JBL Synthesis SDP-45 4K - Manual (Page 47)

JBL SYNTHESIS SDP-45
Surround Mode
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DOLBY PLII MUSIC: This mode can enhance normal stereo music
recordings, offering a wider soundstage and enhanced spatial effects.
DOLBY PLII MOVIE: This is the preferred decoding method for watching
movies with matrix surround encoding. The Center width and dimension
variables are set and optimized for this application, and cannot be
adjusted. No filters are present on the surround channels, and auto-
balance is operational.
DOLBY DIGITAL: This is the name for audio compression technologies
developed by Dolby Laboratories. It was originally named Dolby Stereo
Digital until 1994. The audio compression is lossy but each output
channel can be discrete. Dolby Digital is the common version containing
up to six discrete channels of sound. The most elaborate mode in
common use involves five channels for normal-range speakers (20 Hz
–
20,000 Hz) (right front, center, left front, rear right, rear left) and one
channel (20 Hz
– 120 Hz allotted audio) for the subwoofer driven low-
frequency effects.
DOLBY DIGITAL EX: is similar in practice to Dolby's earlier Pro-Logic
format, which utilized matrix technology to add a center surround
channel and single rear surround channel to stereo soundtracks. EX
adds an extension to the standard 5.1 channel Dolby Digital codec in the
form of matrixed rear channels, creating 6.1 or 7.1 channel output.
DOLBY TRUEHD: An advanced lossless audio codec based on
Meridian Lossless Packing. Dolby TrueHD supports 24-bit, 96 kHz audio
channels at up to 18 Mbit/s over 14 channels. Blu-ray Disc standards
currently limit the maximum number of audio channels to eight. It
supports metadata, including dialog normalization and Dynamic Range
Control
DTS NEO:6 MUSIC: Neo:6 derives a Center channel from two-channel
material. Neo:6 expands stereo non-matrix recordings into the five- or
six-channel layout, in a way which does not diminish the subtlety and
integrity of the original stereo recording. In music mode, the intent in the
front channels is less one of steering and more one of stabilizing the
front image by augmenting it with a Center channel, while preserving the
original perspective of the stereo mix. Therefore the derived Center is
never fully subtracted from the left and right channels.
DTS NEO:6 CINEMA: Neo:6 derives a Center channel from two-channel
material. Neo:6 expands stereo non-matrix recordings into the five- or
six-channel layout, in a way which does not diminish the subtlety and
integrity of the original stereo recording. In cinema mode, for Left/Right
film soundtracks, sounds steered to the Center are subtracted from the
left and right channels. Neo 6 provides up to six full-band channels of
matrix decoding from stereo matrix material. Users with 6.1 and 5.1
systems will derive six and five separate channels respectively,
corresponding to the standard home-
theater speaker layouts. (The ―.1‖
subwoofer channel is generated by bass management in the preamp or
receiver.)
DTS DIGITAL SURROUND™: The basic and most common version of
the format is a 5.1-channel system which encodes the audio as five
primary (full-range) channels plus a special LFE (low-frequency effects)
channel for the subwoofer.
DTS-HD MASTER AUDIO: Supports a virtually unlimited number of
surround sound channels, can downmix to 5.1 and two-channel, and can
deliver audio quality at bit rates extending from DTS Digital Surround up
to lossless (24-bit, 192 kHz). DTS-HD Master Audio is selected as an
optional surround sound format for Blu-ray where it has been limited to a
maximum of 8 discrete channels. DTS-HD MA supports variable bit rates
up to 24.5 Mbit/s on a Blu-ray Disc, with up to 6 channels encoded at up
to 192 kHz or 8 channels encoded at 96 kHz/24 bit.