Denon AVR 3806 - AV Receiver Operations Instructions download pdf (Page 97)

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When DTS-ES Discrete 6.1 or Matrix 6.1 encoded sources

are decoded with a DTS-ES decoder, the format is

automatically detected upon decoding and the optimum

playing mode is selected. However, some Matrix 6.1 sources

may be detected as having a 5.1-channel format, so the DTS-

ES Matrix 6.1 mode must be set manually to play these

sources. (For instructions on selecting the surround mode

( page 35).)

The DTS-ES decoder includes another function, the DTS

Neo:6 surround mode for 6.1-channel playback of digital PCM

and analog signal sources.

2 DTS Neo:6™ surround

This mode applies conventional 2-channel signals to the high

precision digital matrix decoder used for DTS-ES Matrix 6.1 to

achieve 6.1-channel surround playback. High precision input

signal detection and matrix processing enable full band

reproduction (frequency response of 20 Hz to 20 kHz or

greater) for all 6.1 channels, and separation between the

different channels is improved to the same level as that of a

digital discrete system.

DTS Neo:6 surround includes two modes for selecting the

optimum decoding for the signal source.

• DTS Neo:6 Cinema

This mode is optimum for playing movies. Decoding is

performed with emphasis on separation performance to

achieve the same atmosphere with 2-channel sources as

with 6.1-channel sources.

This mode is effective for playing sources recorded in

conventional surround formats as well, because the in-phase

component is assigned mainly to the center channel (C) and

the reversed phase component to the surround (SL, SR and

SB channels).

• DTS Neo:6 Music

This mode is suited mainly for playing music. The front

channel (FL and FR) signals bypass the decoder and are

played directly so there is no loss of sound quality, and the

effect of the surround signals output from the center (C) and

surround (SL, SR and SB) channels add a natural sense of

expansion to the sound field.

[4] DTS 96/24

The sampling frequency, number of bits and number of

channels used for recording of music, etc., in studios has

been increasing in recent years, and there are a growing

number of high quality signal sources, including 96 kHz/24 bit

5.1-channel sources.

For example, there are high picture/sound quality DVD video

sources with 96 kHz/24 bit stereo PCM audio tracks.

However, because the data rate for these audio tracks is

extremely high, there are limits to recording them on two

channels only, and since the quality of the pictures must be

restricted it is common to only include still pictures.

In addition, 96 kHz/24 bit 5.1-channel surround is possible

with DVD audio sources, but DVD audio players are required

to play them with this high quality.

DTS 96/24 is a multi-channel digital signal format developed

by Digital Theater Systems Inc. in order to deal with this

situation.

Conventional surround formats used sampling frequencies of

48 or 44.1 kHz, so 20 kHz was about the maximum playback

signal frequency. With DTS 96/24, the sampling frequency is

increased to 96 or 88.2 kHz to achieve a wide frequency

range of over 40 kHz.

In addition, DTS 96/24 has a resolution of 24 bits, resulting in

the same frequency band and dynamic range as 96 kHz/24 bit

PCM.

As with conventional DTS Surround, DTS 96/24 is compatible

with a maximum of 5.1 channels, so sources recorded using

DTS 96/24 can be played in high sampling frequency, multiple

channel audio with such normal media as DVD videos and

CDs.

Thus, with DTS 96/24, the same 96 kHz/24 bit multi-channel

surround sound as with DVD-Audio can be achieved while

viewing DVD-Video images on a conventional DVD-Video

player ( 1). Furthermore, with DTS 96/24 compatible CDs,

88.2 kHz/24 bit multi-channel surround can be achieved using

normal CD/LD players ( 1).

Even with the high quality multi-channel signals, the

recording time is the same as with conventional DTS

surround sources.

What’s more, DTS 96/24 is fully compatible with the

conventional DTS surround format, so DTS 96/24 signal

sources can be played with a sampling frequency of 48 kHz

or 44.1 kHz on conventional DTS or DTS-ES surround

decoders ( 2).

1 A DVD player with DTS digital output capabilities (for

CD/LD players, a player with digital outputs for

conventional DTS CDs/LDs) and a disc recorded in

DTS 96/24 are required.

2 The resolution is 24 or 20 bits, depending on the

decoder.

Audyssey MultEQ XT

There are several factors that can degrade the sound from even

the best loudspeakers in a listening room. One of the most

important is the interaction of sound from the loudspeakers with

large surfaces such as walls, the floor, and the ceiling in the

room. Even with careful loudspeaker placement and acoustical

treatments, there are significant problems that are caused by

room acoustics. These include reflections from nearby surfaces

and standing waves that are created between large parallel

surfaces in the room.

In a home theater the situation is further complicated because

there are several listening locations. The effects of room

acoustics on the sound arriving at each person’s ears are very

different and the result is a listening experience that is degraded

in a different way for every person in the room. It is not

uncommon to have variations in two adjacent seats that are as

large as 10 dB, particularly in the frequency range below 250 Hz.

The solution to this problem is to apply room correction after

precisely measuring how each loudspeaker interacts with the

room. Because the room causes variations in the frequency

response of the loudspeakers that are so large from seat to seat,

it is important to measure each loudspeaker at several locations

in the listening room. This should be done even if there is only

one listener. Measurement at a single location is not

representative of the acoustical problems in the room and will,

in most cases, degrade overall performance.

Audyssey MultEQ XT is the only technology that can achieve

room correction for multiple listeners in a large listening area. It

does so by combining the data collected at several points in the

room from each loudspeaker and then applying correction that

minimizes the acoustical effects of the room and is matched to

the frequency resolution of human perception (known as

psychoacoustics). Furthermore, MultEQ XT correction is applied

both in frequency and time domains and so there are no artifacts

(such as smearing of sound or modal ringing) that are

sometimes associated with traditional methods of room

equalization.

In addition to correcting frequency response problems over a

wide listening area, Audyssey MultEQ XT provides a completely

automated sound system set-up process. It identifies how many

loudspeakers are connected to the amplifiers and whether they

are full-range, satellites, or subwoofers. If there is a least one

subwoofer connected, Audyssey MultEQ XT determines the

optimum crossover frequency between each satellite and the

subwoofer(s). It automatically checks the polarity of each

loudspeaker and alerts the user if there are any that may be

wired out-of-phase relative to the others. It measures the

distance to each loudspeaker from the main listening position

and adjusts the delays so that sound from each loudspeaker

arrives at the same time. Finally, Audyssey MultEQ XT

determines the playback level of each loudspeaker and adjusts

the volume trims so that all levels are equal.

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Denon AVR 3806 - AV Receiver Operations Instructions Page 97

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