® Dolby DP570 Multichannel Audio Tool User’s Manual Issue 4 Part Number 91753
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.
Regulatory Notices FCC NOTE: 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.
15. CAUTION: Troubleshooting must be performed by a trained technician. To reduce the risk of electric shock, do not attempt to service this equipment unless you are qualified to do so. 16. Do not defeat the safety purpose of the polarized or grounding‐type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is provided for your safety.
IMPORTANT SAFETY NOTICE This unit complies with safety standard EN60065 as appropriate. The unit shall not be exposed to dripping or splashing and no objects filled with liquids, such as coffee cups, shall be placed on the equipment. To ensure safe operation and to guard against potential shock hazard or risk of fire, the following must be observed: o Ensure that your mains supply is in the correct range for the input power requirement of the unit.
Table of Contents List of Figures ......................................................................................................................................xiii List of Tables ........................................................................................................................................ xv Chapter 1 Overview 1.1 1.2 1.3 1.4 Analog Monitoring Capabilities ...........................................................................................
Table of Contents 3.4.1 Reading the Default Status Display .......................................................................14 3.4.2 Viewing Status Screens .........................................................................................14 3.4.3 Reading the LED Indicators ...................................................................................14 3.5 Using the Setup Menu ......................................................................................................16 3.5.
Table of Contents 5.2.1 Setting the Dialogue Level .....................................................................................42 5.2.2 Monitoring the Dialogue Level ...............................................................................42 5.2.3 Monitoring Downmixes...........................................................................................43 5.3 Using the DP570 with Other Dolby Equipment.................................................................43 5.
Table of Contents A.3.2 Setting the Master Trim..........................................................................................65 A.3.3 Setting the Master Volume.....................................................................................65 A.3.4 Picking a Target SPL .............................................................................................65 A.3.5 Generating Test Noise ...........................................................................................66 A.3.
Table of Contents D.7 Extended Bitstream Information Parameters....................................................................99 D.7.1 Preferred Stereo Downmix Mode ........................................................................100 D.7.2 Lt/Rt Center Downmix Level ...............................................................................100 D.7.3 Lt/Rt Surround Downmix Level ............................................................................101 D.7.4 Lo/Ro Center Downmix Level .
List of Figures Figure 1-1 Figure 2-1 Figure 2-2 Figure 3-1 Figure 3-2 Figure 3-3 Figure 3-4 Figure 3-5 Figure 3-6 Figure 3-7 Figure 4-1 Figure 4-2 Figure 4-3 Figure 4-4 Figure 4-5 Figure 4-6 Figure 4-7 Figure 4-8 Figure 4-9 Figure 4-10 Figure 4-11 Figure 5-1 Figure 5-2 Figure 5-3 Figure 6-1 Figure 6-2 Figure 6-3 Figure 7-1 Figure 7-2 Figure 7-3 Figure 8-1 Figure 8-2 Figure 8-3 Figure A-1 Figure A-2 Figure A-3 Figure A-4 Figure A-5 Figure A-6 Figure A-7 Figure A-8 Figure A-9 Figure A-10 Figure C-1 Figure C
List of Figures Figure C-6 Figure C-7 Figure C-8 Figure C-9 Figure C-10 Figure C-11 Figure C-12 Figure C-13 Figure D-1 Figure D-2 xiv User Presets Submenu ....................................................................................................... 77 I/O Control Submenu........................................................................................................... 77 Router Config Submenu ...............................................................................................
List of Tables Table 3-1 Table 3-2 Table 3-3 Table 3-4 Table 3-5 Table 3-6 Table 3-7 Table 3-8 Table 4-1 Table 4-2 Table 4-3 Table 4-4 Table 4-5 Table 4-6 Table A-1 Table B-1 Table B-2 Table B-3 Table B-4 Table B-5 Table B-6 Table D-1 Table D-2 Table D-3 Table D-4 Table D-5 Table D-6 Table D-7 Table D-8 Table D-9 Table D-10 Table D-11 Table D-12 Table D-13 Table D-14 Table D-15 Table D-16 Table D-17 Table D-18 Table D-19 Table D-20 Table D-21 Table D-22 Table D-23 Table D-24 Front-Panel Navigation Buttons
List of Tables Table D-25 Table D-26 Table D-27 Table D-28 xvi Lo/Ro Surround Downmix Level Settings........................................................................... 101 Surround EX Mode Settings ............................................................................................... 102 A/D Converter Type Settings.............................................................................................. 102 Metadata Combinations........................................................
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 DVD production. The DP570 Multichannel Audio Tool simplifies the preparation of content for Dolby E and Dolby Digital encoding.
Overview 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.
Principles of Operation Emulator Config Spkr select List Mode Metadata Router Config Prgm Select Figure 1‐1 Output Meter Measurement Point Input Meter Measurement Point L R 1/2 L/R C Emulator 3/4 AES Rcvr x4 (DRC, dialnorm, downmix, P/L decode) Router SW Bass management AES Xmit x4 Ls Rs 5/6 C/ SW Ls/ Rs Bsl Bsl / Bsr Bsr Spkr Trim Vol, Mute 7/8 L 1/2 R 3/4 AES Xmit x4 From router outputs 5/6 C D/A x8 Trims x8 Volume Output Bal.
Overview The Cat. No. 548 Analog Output 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. 1.
Chapter 2 Getting Started This chapter describes the actions necessary to begin using the DP570 in a basic configuration. 2.1 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 documentation.
Getting Started 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.
Installing the Remote Software For a discussion of the connector types used for the V Ref connection on the DP570, see Appendix B. 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 6 feet long. 2.4 Installing the Remote Software Once power is applied, the DP570 will display the main status screen.
Getting Started 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 Remote RS-232 port or the rear‐panel Remote RS-485 port. For connector and pin descriptions, see the Section B.1 and the Section B.8. Note: 2.4.4 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.
Installing the Remote Software 2.4.6 Starting the Remote Software To start the remote software: 1. 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 2‐1. 2.4.7 Configure the Setup Monitor Tab Before the DP570 can begin service you must configure it to reflect your monitoring system. 1.
Getting Started 2.5 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 Table D‐3. 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.
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 GPI/O connector Note: Direct control and remote control using DolbyRemote 570 are mutually exclusive. You cannot use the front panel and the remote application at the same time.
Controlling the DP570 Figure 3‐2 Remote Delete Insert Status Contrast Volume Bypass Figure 3-2 3.1.1 Front-Panel Buttons 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 Shift button is not lit. The shifted function is active when the Shift button is pressed and lit. This function is indicated on the panel above or below the button as shown in Figure 3‐2.
Menu Structures Table 3-2 Shifted Key Functions <~Figure>(continued) Shift + Key Action 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 Esc 3.1.5 Opens the main volume control for the optional analog outputs. Engages Bypass mode, discussed in Emulator Bypass on page 36, skipping most processing.
Controlling the DP570 3.4.1 Reading the Default Status Display The default display when the unit powers up is the top screen of the status menu shown in Figure 3‐3. Figure 3‐3 1 2 5.1 + 2 Internal 5 4 3 Prog 1 3/2L 27 Figure 3-3 Default Status Menu Screen The main status display includes five elements: 1. Program configuration: can contain any of the supported program configurations listed in Table D‐3. The example in Figure 3‐3 includes two programs: A 5.1 mix and a 2‐channel mix.
Monitoring Status Using the Front Panel Basic Status Indicators The indicators shown in Figure 3‐4 display the basic status information listed in Table 3‐3. Figure 3‐4 Figure 3‐5 Figure 3-4 Basic LED Indicators Table 3-3 Basic Status Indications LED Delay Lt/Rt Input Solo Metadata Input Remote V Ref Fault Error Indication and Meaning This LED is not active in this version. Green: Lt/Rt Input mode is active. Off: Inactive Green: Solo input function is active. Off: Inactive.
Controlling the DP570 Figure 3‐6 Channel Activity L R C LFE Ls Rs Bs 1 Lt 2 Rt 3 4 5 6 7 Figure 3-5 SW Output 8 Input Channel Activity LED Indicators Channel Activity LED indicator meanings are detailed in Table 3‐4. Table 3-4 Channel Activity LED Indications LED Display Yellow Green Red Blinking Yellow Output: Not used. Input: Channel is not used in the selected Dolby® E program configuration. Output: Channel disabled by downmix, speaker selection, or Channel mode parameter setting.
Using the Setup Menu 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.
Controlling the DP570 3.6 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 GPI/O port. By assigning specific functions to the user‐definable pins, you can control and obtain status from the DP570.
Using the GPI/O Connector be edge‐triggered. The Active State column indicates the DP570 state that results when the pin is forced to the logic level indicated, if it is level‐triggered.
Controlling the DP570 Table 3‐8 lists the pins available for GPO and GPI functions.
Using the GPI/O Connector Edge‐triggered signals are either positive or negative. Level‐triggered signals are either high or low. The Function menu lets you assign a function to the pin you have selected. GPI Setup Input pins 23–36 in Figure 3‐7 and Table 3‐8 are user‐defined. To define a function for an input pin, enter the GPI Setup menu in the System Settings portion of the Setup menu, use the arrow buttons to select the pin number you wish to define, and press Enter.
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.
Using the DP570 Features 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: 1. 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.
Generating and Adjusting Metadata Table 4-1 Metadata Parameter Mix Level Room Type Preferred Stereo Downmix Lt/Rt Center Mix Level Lt/Rt Surround Mix Level Lo/Ro Center Mix Level Lo/Ro Surround Mix Level Dolby Surround EX Mode Converter Type Data Rate Metadata Parameter Defaults (continued) 5.
Using the DP570 Features 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.
Troubleshooting Metadata Problems 4.4 Troubleshooting Metadata Problems The DP570 has several status indicators to help troubleshoot metadata‐related problems. The front‐panel status display shows the metadata source as External if any metadata source is set to external. Metadata Input indicators on both the DP570 front panel and in the DolbyRemote 570 software provide status information. The indicators are green any time a valid metadata signal is present, whether or not it is being used.
Using the DP570 Features 4.7 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 Section D.2 for a detailed explanation of the dialogue level parameter. The dialogue level for each program must be carefully measured and then appropriately set.
Measuring and Setting 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. Using Infinite Measurements Infinite measurement mode conforms to the specifications of ITU‐R Rec. BS.1770. In this mode, the calculated value is the long‐term level, integrated over the entire period since the measurement was last reset.
Using the DP570 Features Figure 4‐6 Measurement 10 Measurement 3 Measurement 2 Measurement 1 :20 :19 :18 :17 :16 :14 :13 :12 :11 :15 :10 :09 :08 :07 :06 :04 :03 :02 :01 :05 :00 Figure 4-5 Short-term Measurements Since the short‐term measurement considers only the previous 10 seconds of program material, the measured value can be much more dynamic than the measured value in Infinite mode.
Setting Dynamic Range Control Figure 4‐7 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 having to adjust the volume control.
Using the DP570 Features 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 Section D.4. 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.
User Presets Figure 4‐9 Figure 4-7 4.10.1 User Preset Window Authoring-Only Presets Saving an authoring‐only preset allows you to test certain combinations of metadata settings you find useful without altering your emulator settings. Or you can save settings for different program types, series, episodes, or even stadiums that you work in. Recalling authoring presets that apply metadata combinations you know well can save you time.
Using the DP570 Features 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 you know you have settings that maximize the mixing capabilities for all your potential listeners.
Channel Mapping and Input Routing Table 4-3 Input Channel Routings (continued) Program Configuration 4×2 3×2+2×1 2×2+4×1 2+6×1 8×1 5.
Using the DP570 Features 4.13 Using an External Shaft Encoder to Control Master Volume The master volume function is available on DP570s that have the Cat. No. 548 Analog Output Card installed. The GPI/O port has three pins that allow control of master volume remotely by using a shaft encoder. Table 4‐5 describes the interface. Table 4-5 Shaft Decoder Signal Descriptions Signal Pin Shaft 1 Shaft 0 21 20 Shaft Present 22 Description Shaft encoder input.
Sticky Settings Unity Gain mode is enabled by default. To turn Unity Gain mode off: 1. Click Setup in the Main window to open the Setup window. 2. Uncheck the Unity Gain Mode box on the left side near the bottom. Figure 4‐8 shows a detail of the Unity Gain Mode box on the Setup window. Figure 4‐11 Figure 4-8 4.
Using the DP570 Features 4.20 Master Trim and Master Volume The Master Trim slider, Figure 4‐10, allows you to raise or lower the volume of the signal input to the DP570 before processing begins. This capability is very useful in listening environment calibration process. The master Volume slider, Figure 4‐11, allows you to raise or lower the volume of all the outputs simultaneously. Figure 4‐13 Figure 4‐14 Figure 4-10 Master Trim Control 4.
Dolby Pro Logic II Support Matrix is primarily for radio reception in cars. It is essentially the same as the original passive Dolby Surround decoder without the directional steering provided by Pro Logic. Matrix mode can also enhance mono programs, and can be used to try to clean up weak radio signals in cars. You can apply Matrix to a mono input by selecting the Lo/Ro downmix, and then Pro Logic II. Neither Pro Logic II nor Pro Logic is available in a mono downmix.
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. 5.
Using the DP570 in DVD Mastering 5.2 Typical Tasks The DP570 is used in the monitor chain to emulate a consumerʹs listening environment. 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 Set 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.
Using the DP570 with Other Dolby Equipment Once a Dialogue Level value has been selected, either short‐term or infinite measurements can be used depending on your preference. Again, see Section 4.7.2 to understand the differences between them. 5.2.3 Monitoring Downmixes Once a Dialogue Level value 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.
Using the DP570 in DVD Mastering 5.4 Most Important Metadata The following highest‐priority parameters have the greatest impact on your work. We suggest you address them in this order: 1. Program configuration: The number of type of programs included in the Dolby Digital data stream. 2. Channel mode: The number of audio channels in the program; set it once for each program. Note: 3.
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. 6.
Using the DP570 in Live Remote Broadcast Figure 6‐1 LM100 DP571 Mixing Console Main Out Metadata In Main In Dolby E Video Ref DP570 PCM Delay Input Metadata Out 1/2 5/6 7/8 Digital Audio Inputs Digital Thru Dolby E 3/4 1/2 Digital Audio Inputs 3/4 5/6 7/8 Video Ref Lt/Rt In 1/2 Analog Outputs MPEG Encoder 3/4 5/6 DP563 Lt/Rt Lt/Rt Video Main Out Distribution Amplifier 5.1-Channel Monitor Rs R L/R C/LFE C Digital In L Ls/Rs Figure 6-1 6.
Typical Tasks Figure 6‐2 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.
Using the DP570 in Live Remote Broadcast 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. 6.
Importance of Presets 6.6 • 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.
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. 7.1 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.
Using the DP570 in Postproduction 7.2 Typical Tasks The DP570 is used in the monitor chain to emulate the 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 Set value for the program. The measured value from program material appears in yellow numbers (–26 in Figure 7‐2).
Using the DP570 with Other Dolby Equipment 7.2.3 Monitoring Downmixes Once a Dialogue Level value 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.
Using the DP570 in Postproduction 7.4 Most Important Metadata The following highest‐priority parameters have the greatest impact on your work. We suggest you address them in this order: 1. 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: 54 Ensure that these parameters are set correctly because other parameters depend on them. 3.
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. 8.
Using the DP570 in Master Control Figure 8‐1 DP571 Metadata In Video Ref VTR Server or IRD DP572 Digital Audio Outputs Master Control Metadata Out Metadata In Metadata Out 1/2 3/4 MPEG Encoder Main In Dolby E Digital Audio Inputs 5/6 Audio Main 3/4 In Video Ref 1/2 Digital Audio Outputs 3/4 5/6 DP570 1/2 3/4 5/6 Digital Audio Inputs Metadata Out Video Ref Metadata In Router Outputs 5.
Typical Tasks Figure 8‐3 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.
Using the DP570 in Master Control 8.3 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 Section 4.16 for more information. 8.4 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. 8.
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. Four steps are required to set up your listening environment: A.1 1. Assigning Monitor System Configuration Settings on page 59 2. Setting Delay Values on page 63 3.
Configuring a Monitor System Figure A‐2 Figure A-2 A.1.2 Monitor Setup Tab Selecting Analog Outputs The system automatically detects the presence of the Cat No. 548 Analog Output Card, and checks the Analog Outputs box when it is present. Uncheck the box if you do not wish to use the analog outputs. 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.
Assigning Monitor System Configuration Settings • 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.
Configuring a Monitor System 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 Lt/Rt Input. The default value is 0 dB. Adjust it using the control shown in Figure A‐4. Figure A‐4 Figure A-4 A.1.
Setting Delay Values 3. A.2 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.
Configuring a Monitor System 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.
Calibrating Speaker Playback Levels Figure A‐7 Figure A-7 A.3.2 Digital Reference Level 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 slider shown in Figure 4‐11. Tip: To make this adjustment you must close the Setup window to activate the main application screen. When satisfied, reopen the Setup window. A.3.
Configuring a Monitor System 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.
Calibrating Speaker Playback Levels 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 Figure A‐2 directly under the Analog Outputs check box. A.3.9 Subwoofer Calibration Subwoofers are calibrated using a different process than the rest of the speakers, preferably with different equipment. To properly calibrate the subwoofer, a real‐time analyzer (RTA) is required.
Configuring a Monitor System A.3.10 Calibrating Emulator Output If your DP570 does not include the Cat. No. 548 Analog Output Card, calibrate your speaker system using the emulator outputs and external equipment. These outputs are digital and do not have any internal adjustments. A.4 Assigning a Dim Setting The Dim Gain slider sets an alternate level for all speaker outputs. This level is activated when you click the Dim button shown in Figure A‐10.
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. B.1 Front-Panel Remote Connector Table B‐1 shows the pinout for the front‐panel RS‐232 connector.
Connector Specifications B.4 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. B.
Rear-Panel Remote Table B-3 Metadata Output Port Pinout <~Figure>(continued) Pin B.8 Connection 7 RX B asynchronous data in + 8 TX A asynchronous data out – 9 Shield Rear-Panel Remote 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 Pin B.
Connector Specifications Table B-5 Pin B.11 Multichannel Analog Output Pinout Connection Pin Connection 7 Subwoofer + Out 20 Subwoofer – Out 8 SW Ground 21 Center + Out 9 Center – Out 22 C Ground 10 Right + Out 23 Right – Out 11 R Ground 24 Left + Out 12 Left – Out 25 L Ground 13 No Connection Stereo/Mono/Solo Analog Output This is a 25‐pin female D‐connector. Table B-6 Pin B.
Appendix C Front-Panel Menus This appendix illustrates the unit front‐panel menus as trees. The Setup menu begins on this page. The Status menu is shown in Status Menu on page 81. Use the navigation buttons, described and illustrated in Using the Front‐Panel Buttons on page 11, to navigate these menus. C.1 Top-Level Setup Menu Figure C‐1 Figure C-1 C.2 Top-Level Setup Menu Program Config This menu contains all the program configurations listed in Table D‐3.
Front-Panel Menus C.
Measure Control Submenu C.
Front-Panel Menus C.
User Presets Submenu C.6 User Presets Submenu Figure C‐6 User Presets Recall Preset User Presets Save Preset Recall Preset 01X Preset Name Save Preset Preset 01 Enter Type All Save Preset Preset 32 Enter Type Authoring Enter Type Emulator Enter Name Preset Name Save Preset ENTER=Yes ESC=No to User Presets/ Save Preset menu Figure C-6 C.
Front-Panel Menus C.7.
Monitor Config Submenu C.
Front-Panel Menus C.8.
Status Menu C.9 Status Menu Figure C‐13 5.1+2 Internal Program 3/2 27 This main screen displays the selected program configuration, the metadata source, the program number being monitored, its acmod, and its dialnorm. Master Volume Metadata Params Enter to View Press Enter to view current metadata values. Values cannot be changed on this menu. Video Ref Audio Input User Preset Error Status Enter to View Press Enter to view existing errors. Errors cannot be corrected on this menu.
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.
A Guide to Dolby Metadata 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 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.
A Guide to Dolby Metadata 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.
Dynamic Range Control Dolby Digital consumer decoders normalize the average output level—that is, the output level averaged over time—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 should not be confused with the station reference level (often –18 or –20 dBFS). It is common to have different values for program material that has the same reference level.
A Guide to Dolby Metadata 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.
Dynamic Range Control Profiles 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. D.4 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.
A Guide to Dolby Metadata • 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 is still applied. These choices are available to the content producer for both Line mode and RF mode.
Downmixing Table D-2 Outputs from Different Equipment Types Output 2-Channel Analog Digital 5.1-Channel Analog High‐end DVD player × × DVD player × PC × (some units) × Includes games consoles High‐end set‐top box × × × × Often HDTV Set‐top box × × × Usually SDTV IDTV × × TV set with an integrated digital TV tuner High‐end TV × Equipment RF Remodulated × × × Large screen TV with a 5.
A Guide to Dolby Metadata 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.
Parameter Definitions 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 5.1+2 × 1 4+4 4+2×2 4+2+2×1 4+4×1 4×2 3×2+2×1 2×2+4×1 5.1+2 5.1+2 × 1 4+4 4+2 4+2×1 3×2 2×2+2×1 2+4×1 6×1 4 2+2 2+2×1 4+2 4+2×1 3×2 Program Description Text This is a 32‐character ASCII text field that allows the metadata author to enter a description of the audio program.
A Guide to Dolby Metadata Figure D‐3 Table D-4 Channel Mode Definition and Data Rates Channel Mode Setting 1+1 Definition and Data Rate Dual mono (not valid for DTV broadcast or DVD production) From 56 kbps, usually 96 kbps From 96 kbps, usually 192 kbps From 256 kbps From 256 kbps From 320 kbps From 320 kbps From 384 kbps, often 448 kbps 1/0 Mono 2/0 Stereo 3/0 2/1 3/1 2/2 3/2 LFE Channel The status of the LFE Channel parameter indicates to a Dolby Digital encoder whether an LFE channel is present w
Parameter Definitions Table D-6 Bitstream Mode Options (continued) Bitstream Mode Setting Main M&E (ME) Assc. Visual Imp. (VI) Assc. Hear Imp. (HI) Assc. Dialogue (D) Assc. Commentary (C) Assc. Emergency (E) Assc. Voice Over (VO) Main Sv Karaoke (K) Definition The bitstream is the main audio service for the program, minus a dialogue channel. The dialogue channel, if any, is intended to be carried by an associated dialogue service.
A Guide to Dolby Metadata Center Downmix Level When the encoded audio has three front channels (L, C, R), but the consumer has only two front speakers (left and right), this parameter indicates the nominal downmix level for the Center channel with respect to the Left and Right channels. Dolby Digital decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI parameters are not active. Table D-8 Center Downmix Level Settings and Definitions Center Downmix Level Setting 0.
Parameter Definitions Audio Production Information This parameter indicates whether the mixing level and room type values are valid. Yes indicates that a receiver or amplifier can use these values. No 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 Information Setting Yes No Definition Mixing Level and Room Type parameters are valid.
A Guide to Dolby Metadata 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.
Extended Bitstream Information Parameters 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 Filter Settings LFE Lowpass Filter Enabled Disabled Surround 3 dB Attenuation The Surround 3 dB Attenuation parameter determines whether the surround channel(s) are attenuated 3 dB before encoding. The attenuation actually takes place inside the Dolby Digital encoder.
A Guide to Dolby Metadata 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.
Extended Bitstream Information Parameters D.7.3 Lt/Rt Surround Downmix Level This parameter indicates the level shift applied to the surround channels when downmixing to an Lt/Rt output. Its operation is similar to the surround downmix level in the universal metadata. Table D-23 Lt/Rt Surround Downmix Level Settings Lt/Rt Surround Downmix Level 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.
A Guide to Dolby Metadata D.7.6 Surround EX Mode This parameter is used to identify the encoded audio as material encoded in Surround EXTM. This parameter is only used if the encoded audio has two surround channels. An amplifier or receiver with Dolby Digital Surround EX decoding can use this parameter as a flag to switch the decoding on or off automatically. The behavior is similar to that of the Dolby Surround Mode parameter.
Metadata Combinations Table D-28 Parameter Center Dwnmix Lev Srnd Dwnmix Lev Dolby Srnd Mode Audio Prod Info Mixing Level Room Type Copyright Original Bitstream Preferred Stereo Downmix Lt/Rt Center Downmix Level Lt/Rt Surround Downmix Level Lo/Ro Center Downmix Level Lo/Ro Surround Downmix Level Dolby Surround EX Mode A/D Converter Type DC Filter Lowpass Filter LFE Lowpass Filter Srnd 3 dB Atten Srnd Phase Shift Metadata Combinations (continued) Action Film (5.1) –0.707 dB (–3 dB) –0.
Index A/D Converter Type .............................................. 102 Analog Output Master Volume ............................. 17 Applications Digital Television .................................................. 4 DVD Mastering .........................................4, 41–44 Live Remote Broadcast................................. 45–49 Master Control .............................................. 55–58 Postproduction ..............................................
Index LFE Channel.............................................................. 94 LFE Lowpass Filter .................................................. 98 Live Remote Broadcast ...................................... 45–49 Connecting the DP570 ........................................ 45 Dialogue Level Measuring and Setting ........... 47 Dialogue Level Monitoring ............................... 48 Downmix Monitoring ........................................ 48 Importance of Presets .........................
Index RF Overmodulation Protection .............................. 95 Room Type ................................................................ 97 Safety..................................................................... iii–iv Setup Menu ......................................................... 16–18 Entering Text ....................................................... 17 Exiting................................................................... 17 GPI/O Setup Submenu ...................................
