figure A‐2 directly under the Analog Outputs check box. When activated, the test noise cycles around the speakers in order: Left, Center, Right, Right Surround, Back Surround Right, Back Surround Left, Left Surround, and Subwoofer —remaining two seconds at each output before moving onto the next. The test noise feature is intelligent. When you begin an individual speaker trim adjustment, the test noise remains at that speaker until you complete the adjustment and move to another speaker, allowing you to adjust the SPL according to the following procedure. A.3.6 Increasing the System Volume After turning on the noise, raise the master Volume slider slowly until meter readings ...
Page 81: Measuring Spl
Configuring a Monitor System Calibrating Speaker Playback Levels A.3.7 Measuring SPL To accurately measure SPL: 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. 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 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 (obscuring the meter with your body). A.3.8 Computing Channel Trims After measuring each speaker, compute the difference between the measured actual SPL and the target SPL. Adjust the trim for each speaker appropriately using the Multichannel Trims controls shown in Figure A‐8. Figure A-8 Multichannel Trims Controls When you have set trim levels for all your speakers, click the test noise control shown in ...
Page 82: A.3.10Calibrating Emulator Output
Configuring a Monitor System Assigning a Dim Setting +10 dB datum LFE Channel +10 dB 0 dB datum Center channel Figure A-9 Real-time Analyzer (RTA) Display If an RTA is not available, setting the LFE channel higher (e.g., 89 dBc for the Subwoofer channel when the Center channel measures 85 dBc), can give an approximate level with an SPL meter. This level varies with the quality of the meter being used. For future reference, if calibrating the subwoofer with an RTA, measure the level with an SPL meter and note the meter reading for the proper calibration. Use this measured value for quick checks of the system calibration in the future. A.3.10Calibrating Emulator Output If your DP570 does not include the Cat. No. 548 Analog Option Card, calibrate your speaker system using the emulator outputs and external equipment. These outputs are digital and do not have any internal adjustments. Assigning a Dim Setting The Dim Gain slider sets an alternate level for all speaker outputs. This level is activated ...
Page 83: Appendix B: Connector Specifications
Appendix B Connector Specifications This appendix gives specifications and pinouts for all the connectors used on the DP570, and the cables that can be used to connect to it. Front-Panel Remote Connector Table B‐1 shows the pinout for the front‐panel RS‐232 connector. Table B-1 Front-Panel Remote Connector Pinout Connection RX asynchronous data out Ground TX asynchronous data in Sense select front panel Note: This unit is Data Communications Equipment (DCE). In accord with the RS‐232 specifications, the data output pin of this port is therefore labeled RX even though asynchronous data is leaving the device through this connection. The RX pin on this unit should be connected to the RX pin on Data Terminal Equipment (DTE) such as a PC com port. Similarly the input pin on this device is labeled TX, and should be connected to the TX pin on a PC or other DTE device. Digital Audio Inputs The digital audio inputs are BNC unbalanced female connectors compliant with AES‐3id‐1995/SMPTE 276M specifications. Digital Audio Outputs The digital audio outputs are also BNC unbalanced female connectors compliant with AES‐3id‐1995/SMPTE 276M specifications. Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 84: Video Ref
Connector Specifications Video Ref Video Ref The Video Ref connections are BNC unbalanced female connectors that receive NTSC composite programs or color black video. Signal levels are compliant with SMPTE 154 specifications. Two connectors are provided in parallel to provide loop‐through capability. This input does not supply a clock signal to the unit but rather allows the metadata output to maintain sync with a video reference. Lt/Rt Inputs These are BNC unbalanced female connectors compliant with AES‐3id‐1995/SMPTE 276M specifications. Two connectors are provided in parallel for the Lt/Rt input to provide loop‐through capability. Metadata Input Ports These ports are 9‐pin female D‐connectors with full‐duplex RS‐485 protocol running at 115 kbps. The pinout is SMPTE 207M compatible. Table B-2 Metadata Input Port Pinout Connection Shield TX A asynchronous data in – RX B asynchronous data out + Ground Ground TX B asynchronous data in + RX A asynchronous data out – Shield a. See the note on DCE equipment on page 71. Metadata Output Port These ports are 9‐pin female D‐connectors with full‐duplex RS‐485 protocol running at 115 ...
Page 85: Rear-Panel Remote Port
Connector Specifications Rear-Panel Remote Port Table B-3 Metadata Output Port Pinout <~Figure>(continued) Connection Ground RX B asynchronous data out + TX A asynchronous data in – Shield a. See the note on DCE equipment on page 71. Rear-Panel Remote Port This is a 9‐pin female RS‐485 D‐connector. The pinout is SMPTE 207M electrical/mechanical specification compatible. Table B-4 Rear-Panel Remote Port Pinout Connection Shield TX B asynchronous data in – RX A asynchronous data out + Ground Ground TX A asynchronous data in +...
Page 86: Stereo/Mono/Solo Analog Output
Connector Specifications Stereo/Mono/Solo Analog Output Table B-5 Multichannel Analog Output Pinout Connection Connection Rs Ground Ls + Out Ls – Out Ls Ground Subwoofer + Subwoofer – Out SW Ground Center + Out Center – Out C Ground Right + Out Right – Out R Ground Left + Out Left – Out L Ground No Connection B.11 Stereo/Mono/Solo Analog Output This is a 25‐pin female D‐connector. Table B-6 Stereo/Mono/Solo Analog Output Pinout Connection Connection Digital Ground...
Page 87: Appendix C: Front-Panel Menus
Appendix C Front-Panel Menus This appendix illustrates the front‐panel menus as trees, divided into subsections for clarity. The Setup menu begins on this page. The Status menu is shown in Status Menu on page 82. Use the navigation buttons, described and illustrated in Using the Front‐Panel Buttons on page 13, to navigate these menus. Top-Level Setup Menu Unit Setup Program Config DP570 Program Config 1 Program Desc to Metadata DP570 Unit Setup Params Metadata Params Submenu to Measure DP570 Unit Setup Control Submenu Measure Control DP570 Unit Setup to Monitor Control Monitor Control...
Page 88: Metadata Params Submenu
Front-Panel Menus Metadata Params Submenu Metadata Params Submenu Metadata Params Metadata Params Dialogue Lev Srnd Ph Shift Dialogue Lev Srnd Ph Shift –27 dB Enable Parameter Selection Order 1. Dialogue Lev 11. Room Type 21. DC Filter 2. Channel Mode 12.
Page 89: Monitor Control Submenu
Front-Panel Menus Monitor Control Submenu Monitor Control Submenu Monitor Control Program Select Program Select Program 1–5 Monitor Control Lt/Rt Input Lt/Rt Input Lt/Rt Input Disabled Enabled Extended BSI Extended BSI Monitor Control Extended BSI Disabled Enabled Monitor Control Pro Logic Mode Pro Logic Mode Pro Logic Mode Pro Logic...
Page 90: User Presets Submenu
Front-Panel Menus User Presets Submenu User Presets Submenu User Presets User Presets Recall Preset Save Preset Recall Preset Save Preset Save Preset 01X Preset Name Preset 01 Preset 32 Enter Type Enter Type Enter Type Authoring Emulator Enter Name Preset Name Save Preset ENTER=Yes ESC=No to User Presets/...
Page 91: Router Config Submenu
Front-Panel Menus I/O Control Submenu C.7.1 Router Config Submenu Router Config Router Presets Router Presets To main I/O Router Presets Recall Router Save Router Control Menu Recall Router Save Router Save Router 01-RPRESET 1 Preset 1 Preset 4 Recall Router Enter Name 04-RPRESET 4 Preset Name...
Page 92: Monitor Config Submenu
Front-Panel Menus Monitor Config Submenu Monitor Config Submenu Monitor Config to Speaker Speaker Config Config Submenu Monitor Config Speaker Delays Speaker Delays Speaker Delays Center Delay Pro Logic Delay Center Delay Center Delay +5 ms –3 ms Monitor Control to Speaker Trims Speaker Trims Submenu Monitor Control...
Page 93: Speaker Trims Submenu
Front-Panel Menus Monitor Config Submenu C.8.2 Speaker Trims Submenu Speaker Trims Test Noise Test Noise Test Noise Test Noise Pink Filtered Speaker Trims Speaker Select Speaker Select Speaker Select Speaker Select Multichan Stereo Mono Speaker Trims Master Trim Multichan Trim Multichan Trim Master Trim Multichan Trim...
Page 94: Status Menu
Front-Panel Menus Status Menu Status Menu This main screen displays the selected program configuration, the metadata 5.1+2 Internal source, the program number being Program 3/2 27 monitored, its acmod, and its dialnorm Master Volume Press Enter to view current metadata values. Values Metadata Params cannot be changed on this Enter to View...
Page 95: Appendix D: A Guide To Dolby Metadata
Appendix D A Guide to Dolby Metadata 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 document, 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 Finally, we define each of the adjustable parameters, and provide sample combinations: • Individual parameters • Metadata combinations Metadata Overview Dolby ® Digital and Dolby E are both data‐rate reduction technologies that use metadata. 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. In normal operation, the encoded audio and metadata are carried together as a data stream on two regular digital audio channels (AES3, AES/EBU, or S/PDIF). Metadata can also be carried as a serial data stream between Dolby E and/or Dolby Digital equipment. 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 at home through a medium such as DTV or DVD. It consists of a single encoded program of up to six channels of audio described by one metadata ...
Page 96: Figure D-1 Metadata Flow From Production To Consumer
A Guide to Dolby Metadata Metadata Overview 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 full 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. This control, however, requires the producer to set the metadata parameters correctly, since they affect important aspects of the audio—and can seriously compromise the final product if set improperly. Although most metadata parameters are transparent to consumers, certain parameters affect the output of a home decoder, such as downmixing for a specific speaker configuration, or when the consumer chooses Dynamic Range Control to avoid disturbing family and neighbors. Figure D‐1 shows a 5.1 + 2 Program Config, consisting of a 5.1‐channel program and a two‐channel secondary audio program (SAP). Figure D-1 Metadata Flow from Production to Consumer Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 97: Table D-1 Profession And Consumer Metadata Types
A Guide to Dolby Metadata Metadata Overview There are two functional classifications of metadata: Professional—These parameters are carried only in the Dolby E bitstream. They are used to automatically configure a downstream Dolby Digital encoder, allowing maximum control by the content producer over how the encoded bitstream is treated at each step on the way to the consumer’s decoder. Consumer—These parameters are carried in both the Dolby E and the Dolby Digital bitstream. The consumer’s Dolby Digital decoder uses these parameters to create the best possible audio program possible on each consumer’s playback system. Consumer parameters include the DRC values, which are ultimately enabled by the end user’s selection, as discussed in Dynamic Range Control on page 88. Both types of metadata can be examined, modified, or passed through during encoding. Table D‐1 lists the active metadata parameters and indicates whether the parameter is Professional or Consumer. Table D-1 Profession and Consumer Metadata Types Metadata Parameter Professional Consumer Program Configuration Program Description Text Dialogue Level Channel Mode LFE Channel Bitstream Mode Line Mode Compression RF Mode Compression RF Overmodulation Protection Center Downmix Level...
Page 98: Dialogue Level
A Guide to Dolby Metadata Dialogue Level Table D-1 Profession and Consumer Metadata Types <~Figure>(continued) Metadata Parameter Professional Consumer Lowpass Filter LFE Lowpass Filter Surround 3 dB Attenuation Surround Phase Shift a. Extended Bitstream Information parameters are shown in italics. Special Parameters There are professional parameters in the Dolby E bitstream that are not under direct user control, such as Timecode and Pitch Shift. Timecode Dolby E bitstreams carry timecode information in hours:minutes:seconds:frames format. Pitch Shift The Pitch Shift parameter can be generated automatically by a Dolby E decoder to control the Dolby Model 585 Time Scaling Processor. If the input to the Dolby E decoder is not at normal play speed (as with varispeed or program play), then the Pitch Shift Code parameter indicates the amount of audio pitch shifting required to restore the original program pitch. Dialogue Level Dialogue Level (also known as dialogue normalization or dialnorm) is perhaps the single most ...
Page 99 A Guide to Dolby Metadata Dialogue Level 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 with DVDs. 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 ranges in 1 dB steps from –1 to –31 dB. 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 normalize the average output level—that is, the output level averaged over time using the equivalent loudness method, Leq(A)— 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. Note: The –31 dBFS Leq(A) should not be confused with the station reference level (often –18 or –20 dBFS). It is common to have different Leq(A) values for program material that has the same reference level. An average loudness level of –31 dBFS Leq(A) is quite compatible with facilities running at a variety of reference levels. 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 Setting the Dialogue Level parameter is an essential service to the listener. For your listeners, setting this level properly means: •...
Page 100: Dynamic Range Control
A Guide to Dolby Metadata Dynamic Range Control Dynamic Range Control Different home listening environments present a wide range of requirements for dynamic range. Rather than simply compressing the audio program at the transmission source 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 then 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 most appropriate DRC metadata for the decoder’s operating mode. The Dolby Digital stream carries metadata for the two possible operating modes in 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 metadata authoring, or encoding, is selection of the dynamic range control profiles for Line mode and RF mode. The profiles are described in the following sections. Note: While the use of DRC modes during decoding is a consumer‐selectable feature, the Dialogue Level parameter setting is not. Therefore, setting the Dialogue Level parameter properly is essential before previewing a DRC profile. Line Mode Line mode offers these features: •...
Page 101: Dynamic Range Control Profiles
A Guide to Dolby Metadata Dynamic Range Control Profiles 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 In RF mode, high‐ and low‐level compression scaling is not allowed. When RF mode is active, that compression profile is always fully applied. 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, this results in dialogue being reproduced at a level of –20 dBFS Leq(A), 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 average loudness level that compares well with existing analog television broadcasts. 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. Dynamic Range Control Profiles 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 D‐2. Range Early Dialogue Level Setting Range Null Band...
Page 102: Downmixing
A Guide to Dolby Metadata Downmixing • Film Standard Max Boost: 6 dB (below –43 dB) Boost Range: –43 to –31 dB (2:1 ratio) Null Band Width: 5 dB (–31 to –26 dB) Early Cut Range: –26 to –16 dB (2:1 ratio) Cut Range: –16 to +4 dB (20:1 ratio) • Music Light (No early cut range) Max Boost: 12 dB (below –65 dB) Boost Range: –65 to –41 dB (2:1 ratio) Null Band Width: 20 dB (–41 to –21 dB) Cut Range: –21 to +9 dB (2:1 ratio) • Music Standard Max Boost: 12 dB (below –55 dB) Boost Range: –55 to –31 dB (2:1 ratio) Null Band Width: 5 dB (–31 to –26 dB) Early Cut Range: –26 to –16 dB (2:1 ratio) Cut Range: –16 to +4 dB (20:1 ratio) • Speech Max Boost: 15 dB (below –50 dB) Boost Range: –50 to –31 dB (5:1 ratio) Null Band Width: 5 dB (–31 to –26 dB) Early Cut Range: –26 to –16 dB (2:1 ratio) Cut Range: –16 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 ...
Page 103 A Guide to Dolby Metadata Downmixing 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. It is important to consider the output signals from each piece of equipment that can receive a Dolby Digital program in the home. Table D‐2 shows the output types from different equipment. Table D-2 Outputs from Different Equipment Types Output Equipment 5.1-Channel Two-Channel Digital Analog Analog Remodulated 5.1‐channel amplifier The standard home theater A/V amp 5.1‐channel decoder High‐end DVD player DVD player PC (some units) Includes games consoles High‐end set‐top box ...
Page 104: Parameter Definitions
A Guide to Dolby Metadata Parameter Definitions stream to either a downstream decoder or an integrated amplifier with Dolby Digital decoding. 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, of the multichannel source program that is suitable for Dolby Surround Pro Logic ® decoding. This kind of downmix is also called Pro Logic or Left total/Right total (Lt/Rt). The other type is a simple stereo representation (called 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 Left and Right Surround channels discretely to the Left and Right speaker channels, respectively. 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 his playback system. The mono signal feeding the RF/Antenna output is usually derived from the Lo/Ro downmix. There are separate metadata parameters that govern the Lo/Ro and Lt/Rt downmixes. 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 Parameter Definitions on page 92 for the definition of 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 while 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 ...
Page 105: Universal Parameters
A Guide to Dolby Metadata Parameter Definitions metadata stream without Extended BSI parameters, and Extended BSI parameters translate seamlessly to decoders that read only universal parameters. Note: Universal parameters include both professional and consumer metadata.Table D‐1 on page 85 distinguishes between professional consumer parameters. D.6.1 Universal Parameters All universal parameters are supported by Dolby E encoders and decoders; all except Program Configuration and Program Description Text are supported by all Dolby Digital encoders and decoders. Program Configuration This parameter determines how the audio channels are grouped within a Dolby E bitstream. Up to eight channels can be grouped together in individual programs, where each program contains its own metadata. The default setting is 5.1 + 2. Table D‐3 shows all the available configurations. Table D-3 Program Configuration Settings Program Configurations 5.1 + 2 4 + 2 5.1 + 2 × 1 4 + 2 × 1 4 + 4 3 × 2 4 + 2 × 2 2 × 2 + 2 × 1 4 + 2 + 2 × 1 2 + 4 × 1...
Page 106: Table D-4 Channel Mode Definition And Data Rates
A Guide to Dolby Metadata Parameter Definitions Dialogue Level The Dialogue Level parameter is discussed in Dialogue Level on page 86. 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 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 Dolby Digital encoder 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 by a the LFE Channel parameter. Table D-4 Channel Mode Definition and Data Rates Channel Mode Definition and Data Setting Rate Dual mono (not valid for ...
Page 107: Table D-5 Lfe Channel Settings
A Guide to Dolby Metadata Parameter Definitions Channel parameter can be set. You must have at least three channels to be able to add an LFE channel. Table D-5 LFE Channel Settings LFE Channel Setting Enabled Disabled 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 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. Table D-6 itstream Mode Options Bitstream Mode Definition Setting Complete Main (CM) CM flags the bitstream as the main audio service for the program ...
Page 108: Table D-7 Rf Overmodulation Protection Setting
A Guide to Dolby Metadata Parameter Definitions Table D-6 itstream Mode Options Bitstream Mode Definition Setting Assc. Commentary (C) 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. Assc. Emergency (E) 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. In this case, the Left and Right channels contain music, the Center channel has a guide melody, and the Left and Right Surround channels carry optional backing vocals. Line Mode Compression Profile and RF Mode Compression Profile For details of the available profiles, see Dynamic Range Control Profiles on page 89.
Page 109: Table D-8 Center Downmix Level Settings And Definitions
A Guide to Dolby Metadata Parameter Definitions parameter during downmixing in Lo/Ro mode when Extended BSI parameters are not active. Table D-8 Center Downmix Level Settings and Definitions Center Downmix Definition Level Setting 0.707 (–3 dB) default The Center channel is attenuated 3 dB and sent to the Left and Right channels. 0.596 (–4.5 dB) The Center channel is attenuated 4.5 dB and sent to the Left and Right channels. 0.500 (–6 dB) 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. Table D-9 Surround Downmix Level Settings and Definitions Surround Downmix Definition Level Setting...
Page 110: Table D-11 Audio Production Information Settings And Definitions
A Guide to Dolby Metadata Parameter Definitions Audio Production Information This parameter indicates whether the mixing level and room type values are valid. indicates that a receiver or amplifier can use these values. indicates that these values are invalid. In practice, only high‐end consumer equipment implements these features. Table D-11 Audio Production Information Settings and Definitions Audio Production Definition Information Setting 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 SPL during the final mixing session at the studio or on the dubbing stage. The parameter allows a consumer’s amplifier to set its volume control to match 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, if 85 dB equates to a reference level of –20 dBFS; the mixing level is 85 + 20, or 105 Table D-12 Mixing Level Setting Mixing Level Setting 80 to 111 dB in 1 dB increments...
Page 111: Table D-14 Copyright Bit Settings
A Guide to Dolby Metadata Parameter Definitions Copyright Bit This parameter indicates whether the encoded Dolby Digital bitstream is copyright protected. It has no effect on Dolby Digital decoders and its purpose is purely to provide information. Table D-14 Copyright Bit Settings Copyright Bit Setting Original Bitstream This parameter indicates whether the encoded Dolby Digital bitstream is the master version or a copy. It has no effect on Dolby Digital decoders and its purpose is purely to provide information. Table D-15 Original Bitstream Settings Original Bitstream Setting 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 ...
Page 112: Table D-17 Lowpass Filter Setting
A Guide to Dolby Metadata Parameter Definitions it prevents aliasing on decoding and is normally switched on. This parameter is not passed to the consumer decoder. Table D-17 Lowpass Filter Setting Lowpass Filter Setting Enabled Disabled LFE Lowpass Filter This parameter determines whether a 120 Hz eighth‐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. Table D-18 LFE Lowpass Filters LFE Lowpass Filter Setting Enabled Disabled Surround 3 dB Attenuation The Surround 3 dB Attenuation parameter determines whether the Surround channel(s) ...
Page 113: Extended Bitstream Information Parameters
A Guide to Dolby Metadata Extended Bitstream Information Parameters Digital program is decoded to 5.1 channels, but it provides an Lt/Rt output that can be decoded with Pro Logic to L, C, R, S, if desired. Note: This parameter should always be turned off when you are working with steady state tones for testing purposes; calibration discs for example. Otherwise, we recommend that you leave this parameter enabled for normal program material to avoid problems with problems with the analog outputs of set‐top boxes. Table D-20 Surround Phase Shift Setting Surround Phase Shift Setting Enabled Disabled Extended Bitstream Information Parameters In response to requests from content producers, Dolby Laboratories modified the definitions of several metadata parameters from their original definition as described in ATSC document A/52. The revised definitions allow more information to be carried about the audio program and also 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 additional parameter definitions as Extended BSI. 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 ...
Page 114: Lt/Rt Center Downmix Level
A Guide to Dolby Metadata Extended Bitstream Information Parameters D.7.2 Lt/Rt Center Downmix Level This parameter indicates the level shift applied to the Center channel when adding to the left and right outputs as a result of downmixing to an Lt/Rt output. Its operation is similar to the center downmix level in the universal metadata Table D-22 Lt/Rt Center Downmix Level Setting Lt/Rt Center Downmix 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) D.7.3 Lt/Rt Surround Downmix Level This parameter indicates the level shift applied to the Surround channels when ...
Page 115: Lo/Ro Surround Downmix Level
A Guide to Dolby Metadata Extended Bitstream Information Parameters Table D-24 Lo/Ro Center Downmix Level Setting Lo/Ro Center Downmix Level Setting 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) D.7.5 Lo/Ro Surround Downmix Level This parameter indicates the level shift applied to the Surround channels when downmixing to an Lo/Ro output. When Extended BSI parameters are active, this parameter replaces the Surround Downmix Level parameter in the universal parameters. Table D-25 Lo/Ro Surround Downmix Level Settings Lo/Ro Surround Downmix Level Setting 0.841 (–1.5 dB)
Page 116: A/D Converter Type
A Guide to Dolby Metadata Metadata Combinations D.7.7 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. Table D-27 A/D Converter Type Setting A/D Converter Type Setting Standard HDCD Metadata Combinations Table D‐28 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 be used as a starting point from which to create your own metadata values. Table D-28 Metadata Combinations Action Film Local News Live Sporting Parameter...
Page 117: Dolby Surround Ex Mode
A Guide to Dolby Metadata Metadata Combinations Table D-28 Metadata Combinations <~Figure>(continued) Action Film Local News Live Sporting Parameter Drama (Lt/Rt) Music (5.0) (5.1) (Mono) Events (5.0) Copyright Original Bitstream Preferred Stereo Lt/Rt Preferred Lt/Rt Preferred Lo/Ro Lt/Rt Preferred Downmix Preferred Lt/Rt Center Downmix –0.707 1.0 –0.707 Level (–3 dB) (0 dB)
Page 118 A Guide to Dolby Metadata Metadata Combinations Dolby ® DP570 Multichannel Audio Tool User’s Manual...
Page 119: Appendix E: Regulatory Notices And Fuse Information
Appendix E Regulatory Notices and Fuse Information This appendix contains important safety information required in the United States, Canada, the United Kingdom and the European Union. It also contains important information on the safe replacement of fuses. Regulatory Notices E.1.1 USA 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 is required to correct the interference at his or her own expense. Exposed portions of the power supply assembly are electrically “hot.” To reduce risk of electric shock, the power cord must be disconnected when the power supply assembly is removed. 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8.
Page 120: Canada
Regulatory Notices and Fuse Information Regulatory Notices 13. On some equipment, the appliance coupler (power cord) is used as the mains disconnect device and should be readily accessible and free from obstacles. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power‐supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. E.1.2 Canada This Class A digital apparatus complies with Canadian ICES‐003. E.1.3 UK The power cord, Dolby ® Part No. 92021, supplied for use in Europe, 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, colored green and yellow, must be connected to the terminal in the plug that is marked with the letter E or by the ground symbol or colored green or green and yellow. The core, colored blue, must be connected to the terminal that is marked with the letter N or colored black. The core, colored brown, must be connected to the terminal that is marked with the letter L or colored red. This apparatus must be earthed. E.1.4 EU This equipment complies with the EMC requirements of EN55103‐1:1996 (Emission) and EN55103‐2:1996 (Immunity) when operated in an E2 environment in accordance with this manual. The power cord with CEE7/7 plug, Dolby Part No. 92021, supplied with this unit must be used with a polarized socket, or the socket must be supplied via a residual current breaker (RCD).
Page 121 Regulatory Notices and Fuse Information Regulatory Notices Warning: Check that the correct fuses have been installed. To reduce the risk of fire, replace only with fuses of the same type and rating. See Fuse Information on page 111 for more information on fuses. Important – Safety Notice Great Britain 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: • Ensure that your mains supply is in the correct range for the input power requirement of the unit. • Ensure fuses fitted are the correct rating and type as marked on the unit. • The unit must be earthed by connecting to a correctly wired and earthed power outlet. • The power cord supplied with this unit must be wired as follows: • Live—Brown • Neutral—Blue • Earth—Green/Yellow Important – Note de Securité France Ce matériel est conforme à la norme EN60065. Ne pas exposer cet appareil aux ...
Page 122 Regulatory Notices and Fuse Information Regulatory Notices • Die Sicherungen müssen in Typ und Stromwert mit den Angaben auf dem Gerät übereinstimmen. • Die Erdung des Gerätes muß über eine geerdete Steckdose gewährleistet sein. • Das mitgelieferte Netzkabel muß wie folgt verdrahtet werden: • Phase—braun • Nulleiter—blau • Erde—grün/gelb Norme Di Sicurezza – Importante Italia 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 dʹincendio vanno osservate le seguenti misure di sicurezza: • Assicurarsi che il selettore di cambio tensione sia posizionato sul valore corretto. • Assicurarsi che la portata ed il tipo di fusibili siano quelli prescritti dalla casa costruttrice. • Lʹapparecchiatura deve avere un collegamento di messa a terra ben eseguito; anche la connessione rete deve avere un collegamento a terra. • Il cavo di alimentazione a corredo dellʹapparecchiatura deve essere collegato come ...
Page 123: Product End-Of-Life Information
Regulatory Notices and Fuse Information Product End-of-Life Information utrustningen. För att garantera säkerheten och gardera mot eventuell elchock eller brandrisk, måste följande observeras: • Kontrollera att spänningsväljaren är inställd på korrekt nätspänning. • Kontrollera att säkringarna är av rätt typ och för rätt strömstyrka så som anvisningarna på enheten föreskriver. • Enheten måste vara jordad genom anslutning till ett korrekt kopplat och jordat el‐uttag. • El‐sladden som medföljer denna enhet måste kopplas enligt foljande: • Fas—Brun • Neutral—Blå • Jord—Grön/Gul Belangrijk Veiligheids-Voorschrift Nederland 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: • Controleer of de spanningscaroussel op het juiste Voltage staat. • Gebruik alleen zekeringen van de aangegeven typen en waarden. • Aansluiting van de unit alleen aan een geaarde wandcontactdoos. •...
Page 124: Main Fuse
Regulatory Notices and Fuse Information Fuse Information E.3.1 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. Warning: The power to the unit must be off when the following steps are performed. Ensure that the main power cable to the unit is not connected to a power source. To inspect or replace the main fuse: Open the fuse compartment door in the AC power input housing with a small flat‐blade screwdriver. See Figure E‐1. 2. Check that the fuse in the active (lower) fuse carrier is the correct rating. The fuse carrier must be inserted into the compartment with the orientation shown in Figure E‐1. Do not force the carrier into the compartment or both could be damaged. 3. Snap the fuse compartment door closed. METAL CLIP INSTALLED UNUSED SIDE OF CARRIER OPEN THE DOOR INSTALL ACTIVE FUSE FUSE Figure E-1 Fuse Replacement E.3.2 Internal Fuse The switching power supply contains a separate fuse. Most fault conditions should be ...
Page 125: Index
Index Dialogue Level Monitoring ......44 Dialogue Level Setting ........44 A/D Converter Type ..........104 Downmix Monitoring ........45 Analog Output Master Volume ......20 Most Important Metadata.........45 Applications Other Dolby Equipment ........45 Digital Television ..........4 – Typical Tasks ............43 DVD Mastering ........4 – Dynamic Range Control Live Remote Broadcast....... 47 Definition ............88 – Master Control..........57 – Profiles..............89 Postproduction ..........53 Setting ..............34 Audio Production Information ......
Page 126 Unity Gain Mode ..........50 Master Volume...........67 Lo/Ro Measuring SPL ...........69 Center Downmix Level ........102 Pro Logic II Configuration........64 Surround Downmix Level ......103 Speaker Playback Levels........67 Lowpass Filter............99 Subwoofer Calibration ........69 Lt/Rt Center Downmix Level ........102 Operation Input Mode ............36 Principles...............1 Surround Downmix Level ......102 Original Bitstream.............99 Lt/Rt Gain ............40 Pitch Shift ..............86 Main Fuse Checking ..........112 Post‐Production –...
Page 127 Surround 3 dB Attenuation ........100 Surround Downmix Level ........97 Surround EX Mode ..........103 Surround Phase Shift ..........100 System Requirements ..........7 Target SPL ..............67 Timecode ..............86 Unity Gain Mode............39 Unpacking ..............5 Venting................. 6 Dolby ® DP570 Multichannel Audio Tool User’s Manual...

Dolby Laboratories DP570 User Manual

Table of Contents

Chapter 1: Overview

Chapter 2: Getting Started

Chapter 3: Controlling the DP570

Chapter 4: Using the DP570 Features

Chapter 5 : Using the DP570 in DVD Mastering

Chapter 6: Using the DP570 in Live Remote Broadcast

Chapter 7 : Using the DP570 in Postproduction

Chapter 8: Using the DP570 in Master Control

Appendix A: Configuring a Monitor System

Appendix B: Connector Specifications

Appendix C: Front-Panel Menus

Appendix D: a Guide to Dolby Metadata

Table D-1 Profession and Consumer Metadata Types

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Table of Contents