DOCSLIB.ORG

Chronology 1998

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chronology 1998 Film-Tech The information contained in this Adobe Acrobat pdf file is provided at your own risk and good judgment. These manuals are designed to facilitate the exchange of information related to cinema projection and film handling, with no warranties nor obligations from the authors, for qualified field service engineers. If you are not a qualified technician, please make no adjustments to anything you may read about in these Adobe manual downloads. www.film-tech.com A Chronology of Dolby Laboratories May 1965-May 1998 A Chronology of Dolby Laboratories 1965 May 1965 November 1967 Dolby Laboratories founded in London New York office established for U.S. SW6 by Ray M. Dolby, American physicist, distribution of professional Dolby equip- with staff of four. ment. Summer 1965 1967-68 1968 Development of prototype audio and video B-type noise reduction developed. noise reduction systems. International network established for November 1965 distribution of professional equipment in Dolby Laboratories, 1965: top floor at 590 Wandsworth Road, Dolby A-type noise reduction system for Europe, Japan, and Australia. London SW6. professional music recording demonstrated to Decca Record Company, London. June 1968 The first licensed First consumer product equipped with consumer product with 1966 January 1966 Dolby B-type, KLH Model 40 open-reel Dolby B-type NR, the KLH Model 40 recorder. After system tests, Decca orders first nine tape recorder, released in U.S. under first A301 professional noise reduction units. license agreement (exclusive until 1970). April 1966 November 1968 First production A301 units delivered to Move to London premises at 346 Clapham Dolby Laboratories’ first Decca at £700 ($2,000) each. Road, SW9. Dramatic increase in orders for product, the A301 A-type noise Model A301, due to price reduction from reduction unit. 346 Clapham Road, London: May 1966 £700 to £560 resulting from improved company headquarters until 1976, European headquarters First commercial recording session production facilities. until 1992. employing Dolby A-type, Vladimir Ashkenazy playing Mozart piano concer- 1968-69 1969 tos. Investigation of high-performance Com- pact Cassette by combining Dolby B-type November 1966 noise reduction with quality cassette First LP from master tapes made with recorders. Concept demonstrated to high Dolby A-type released by Decca (London fidelity industry using optimized The Dolby Model 505 was supplied to potential licensees Harman-Kardon CAD-4 recorder and The first LP released from Records in the U.S.), Solti conducting for demonstrating the effects master tapes recorded with Dolby Model 505 B-type noise reduction of B-type NR with consumer Mahler’s Symphony No. 2 (SET 3256). tape recorders. Dolby A-type NR. unit developed for demonstration pur- 1967 Winter 1966-67 poses. Introduction of A-type NR in U.S. with first sales to CBS, RCA, MCA, Vanguard, 1969 and several independents. Increased Increased need for Dolby A-type as coverage of Dolby NR by audio and music recording industry’s switch to multitrack industry press. formats results in higher noise levels. By year’s end, majority of London pop music April 1967 studios equipped with Dolby noise Liaison with first consumer hi-fi manufac- reduction. By 1972, 42 16-track recorders turer, Henry Kloss of KLH in Cambridge, in London alone equipped on all tracks. Monitoring an early recording MA, to explore possibility of simplified session using Dolby A301 NR noise reduction circuitry for home equip- October 1969 units. ment. Negotiations begun on licensing High-performance cassette concept Early multitrack installation Dolby noise reduction for consumer demonstrated at Audio Engineering with Dolby A301 units. applications. Distinction now made Society (AES) convention in New York. between A-type (professional) and B-type Presentations made to Advent, Fisher, and (consumer) systems. Harman-Kardon consumer hi-fi companies. October 1967 Further production facilities added in London SW8. 1 ©1998 Dolby Laboratories Inc. S98/11615/12094 Dolby, AC-3, Pro Logic, Time Link and the Double-D symbol are trademarks of Dolby Laboratories. All other trademarks are the property of their respective owners. 1970 1970-72 December 1971 Extensive travels by Dolby staff in U.S., A Clockwork Orange, first film to use Europe, and Japan to introduce high Dolby noise reduction on all pre-mixes and fidelity cassette concept to more consumer masters, released (with conventional optical equipment and tape manufacturers. soundtrack). Add-on consumer noise reduc- tion units like the Advent 100 convinced “audiophiles” that February 1970 February 1972 1972 Dolby B NR really worked. First add-on consumer Dolby B-type noise Introduction of Dolby Model 364 cinema reduction unit, Model 100, introduced by unit for decoding mono optical sound- The Model 364, for second Dolby licensee, Advent Corpora- tracks encoded with A-type noise reduc- decoding mono 35 mm optical soundtracks tion. tion. Distributed outside U.S. by Rank encoded with A-type NR, Film Equipment. was the first Dolby product designed June 1970 specifically for the cinema. Introduction of Dolby Model 320, B-type March 1972 Dolby Model 320 B-type encoder for pre-recorded unit for encoding pre-recorded cassettes. Full-time FM broadcasts encoded with cassettes. Extensive work begun with Ampex Stereo Dolby B-type noise reduction begun in Tapes in the U.S. and Decca in the U.K. to New York by WQXR. produce pre-recorded cassettes encoded with B-type noise reduction. Summer 1972 Results of using Dolby A-type with Summer 1970 experimental 16 mm stereo optical Arrival in the U.S. of first high fidelity soundtrack format reported by Eastman cassette recorders incorporating Dolby Kodak. One of the first licensed B-type (Advent, Fisher, and Harman- cassette decks with Dolby B-type NR, the Harman- Kardon), all manufactured in Japan by September 1972 The first Dolby multitrack Kardon CAD-5. noise reduction unit, the third Dolby licensee, Nakamichi. Dolby M Series multitrack A-type units M Series, took full advantage introduced at AES convention in New of the compact Cat. No. 22 September 1970 York. A-type module. Launch of second-generation Dolby A-type units, Model 360 Series, with identical January 1973 1973 The slim new Dolby 360 Series characteristics to Model A301 but in Samples of first B-type IC, Signetics A-type noise reduction unit smaller format better suited to multitrack NE545, sent to licensees for evaluation. was better suited to multitrack installations (below) than the installations. A301. June 1973 Fifth company, Revox, signs license Proposal by Dolby Laboratories for Signetics’ B-type IC made it agreement. combining B-type noise reduction and 25 easier to incorporate Dolby microsecond pre-emphasis in FM broad- NR in consumer products. November 1970 casting published in Journal of the Audio First B-type pre-recorded audio cassettes Engineering Society. released independently by Ampex and Decca. September 1973 Dolby Model E2 Cinema Equalizer Investigation of application of A-type noise introduced for use in theatres to comple- reduction to cinema sound results in first ment A-type noise reduction techniques for Multitrack installation with tests with excerpts from a production film, film soundtracks. Dolby Model 361s. Jane Eyre. October 1973 1971 January 1971 Philips, inventor of Compact Cassette, Japanese licensing liaison office established signs license. in Tokyo with Continental Far East, Inc. February 1974 1974 May 1971 Dolby FM system combining B-type noise Agreement negotiated with Signetics for reduction and 25 microsecond pre- development of first Dolby B-type IC. emphasis demonstrated to Federal Com- munication Commission (FCC). June 1971 Beginning with the 360 Series, First experimental FM broadcasts using May 1974 the Dolby Cat. No. 22 A-type module was incorporated in Dolby Model 320 B-type encoder unit, by Callan, first film with optical soundtrack Dolby products for nearly two WFMT in Chicago. (mono) encoded with A-type noise decades; more than 90,000 modules have been reduction, shown at Cannes film festival. manufactured. Summer 1971 Increased licensing activities result in 30 June 1974 licensees by end of year, including Sony, 25 microsecond Dolby FM broadcasts Matsushita, and JVC. approved for U.S. by FCC. 2 July 1974 October 1976 First 35 mm stereo optical recorder Introduction of Dolby CP50 Cinema commissioned by Dolby Laboratories at Processor, economical theatre unit for EMI Elstree Studios, England. Milestone reproduction of 35 mm Dolby Stereo in development of stereo variable area optical releases. (SVA) soundtrack format now widely associated with Dolby Laboratories’ January 1977 1977 involvement with film sound. Establishment of Dolby Laboratories Licensing Corporation with responsibility October 1974 for all licensing activities. Dolby Models 330 and 334 introduced for The Dolby Model 330 tape pre-recorded cassette duplication and May 1977 The economical Dolby CP50 duplication unit (pictured) and Dolby FM broadcasting. Opening of Star Wars in 46 U.S. theatres Cinema Processor for stereo Model 334 FM broadcast unit optical releases. featured the new slim format equipped for Dolby Stereo, plus release of of the 360 Series. November 1974 Close Encounters of the Third Kind later in 35 mm Dolby Stereo optical soundtrack year, greatly increase public awareness of format introduced at SMPTE convention Dolby Stereo and trigger further theatre in Toronto using specially re-mixed section installations. of Stardust. Advantages include per- formance comparable to older 35 mm December 1977 magnetic process at considerably less cost Twelve films released with Dolby Stereo to producers, distributors, and exhibitors. soundtracks in 1977, bringing to 30 number of films with A-type encoded 1975 February 1975 soundtracks. Dolby CP100 Cinema Processor intro- duced for reproduction of Dolby Stereo April 1978 1978 magnetic and optical soundtracks. First Star Wars (1977) is first of 18 films in a units installed for London premiere of film row with Dolby encoded soundtracks to Tommy in March.
Load more

Recommended publications
  • ARCHIVE ONLY: DCI Digital Cinema System Specification, Version 1.2
    Digital Cinema Initiatives, LLC Digital Cinema System Specification Version 1.2 March 07, 2008 Approval March 07, 2008 Digital Cinema Initiatives, LLC, Member Representatives Committee Copyright © 2005-2008 Digital Cinema Initiatives, LLC DCI Digital Cinema System Specification v.1.2 Page 1 NOTICE Digital Cinema Initiatives, LLC (DCI) is the author and creator of this specification for the purpose of copyright and other laws in all countries throughout the world. The DCI copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. DCI hereby grants to its members and their suppliers a limited license to reproduce this specification for their own use, provided it is not sold. Others should obtain permission to reproduce this specification from Digital Cinema Initiatives, LLC. This document is a specification developed and adopted by Digital Cinema Initiatives, LLC. This document may be revised by DCI. It is intended solely as a guide for companies interested in developing products, which can be compatible with other products, developed using this document. Each DCI member company shall decide independently the extent to which it will utilize, or require adherence to, these specifications. DCI shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility, and other approaches may be available to the industry. This document is an authorized and approved publication of DCI. Only DCI has the right and authority to revise or change the material contained in this document, and any revisions by any party other than DCI are unauthorized and prohibited.
    [Show full text]
  • CP750 Digital Cinema Processor the Latest in Sound Processing—From Dolby Digital Cinema
    CP750 Digital Cinema Processor The Latest in Sound Processing—from Dolby Digital Cinema The CP750 is Dolby’s latest cinema processor specifically designed to work within the new digital cinema environment. The CP750 receives and processes audio from multiple digital audio sources and can be monitored and controlled from anywhere in the network. Plus, Dolby reliability ensures a great moviegoing experience every time. The Dolby® CP750 provides easy-to- The CP750 integrates with Dolby operate audio control in digital cinema Show Manager software, enabling it environments equipped with the latest to process digital input selection and technology while integrating seamlessly volume cues within a show, real-time with existing technologies. The CP750 volume control from any Dolby Show supports the innovative Dolby Surround Manager client, and ASCII commands 7.1 premium surround sound format, from third-party controllers. Moreover, and will receive and process audio Dolby Surround 7.1 (D-cinema audio), from multiple digital audio sources, 5.1 digital PCM (D-cinema audio), Dolby including a digital cinema server, Digital Surround EX™ (bitstream), Dolby preshow servers, and alternative content Digital (bitstream), Dolby Pro Logic® II, sources. The CP750 is NOC (network and Dolby Pro Logic decoding are all operations center) ready and can be included to deliver the best in surround monitored and controlled anywhere on sound from all content sources. the network for status and function. CP750 Digital Cinema Processor Audio Inputs Other Inputs/Outputs
    [Show full text]
  • Dolby Surround 7.1 for Theatres
    Dolby Surround 7.1 Technical Information for Theatres Dolby® has partnered with Walt Disney Pictures and Pixar Animation Studios to deliver Toy Story 3 in Dolby Surround 7.1 audio format to suitably equipped 3D cinemas in selected countries. Dolby Surround 7.1 is a new audio format for cinema, supported in Dolby CP650 and CP750 Digital Cinema Processors, that increases the number of discrete surround channels to add more definition to the existing 5.1 surround array. This document provides an overview of the Dolby Surround 7.1 format, and the effect that it may have on theatre equipment and content. Full technical details of cabling requirements and software versions are provided in appropriate Dolby field bulletins. Table 1 lists the channel names and abbreviations used in this document. Table 1 Channel Abbreviations Channel Name Abbreviation Left L Center C Right R Left Surround Ls Right Surround Rs Low‐Frequency Effects LFE Back Surround Left Bsl Back Surround Right Bsr Hearing Impaired HI Visually Impaired‐Narrative (Audio VI‐N Description) 1 Theatre Channel Configuration Two new discrete channels are added in the theatre, Back Surround Left (Bsl) and Back Surround Right (Bsr) as shown in Figure 1. Use of these additional surround channels provides greater flexibility in audio placement to tie in with 3D visuals, and can also enhance the surround definition with 2D content. Dolby and the double-D symbol are registered trademarks of Dolby Dolby Laboratories, Inc. Laboratories. Surround EX is a trademark of Dolby Laboratories. 100 Potrero Avenue © 2010 Dolby Laboratories. All rights reserved. S10/22805 San Francisco, CA 94103-4813 USA 415-558-0200 415-645-4175 dolby.com Dolby Surround 7.1 Technical Information for Theatres 2 Figure 1 Dolby Surround 7.1 (Surround Channel Layout) Existing theatres that are wired for Dolby Digital Surround EX™ will already have the appropriate wiring and amplification for these channels.
    [Show full text]
  • Dolby Cineasset User Manual 005058 Issue 6
    Dolby CineAsset User’s Manual 22 July 2019 CAS.OM.005058.DRM Issue 6 Notices Notices Copyright © 2019 Dolby Laboratories. All rights reserved. Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-645-4000 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. The following are trademarks of Dolby Laboratories: Dialogue Intelligence™ Dolby Theatre® Dolby® Dolby Vision™ Dolby Advanced Audio™ Dolby Voice® Dolby Atmos® Feel Every Dimension™ Dolby Audio™ Feel Every Dimension in Dolby™ Dolby Cinema™ Feel Every Dimension in Dolby Atmos™ Dolby Digital Plus™ MLP Lossless™ Dolby Digital Plus Advanced Audio™ Pro Logic® Dolby Digital Plus Home Theater™ Surround EX™ Dolby Home Theater® All other trademarks remain the property of their respective owners. Patents THIS PRODUCT MAY BE PROTECTED BY PATENTS AND PENDING PATENT APPLICATIONS IN THE UNITED STATES AND ELSEWHERE. FOR MORE INFORMATION, INCLUDING A SPECIFIC LIST OF PATENTS PROTECTING THIS PRODUCT, PLEASE VISIT http://www.dolby.com/patents. Third-party software attributions Portions of this software are copyright © 2012 The FreeType Project (freetype.org). All rights reserved. Dolby CineAsset software is based in part on the work of the Qwt project (qwt.sf.net). This software uses libraries from the FFmpeg project under the LGPLv2.1. This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (openssl.org). This product includes cryptographic software
    [Show full text]
  • Dvdit Pro Tutorial
    TUTORIAL SONIC ™ DVDit® Pro 6 POWERFUL DVD AUTHORING FOR VIDEO PROFESSIONALS FROM SONIC THE HOLLYWOOD STANDARD IN DVD CREATION © Copyright 2005 Sonic Solutions. All rights reserved. DVDit Pro Tutorial — Sonic Part Number 800207 Rev B (09/05) This manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Sonic Solutions. Sonic Solutions assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Sonic Solutions. SONIC SOLUTIONS, INC. (“SONIC”) MAKES NO WARRANTIES, EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THE SOFTWARE. SONIC DOES NOT WARRANT, GUARANTEE, OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SONIC SOFTWARE IN TERMS OF ITS CORRECTNESS, ACCURACY, RELIABILITY, CURRENTNESS, OR OTHERWISE. THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THE SONIC SOFTWARE IS ASSUMED BY YOU. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. IN NO EVENT WILL SONIC, ITS DIRECTORS, OFFICERS, EMPLOYEES, OR AGENTS BY LIABLE TO YOU FOR ANY CONSEQUENTIAL, INCIDENTAL, OR INDIRECT DAMAGES (INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFITS, BUSINESS INTERRUPTION, LOSS OF BUSINESS INFORMATION, AND THE LIKE) ARISING OUT OF THE USE OR INABILITY TO USE THE SOFTWARE EVEN IF SONIC HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
    [Show full text]
  • Model DP562 Multichannel Dolby Digital / Dolby Pro Logic Decoder User’S Manual
    Model DP562 Multichannel Dolby Digital / Dolby Pro Logic Decoder User’s Manual Issue 3 Part No. 91470 Model DP562 User’s Manual Dolby Laboratories Inc Corporate Headquarters Dolby Laboratories Inc 100 Potrero Avenue San Francisco, CA 94103-4813 Telephone 415-558-0200 Facsimile 415-863-1373 www.dolby.com European Headquarters Dolby Laboratories Wootton Bassett Wiltshire, SN4 8QJ, England Telephone (44) 1793-842100 Facsimile (44) 1793-842101 If you purchased the Model DP562 through a dealer or systems integrator, please contact them for technical support. DISCLAIMER OF WARRANTIES: Equipment manufactured by Dolby Laboratories is warranted against defects in materials and workmanship for a period of one year from the date of purchase. All warranties, conditions or other terms implied by statute are excluded to the fullest extent allowed by law. LIMITATION OF LIABILITY: It is understood and agreed that Dolby Laboratories' liability whether in contract, in tort, under any warranty, in negligence or otherwise shall not exceed the cost of repair or replacement of the defective components and under no circumstances shall Dolby Laboratories be liable for incidental, special, direct, indirect or consequential damages (including but not limited to damage to software or recorded audio or visual material), or loss of use, revenue or profit even if Dolby Laboratories or its agents have been advised, orally or in writing, of the possibility of such damages. Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. (c)1999 Dolby Laboratories
    [Show full text]
  • Dolby DP568 Professional Reference Decoder Manual
    Dolby® DP568 Professional Reference Decoder Manual Issue 4 Part Number 9110770 Confidential Information Dolby Laboratories, Inc. Corporate Headquarters Dolby Laboratories, Inc. 100 Potrero Avenue San Francisco, CA 94103-4813 USA Telephone 415-558-0200 Fax 415-863-1373 www.dolby.com European Licensing Liaison Office Dolby International, AB Apollo Building, 3E Herikerbergweg 1-35 1101 CN Amsterdam Zuidoost The Netherlands Telephone 31-20-651-1800 Fax 31-20-651-1801 DISCLAIMER OF WARRANTIES: EQUIPMENT MANUFACTURED BY DOLBY LABORATORIES IS WARRANTED AGAINST DEFECTS IN MATERIALS AND WORKMANSHIP FOR A PERIOD OF ONE YEAR FROM THE DATE OF PURCHASE. THERE ARE NO OTHER EXPRESS OR IMPLIED WARRANTIES AND NO WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, OR OF NONINFRINGEMENT OF THIRD-PARTY RIGHTS (INCLUDING, BUT NOT LIMITED TO, COPYRIGHT AND PATENT RIGHTS). LIMITATION OF LIABILITY: IT IS UNDERSTOOD AND AGREED THAT DOLBY LABORATORIES’ LIABILITY, WHETHER IN CONTRACT, IN TORT, UNDER ANY WARRANTY, IN NEGLIGENCE, OR OTHERWISE, SHALL NOT EXCEED THE COST OF REPAIR OR REPLACEMENT OF THE DEFECTIVE COMPONENTS OR ACCUSED INFRINGING DEVICES, AND UNDER NO CIRCUMSTANCES SHALL DOLBY LABORATORIES BE LIABLE FOR INCIDENTAL, SPECIAL, DIRECT, INDIRECT, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, DAMAGE TO SOFTWARE OR RECORDED AUDIO OR VISUAL MATERIAL), COST OF DEFENSE, OR LOSS OF USE, REVENUE, OR PROFIT, EVEN IF DOLBY LABORATORIES OR ITS AGENTS HAVE BEEN ADVISED, ORALLY OR IN WRITING, OF THE POSSIBILITY OF SUCH DAMAGES. Dolby, Pro Logic, and the double-D symbol are registered trademarks of Dolby Laboratories. Dolby Digital Plus, Dialogue Intelligence, and Surround EX are trademarks of Dolby Laboratories.
    [Show full text]
  • Optimizing the Implementation of Dolby Digital Plus in Soc Designs
    White Paper Optimizing the Implementation of Dolby Digital Plus in SoC Designs Chris Cavigioli and Brett Miller, MIPS Technologies Roger Dressler and Rob Hislop, Dolby Laboratories January 2007 MIPS Technologies and Dolby Laboratories have collaborated to provide a rapid and low-risk methodology for deploying Dolby Digital Plus technology to the set-top box and HD DVD/Blu-ray Disc markets. Introduction Dolby® Digital Plus, the newest generation of Dolby Digital, the standard-setting audio technology from Dolby Laboratories, is making its way into next-generation home entertainment applications, bringing superior sound quality, more efficient audio compression, and an improved user experience to the home. Dolby Digital Plus, also known as Enhanced AC-3 (E-AC-3), was developed to address the changing requirements of two burgeoning consumer markets. For the emerging HD DVD and Blu-ray Disc optical disc players, the data compression capabilities of Dolby Digital Plus allow movie studios to combine a superior audio experience with high-definition video. The technology also enhances the latest digital TV set-top boxes (STBs), enabling broadcasters to deploy offerings with lower bit rates, reducing costs and adding flexibility and value for consumers. While there are tremendous advantages to using Dolby Digital Plus, there are also design considerations that system-on-a-chip (SoC) teams need to understand. The rigorous approval testing that is required at Dolby Laboratories before a chip or a system can use the Dolby Digital Plus logo is substantial. Working with Dolby Laboratories, MIPS Technologies has developed an optimized, tested version of Dolby Digital Plus that will run on any of its 32-bit synthesizable processor cores—significantly slashing audio subsystem development time.
    [Show full text]
  • Frequently Asked Questions Dolby Digital Plus
    Frequently Asked Questions Dolby® Digital Plus redefines the home theater surround experience for new formats like high-definition video discs. What is Dolby Digital Plus? Dolby® Digital Plus is Dolby’s new-generation multichannel audio technology developed to enhance the premium experience of high-definition media. Built on industry-standard Dolby Digital technology, Dolby Digital Plus as implemented in Blu-ray Disc™ features more channels, less compression, and higher data rates for a warmer, richer, more compelling audio experience than you get from standard-definition DVDs. What other applications are there for Dolby Digital Plus? The advanced spectral coding efficiencies of Dolby Digital Plus enable content producers to deliver high-resolution multichannel soundtracks at lower bit rates than with Dolby Digital. This makes it ideal for emerging bandwidth-critical applications including cable, IPTV, IP streaming, and satellite (DBS) and terrestrial broadcast. Dolby Digital Plus is also a preferred medium for delivering BonusView (Profile 1.1) and BD-Live™ (Profile 2.0) interactive audio content on Blu-ray Disc. Delivering higher quality and more channels at higher bit rates, plus greater efficiency at lower bit rates, Dolby Digital Plus has the flexibility to fulfill the needs of new content delivery formats for years to come. Is Dolby Digital Plus content backward-compatible? Because Dolby Digital Plus is built on core Dolby Digital technologies, content that is encoded with Dolby Digital Plus is fully compatible with the millions of existing home theaters and playback systems worldwide equipped for Dolby Digital playback. Dolby Digital Plus soundtracks are easily converted to a 640 kbps Dolby Digital signal without decoding and reencoding, for output via S/PDIF.
    [Show full text]
  • 10700990.Pdf
    The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
    [Show full text]
  • C1C2 Manual Addendum A07
    C 1/C 2 Controllers Manual Supplement for C 1 and C 2 with PLIIx-Lipsync Software Upgrade Installed Addendum to Owner’s Guide 2 NEW SURROUND MODES The new surround modes are for 7.1 channel systems. Size setup Are your back channel speakers selected? Main speakers Large If you have not yet selected Back channel speakers, Center speaker Small press the MENU button on the remote (or the Menu Surround speakers Small button on the front panel) and go to the Speaker > Back speakers 2 Small setup, Size setup menu page, > Back speakers. Subwoofer Yes Subwoofer filter On Subwoofer freq. 80Hz-THX SIZE SETUP Enhanced bass Off BACK SPKRS: 2 SMALL Exit Dolby Pro Logic IIx Dolby Pro Logic IIx: This extends two channel or 5.1 channel source material to the center channel, surround channels and back channel speakers in a 7.1 channel system. Pro Logic IIx produces a spacious, enveloping effect. It is designed for use with any stereo, Dolby 2.0, Dolby Pro Logic, Dolby Digital 5.1, DTS 5.1 or Surround EX signal. With a single back channel speaker it is known as 6.1 channel, and with two back channel speakers it is known as 7.1 channel. There are two types of Pro Logic IIx: Pro Logic IIx Movie and Pro Logic IIx Music. These are our recommended surround modes if you have a 6.1 or 7.1 channel system. Please note that Pro Logic IIx Movie is not compatible with Dolby Digital 5.1 with a 6.1 channel system.
    [Show full text]
  • Tivoli Audio
    OWNER’S MANUAL Model OneTM Important Safety Instructions 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. 5) Do not use this apparatus near water. For example, do not use near a bathtub, in a wet basement, near a swimming pool, and the like. WARNING! Do not expose this product to rain or moisture. 6) Clean only with dry cloth. 7) Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10) Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11) Only use attachments/accessories specified by the manufacturer. 12) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 1 13) Unplug this apparatus during lightning storms or when unused for long periods of time.
    [Show full text]