![]() ![]() Metadata is produced by the audio originator during post-production, but since Dolby Digital is a consumer medium used for DVDs, and not a production format, the metadata starts life within a different domain. If either (or both) of these modes are selected by the end-user, the producer's preferences determine the end result, hopefully with optimal results. The other two elements are used to convey the producer's preferences for dynamic-range reduction and downmixing. ![]() The first element, dialnorm, is critical to the operation of the rest of the system and cannot be affected by the end-user. ![]() To control downmixing - the reduction of 5.1 channels to stereo or mono.To determine how the dynamic range should be reduced under less-than-optimal listening conditions.To set a consistent replay level (based on the level of dialogue, hence 'dialnorm') between different media and types of programmes.In the Dolby Digital system, the metadata is defined by whoever has produced the material to govern three main aspects, some of which may also be influenced by the end-user. Metadata - data about the data - is information encoded with the audio and used during replay to optimise the audio presentation for the environment in which it is being heard. One reason for this is the way that every consumer who receives a Dolby Digital data stream should be able to enjoy the best audio reproduction possible, irrespective of the number of channels in their playback system, or the environment in which they are listening. Introducing Metadataĭolby Digital is rapidly becoming the de facto multi-channel audio format for the consumer, despite the alternatives from DTS and MPEG. We will also take a few steps closer towards producing material in 5.1 surround by considering the pros and cons of using the centre channel (in contrast to a 'phantom' centre), the implications for multiple A-D and D-A converters, and the ideas behind 'upmixing' stereo material to form a 5.1-compatible version. Consequently, setting the correct metadata for a given piece of audio is as important as getting the mix right in the first place! #WINDOWS SOUND SCHEMES 5.1 SURROUND HOW TO#This extra data informs the decoder about how to reproduce the audio, set the replay level, adjust the dynamic-range compression, and balance the downmixing of the 5.1 information to stereo (or mono). ![]() This month, we will be delving a little deeper into the subject to look at Dolby's Metadata facility, which conveys important information to the end-user's surround playback equipment. In Part 4, I described the basics of 5.1 surround systems, including how the loudspeakers are supposed to be configured and aligned, the idea of bass management, and the various primary commercial data-reduction formats employed in DVD and cinema surround systems. This month, we explain Metadata, Upmixing, Downmixing, and look at what that centre speaker actually does. There's a lot more to 5.1 surround sound production than stereo with extra channels - new, bewildering terms and concepts abound. ![]()
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