Starting last week, I've been trying to explain the new Dolby and DTS surround codecs little by little. The reason each camp is hawking two new codecs for HD DVD and Blu-ray is that one is lossless (Dolby TrueHD, DTS-HD Master Audio) and the other is lossy (Dolby Digital Plus, DTS-HD High Resolution Audio). Lossless codecs reconstruct the original signal without discarding data; lossy ones use perceptual coding to discard the least important data, achieving greater efficiency in a limited bit bucket. Together these formats represent the first qualitative step forward for surround sound since the ill-fated debuts of DVD-Audio and SACD. High-res surround is baaack! Here are the basics on Dolby TrueHD, Dolby Digital Plus, and how they're supported in BD and HD DVD. DTS devotes a whole new website to the two new DTS-HD codecs including heaven-sent wiring diagrams. Has anyone mentioned to you that DTS Encore is simply a rebranding of DTS 5.1 and DTS-ES 6.1? You'll find it only on software packaging. There, I'm glad we've had this little talk.
Dolby and DTS are both gearing up to take surround sound to the next step in its evolution. Both are preparing to add height channels to their existing surround standards.
Memo to early adopters of HD DVD and Blu-ray: HDMI 1.3 will support every surround codec in the Dolby and DTS stables. How I wish I could leave it at that. However, only DTS-HD Master Audio requires the full monty of HDMI 1.3, which is a good thing, since HDMI 1.3 isn't here yet. Because HD DVD and Blu-ray players have surround decoders, panners, and mixers built in, lowly HDMI 1.1 or 1.2 will transfer decoded signals for Dolby TrueHD, Dolby Digital Plus, and DTS-HD High Resolution Audio. In fact, even the player's 7.1-channel analog-outs will support all these new surround goodies at full resolution. Using the old-fashioned digital coaxial or optical outs will down-res the signal to Dolby Digital at 640kbps or DTS at 768kbps. There you go. Knock yourself out. I'll continue milking this thing Monday.
Despite their popularity, LCD TVs have always had a problem with black level. Yesterday Dolby and SIM2 gave dazzled reporters a glimpse of how good black and dark colors could look on a flat-panel set. Unfortunately, this High Dynamic Range (HDR) tech was only a prototype, so it'll be awhile before you get to share the love.
Dolby Digital Plus hasn't gotten much attention since its debut a few years ago. But it's the best lossy surround codec from Dolby Labs, with greater efficiency, scalability, and the potential for finer-grained sound quality than its older brother Dolby Digital. Now it's finding relevance via Vudu, one of the licensed ways that IP programming is getting into TVs. The DD+ stream can also convert to old-school DD for decoding in legacy gear, but with DD+ capable surround products (most of them nowadays) you'll get near-lossless quality.
Tom Norton broke the news about Dolby Pro Logic IIz, the first surround standard from the surround standard setter to incorporate height channels. It's an enhancement process, like Dolby Pro Logic II; not an encode/decode process, like Dolby Digital or TrueHD. It extracts what Dolby calls decorrelated non-surround elements, so it'll operate on things that belong in height channels, as opposed to, say, footsteps. It can operate in 7.1 or 9.1 configurations, without/with back-surround channels. Dolby's now in discussion with various manufacturers about licensed products. What I have to say about it is that it's a great idea -- I'd rather see folks adding height channels to their systems than useless back-surrounds (Dolby wants to make real sure I label that as my own opinion). And the implementation in speakers may be quite interesting, I imagine, everything from vertical structures (same footprint) to in-walls to speakers with top-mount drivers that bounce off the ceiling. Details here. Oh, and the pic is the Acer Aspire PC, glimpsed at the Dolby booth, and I mention it only because as I walked up to it, it said Luke, I am your father.
Dolby Laboratories wants to know exactly how viewers respond to its HDR, surround sound, or color palette technologies while watching a movie. So Dolby’s chief scientist and neurophysiologist Poppy Crum has been running 15 to 20 experiments per day in which volunteers sit on a couch attached to brain monitors, heart rate monitors, galvanic skin response sensors, thermal imaging cameras, and lie detectors.
Dolby Home Theater v4 is, as the name suggests, the fourth-gen implementation of sound enhancement for PCs from Dolby Labs. It incorporates trickle-down technology from Dolby Volume (best known for its use in surround receivers) including volume leveling, dynamic enhancer, and spatial virtualizer. First of two demos at the Central Hall sanctum involved a laptop with and without DHTv4. It was a huge difference: muffled sound versus rather bright sound. In the second demo, another laptop bitstreamed into an Onkyo receiver with Focal sat/sub speakers. This time the benefits were more subtle, though still discernible: a larger soundstage and more solid imaging. The technology will be shipped with laptops including Acer, Lenovo ThinkPads, and more to be announced. In another corner of the Dolby booth a Nokia N8 smartphone with built-in Dolby Digital Plus (a high-quality lossy surround codec) mustered pretty good surround via Harman Kardon receiver and Focal floorstanding speakers.
Yesterday's item about the dumping of CDs reminded me of a bit of future-proofing I masterminded awhile ago. I'd just set up some new CD shelves but was already dreading the day when my 2400-disc storage capacity would finally run out. So I bought four jumbo CaseLogic CD wallets. Each one holds 264 discs—or half that many if I decide to keep the booklets alongside the discs—so eventually my least significant thousand discs will find new homes there. The mere thought of dumping several shopping bags full of jewelboxes in the plastics-recycling bin brings a smile to my face. Since then CaseLogic has introduced an even bigger model holding 320 discs.