Denon AVR-4306 Owners Manual - Page 102

Additional Information 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 32).) 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. 97 Audyssey MultEQ XT Additional Information 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.