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DR2

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  1. DR2 The missing link for testing Digital Audio

  2. Why a DR2? – we have a CD • Flexible signal generation • Calibrated & adjustable outputs • Supporting all common sampling rates • Synchronization to master clocks • ….. DR2 Introduction and workshop

  3. Topics covered in this workshop • Synchronization, Sampling frequency accuracy • Delay Measurements • Transparency measurements • Multi-channel surround formats • Surround sound system set-up procedure DR2 Introduction and workshop

  4. Overview DR2 • AES3, AES3id,S/PDIF, TOS-Link outputs • Sampling rates: 32kHz …192kHz • Consumer / PRO status generation • Flexible synchronization to external clocks • Versatile signal generation • Generated signals (Sine, Noise, etc.) • 2-CH linear PCM wave files (tunes, monitoring signals, music etc.) • Non-linear multi-channel Audio (Dolby, DTS) • Measuring I/O delay (latency) • Measuring channel bit transparency DR2 Introduction and workshop

  5. Digital Output Formats * 1V for AES-3 id is slightly above specifications but is a valuable compromise for having AES-3 id signals without an external transformer. DR2 Introduction and workshop

  6. Standard set Extended set  All signals on supplied DVD disk.Mix your preferred test signals depending on your applications DR2 Introduction and workshop

  7. Synchronization DR2 Introduction and workshop

  8. Synchronizing the DR2 • Multi Format SYNC Input (XLR) • Adapter for BNC included • Sync’s to: • AES3 digital Audio (110 Ω) • DARS (dedicated empty AES3 signal) • Word Clock (sync only) • Video Black Burst PAL • Video Black burst NTSC • Input impedance switchable between 75 Ω, 110 Ω and High Z. DR2 Introduction and workshop

  9. Synchronizing the DR2  Demo: Sync to DR2, DVD players and AV Receiver DR2 Introduction and workshop

  10. Delay measurements DR2 Introduction and workshop

  11. How much Delay? Constant? How much Delay? Constant? A / D t t D / A How do we measure delays? ? Digital In Digital Out  Demo: Measure Delays with M350 effects processor DR2 Introduction and workshop

  12. Surround sound issues DR2 Introduction and workshop

  13. Non-linear PCM Signals • The AES 3 frame acts as a carrier and the audio samples are replaced by multi-channel Audio packages. • A standard converter cannot interpret the PCM signals. The stream must be coded as NON-LIN PCM in the status  Demo: Listen to a Dolby Surround signal with DL1 DR2 Introduction and workshop

  14. Terms of Multichannel Audio • Mono = 1 Source only • Stereo = Binaural (2 speakers, named 2.0) • Multichannel = anything beyond 2 channel • LFE = Low frequency & effects channel 5.1 Number of LFE channels Number of full Audio channels DR2 Introduction and workshop

  15. Common Coding formats DR2 Introduction and workshop

  16. New Coding formats DR2 Introduction and workshop

  17. LFE Side notes • LFE = Low Frequency Effects • Comes from the cinema world with its rumbling bomb explosions and dinosaur stomps • LFE was never intended to be used for music – just for low frequency sound effects. • Use LFE only with outmost caution for music. • When down mixing 5.1 surround to stereo (2.0) or mono (1.0), most surround receivers simply leave out the LFE channel to protect the mostly smaller speakers of such systems. • Adjust Broadcast material to listen 6dB below Movie mixes!  Read “5.1-Channel Music Production Guidelines” from Dolby DR2 Introduction and workshop

  18. Reference listening pos. C L R D=W 30° 110° LS RS W BS Speaker / seating positions Ref. ITU-R BS 775-1 Worst case listening pos. DR2 Introduction and workshop

  19. Speaker Alignment • Arrange speakers along the perimeter of a circle. • Speakers outside the circle possibly have to be compensated for delay • Adjust height to be at or slightly above listeners ears • Speakers shall be of the same type • Subwoofer receives effects and possible summed low frequency Audio • All main channels run at the same SPL. (+-0.5dB, measured C-wtd) • LFE is set 10 dB higher. (measured with RTA) DR2 Introduction and workshop

  20. Leveling LFE / speakers Some decoders fixedly raise LFE level by 10dB, others don’t DR2 Introduction and workshop

  21. Adjusting a Surround Sound Syst. • Design the room • Design the required power and system to meet expectations • Use default / Self configuration set-ups • Verify and tune these set-up • Listen to different EQ settings DR2 Introduction and workshop

  22. What to adjust in the setup? • Frequency responses at different listening positions • LFE levels • Delays (phase) • Absolute levels of each channel • Crossovers (what goes to center or LFE?) DR2 Introduction and workshop

  23. How to set it up? Various strategies are available depending on tools. • No set-up – just run it • Tune it by ear. • Manual Measurements • Audyssey (Automatic approach) DR2 Introduction and workshop

  24. Implemented in Audyssey Technology • Loudness correction technology that adopts to listening levels. • Equalization method for room corrections in • Frequency domain (EQ) • Time domain (Delay) • Implemented in decent quality surround system • How it works: • Looks at patterns in the time domain responses and them into 3-5 groups. • Response is created from each cluster • Final response is then created from grouping the representatives. • That response is then used to create the EQ filters. • Requires processing power  Verify your settings DR2 Introduction and workshop

  25. Our set-up EV SX80 JBL Control 1 JBL Control 1 DR2 Denon AVR2308 Optical TOS-Link JVC HiFi JVC HiFi DR2 Introduction and workshop

  26. RS LS C R L > File: A017_SPL_RTA > SPL_RTA_octave > Timer mode: off > Timer set: --:--:-- > Timer act: 00:00:21 > RTA filter: Flat > Time weight: fast > Range: 20 dB - 100 dB > Mic sensitivity: 30.26 mV/Pa Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB] C-WTD 65.2 65.3 64.5 66.6 31.5 36.0 37.3 24.5 50.0 63.0 39.8 38.3 27.9 54.9 125.0 53.9 55.8 48.8 58.9 250.0 57.8 59.1 53.9 61.7 500.0 58.1 57.8 55.0 60.5 1000.0 58.8 58.1 56.5 61.2 2000.0 56.6 56.8 55.0 58.4 4000.0 57.2 56.7 56.1 58.3 8000.0 53.9 54.0 53.1 54.7 16000.0 50.2 50.1 49.7 50.8 > File: A017_SPL_RTA > SPL_RTA_octave > Timer mode: off > Timer set: --:--:-- > Timer act: 00:00:21 > RTA filter: Flat > Time weight: fast > Range: 20 dB - 100 dB > Mic sensitivity: 30.26 mV/Pa Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB] C-WTD 65.2 65.3 64.5 66.6 31.5 36.0 37.3 24.5 50.0 63.0 39.8 38.3 27.9 54.9 125.0 53.9 55.8 48.8 58.9 250.0 57.8 59.1 53.9 61.7 500.0 58.1 57.8 55.0 60.5 1000.0 58.8 58.1 56.5 61.2 2000.0 56.6 56.8 55.0 58.4 4000.0 57.2 56.7 56.1 58.3 8000.0 53.9 54.0 53.1 54.7 16000.0 50.2 50.1 49.7 50.8 > File: A017_SPL_RTA > SPL_RTA_octave > Timer mode: off > Timer set: --:--:-- > Timer act: 00:00:21 > RTA filter: Flat > Time weight: fast > Range: 20 dB - 100 dB > Mic sensitivity: 30.26 mV/Pa Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB] C-WTD 65.2 65.3 64.5 66.6 31.5 36.0 37.3 24.5 50.0 63.0 39.8 38.3 27.9 54.9 125.0 53.9 55.8 48.8 58.9 250.0 57.8 59.1 53.9 61.7 500.0 58.1 57.8 55.0 60.5 1000.0 58.8 58.1 56.5 61.2 2000.0 56.6 56.8 55.0 58.4 4000.0 57.2 56.7 56.1 58.3 8000.0 53.9 54.0 53.1 54.7 16000.0 50.2 50.1 49.7 50.8 > File: A017_SPL_RTA > SPL_RTA_octave > Timer mode: off > Timer set: --:--:-- > Timer act: 00:00:21 > RTA filter: Flat > Time weight: fast > Range: 20 dB - 100 dB > Mic sensitivity: 30.26 mV/Pa Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB] C-WTD 65.2 65.3 64.5 66.6 31.5 36.0 37.3 24.5 50.0 63.0 39.8 38.3 27.9 54.9 125.0 53.9 55.8 48.8 58.9 250.0 57.8 59.1 53.9 61.7 500.0 58.1 57.8 55.0 60.5 1000.0 58.8 58.1 56.5 61.2 2000.0 56.6 56.8 55.0 58.4 4000.0 57.2 56.7 56.1 58.3 8000.0 53.9 54.0 53.1 54.7 16000.0 50.2 50.1 49.7 50.8 > File: A017_SPL_RTA > SPL_RTA_octave > Timer mode: single > Timer set: 00:00:30 > Timer act: 00:00:30 > RTA filter: Flat > Time weight: fast > Range: 20 dB - 100 dB > Mic sensitivity: 30.26 mV/Pa Band[Hz] LEQ[dB] SPL[dB] MIN[dB] MAX[dB] C-WTD 65.2 65.3 64.5 66.6 31.5 36.0 37.3 24.5 50.0 63.0 39.8 38.3 27.9 54.9 125.0 53.9 55.8 48.8 58.9 250.0 57.8 59.1 53.9 61.7 500.0 58.1 57.8 55.0 60.5 1000.0 58.8 58.1 56.5 61.2 2000.0 56.6 56.8 55.0 58.4 4000.0 57.2 56.7 56.1 58.3 8000.0 53.9 54.0 53.1 54.7 16000.0 50.2 50.1 49.7 50.8 Copy & paste Measurements of Audyssey performance DR2 Introduction and workshop

  27. Magnitude Response @ 0dB DR2 Introduction and workshop

  28. Magnitude Response @ -20dB DR2 Introduction and workshop

  29. 2 3 1 4 5 6 Magnitude @ seating positions DR2 Introduction and workshop

  30. Workshop setup Mission MH6 Mission M34i Mission M34i DR2 Mission M3as Denon AVR2308 Optical TOS-Link Mission M34i Mission M34i DR2 Introduction and workshop

  31. Demo of Pro-Logic II Decoder • Pro-Logic II is a linear coded signal. Thus the files are in the FILE chapter. • It is a matrix coded signal. Codes are in the channel phases. • There are limitations of the encoders. Thus do not use Sine signals for T&M purposes.  Demo with 2-CH signal into a PRO-Logic II coder  Listen to SINE_400 or SINE_1k of ProLogic II files. DR2 Introduction and workshop

  32. Digital Audio Set • Digirator DR2 • Digilyzer DL1 with MiniLINK • Mains Power Adapter DR2 • Mains Power Adapter DL1 • DR2 Transformers AES3id • DL1 Transformers AES3id • Minstruments Case

  33. DR2 Thank you!