OPUS 5.1 CODEC DECODER RECEIVER SOFTWARE

(All digital home-theater receivers have a Dolby Digital decoder built in, and most also have a DTS decoder.)Д«e sure not to play a Dolby Digital or DTS CD from the player's analog audio outputs the encoded datastream sounds like nothing but noise, which can damage speakers if the level is high enough. Those discs will play in a CD player that has an S/PDIF output connected to a home-theater system with a Dolby Digital or DTS decoder. However, instead of containing pulse-code modulation (PCM) digital-audio data, such CDs hold Dolby Digital or DTS data files. In addition, the file structure of a DTS track is the same as a standard CD's, so you can fit the same 74 minutes (or as many as 99 songs) of 5.1-channel audio on a disc. DTS files can use transfer rates of 1.5 Mbps or 768 Kbps from a DVD.ДTS and Dolby Digital files can also be burned onto CDs in fact, DTS-encoded CDs use the same 1.4 Mbps transfer rate as stereo 16-bit, 44.1 kHz CDs, and they can be duplicated by any pressing house that makes standard stereo CDs. Unfortunately, most of the data space on DVD-Video discs is hogged by the video portion, so the official DVD-Video specification mandates a Dolby Digital audio program at a transfer rate of 56 to 448 Kbps in order to fit as much audio as possible within the limited storage space.

If you play a DVD with a Dolby Digital or DTS soundtrack, the receiver decodes the digital bitstream from the player's S/PDIF output as the disc plays back.ДVDs have much more storage space (4.7 GB compared with a CD's 640 MB), so they have lots of room for audio. You don't have to cook a DVD or CD in boiling water (kids, don't try this at home), but all home-theater receivers do an analogous rehydration process. Then, the end user just adds water and heats it to a boil (decoding) and voilГ вЂ¦ instant mashed potatoes. After the water is removed (encoded), the powder is compact to store and transport. (The entire encode-decode cycle is often referred to as a codec, which is a contraction of enCOde and DECode.) Think of encoded data as being like instant mashed potatoes. Then, on the playback end, the file is decoded back into its original six channels before being sent to the speakers.

DTS offers 5.1 and 6.1 formats, whereas Dolby Digital can be implemented in any format from mono to 5.1.Д«oth systems encode the six channels of a discrete surround mix into a single data file that can be transmitted through a standard AES/EBU or S/PDIF interface. Two types of 5.1 encoding are often used: Dolby Digital and DTS from Digital Theater Systems. In general, that requires the data to be compressed (reduced in size). To easily distribute 5.1-channel recordings, you must encode them into a format that can be stored on common media, such as CDs and DVDs, and transmitted over common digital-audio interfaces, such as S/PDIF. This article describes the final part of the surround-production process. The process is not really that complicated, and it's thrilling to hear something you mixed in surround play back properly on a home system. You need to encode your six discrete tracks into a format that will play on a consumer home-theater system. Now, how do you get anyone else to hear your surround opus? You can't play a DA-88 tape on a consumer system, and dragging a multitrack deck around isn't practical. (See Introduction to Surround Sound and Setting Up Your Studio for Surround Sound).

OPUS 5.1 CODEC DECODER RECEIVER SOFTWARE

So you've bitten the proverbial bullet and installed a mixer or workstation software application with surround panners, set up a 5.1 monitoring system, and actually recorded some surround music mixes on a Tascam DA-88 or ADAT.

Opus 5.1 codec decoder receiver