HIGH-DEF DISC NEWS TAGGED "DOLBY"Receive High-Def Disc News via RSS

HDD Demos Dolby Atmos and Dolby TrueHD Advanced 96K Upsampling

Mon May 21, 2012 at 03:05 PM ET
Tags: Dolby, Michael S. Palmer, Industry Trends (all tags)

By Michael S. Palmer

Before we get to the good stuff, the SEC, FCC, NCAA, or some governing body says the following disclosure is manditory. NOTE: this article exists because Dolby Laboratories bought me a round trip airfare to San Francisco, housed me in a hotel I probably couldn't (or wouldn't) afford normally, and stuffed me silly with meals and beverages of adult and/or caffeinated varieties. Take that for whatever value you apply, but at the end of the day, I'm just a guy -- probably a lot like you -- who loves home cinema and was fortunate enough to see what the pros are cooking up for our next generation theatrical and home theatre auditory experiences.

Second disclosure. I've been to Dolby Laboratories three times now. It's terribly depressing. Sorry, that's not true; these trips have been the most explosive audio experiences I've ever had, whether sitting in Mix Room A, which features seven Pelonis Signature Series Model 110P 2-way Passive Reference Monitors and a Velodyne Model DD-15BG Subwoofer, or the Dolby Cinema Lab, which is completely isolated from the rest of the building and set up for 26.3 surround sound. No, the depressing part about Dolby is returning home, flipping on my consumer surround sound system (Denon powering 7.1 KEF iQs), and realizing it all sucks-to-my-asthmar compared to the sonic bliss my spoiled ears had grown accustomed over the previous couple days.

Oh well, such is life.

Fidelity Forum 2.0 was a two day event with over 20 journalists and bloggers from a variety of sound hobbies. Everything from the guy who bled for the San Francisco Symphony and high-resolution stereo audiophile recordings, to guys like me who wants his action blockbuster Blu-rays to be swirling infernos of percussive chaos. HDD's own resident technical guru, Josh Zyber, also attended and, from what I understand, is writing up a couple articles as well. For our purposes here, consider this piece a general introduction and mini-review of what I experienced. In layman's terms, "on a scale of awesome to lame, how much should I get it up?" Josh will attempt to go more in depth with the technology itself.

Dolby TrueHD Advanced 96K Upsampling


Day one was dedicated to Dolby TrueHD Advanced 96K Upsampling, which has just been announced to the public. From my minimal experience getting to know the Dolby culture, it's evident how much Laboratory best describes this company. Their engineers and neuroscientists and craftsmen of all types seem to be driven by one simple question:

How can we make an audio experience better?

In our first demo, the question was, how can we improve Dolby TrueHD? But the challenge was where to make the change. They can't upgrade Blu-ray itself because the BDA (Blu-ray Disc Association) has strict product specs. You could put new chips or software into Blu-ray players or AV Receivers, but that could be terribly expensive for the consumer or processor heavy on the gear itself.

Then it hit them, what if the key to improving Dolby TrueHD was at the encoding level? What if there was an improvement that not only fits TrueHD's current capabilities -- up to eight full-range channels of 96 kHz/24-bit audio and six full-range channels of 192 kHz/24-bit audio -- but also works with gear consumers already have sitting on shelves and in closets?

I'm probably about to butcher this explanation, in terms of the science, but when sound is digitally recorded at 48 kHz, artifacts are introduced into the sound files. One of these is called Pre-Ringing; think of it like digital noise that shows up a millisecond before the real sound, and is most commonly found in things with fast attack rates -- drums, gunfire, explosions, glass breaking, etc. At 96 kHz, this phenomenon is apparently minimized.

What's important to remember here is that most (if not all) television and theatrical motion picture audio is recorded at 48 kHz. Because multi-track soundtracks are so complicated, and because source materials are recorded in many places, upgrading the mixing process to 96K would take a lot more gear and storage. But what if the professional sound designers could keep their current workflow, but still produce a better product?

Because TrueHD can natively handle 96K, Dolby thought if they could upsample finished audio from 48K to 96K, there would be a noticeable fidelity upgrade. But, again, what's the best way to make this happen? Sure, some AV Receivers have DACs (digital to analog converters) capable of such upsampling, but in a 7.1 mix, it requires a lot of horsepower. Also, up-resolution algorithms introduce their own flaws, which can only be fixed with expensive "apodizing" filters. How expensive? Consider Meridian Audio's 808.2 Signature Reference CD Player. It does everything we're talking about here…for $16,000.

Dolby realized that the only way for them to increase the fidelity of soundtracks and reduce digital artifacts while not making it more expensive for movie studios or consumers is after the mix, but before the TrueHD encoding process. So Dolby licensed Meridian's apodizing filter technology and cooked it into the latest version of their professional encoding software. This means we're about get all the benefit of 96K recordings from 48K source material without having to change anything in our systems (assuming your AVR is capable of doing 96K digital to analog conversions).

Okay, I've butchered the behind-the-scenes long enough. The most important questions are, does this really matter to the average consumer (the will I care quotient)?


To be honest, I was pretty skeptical. I can tell when someone's playing a low res .mp3 file on a nice home or car audio system because it sounds tinny and harsh, but Blu-ray sounds awesome as is. 48K has to be good enough, right?

To be fair, 48K is good enough and will most likely remain a standard for most Blu-ray presentations. But when you hear 96K, you might just hope studios encoding in TrueHD will click literally one button, in the encoding software bundle, and instantly upgrade all their Blu-ray soundtracks. Is it change-the-world dramatic? Not always. Sometimes the difference is subtle. And, it affected each listener a little different.

As a demo, Dolby played back-to-back recordings at 96K and 48K straight out of ProTools so there would be no difference in volume levels between the demos. We sampled scenes from 'The Lost Bladesmen', 'The Dark Knight', 'Kung Fu Panda', 'Flowers of War' and a couple music selection. To be very clear, the only demo currently slated to appear with Advanced 96K Upsampling is 'Flowers of War'; the other clips were for test purposes only, courtesy of the various studios.

To my ears, because I'm an action-junkie, 'The Dark Knight' scenes had the most impressive improvements. We heard the scenes where Batman HALO jumps into a Hong Kong skyscraper as well as Batman riding the Batpod (I mean to say motorcycle, whatever that's called) through the mall, an alley, and racing towards the Joker in the 18-wheeler (though sadly, the clip ended before it flipped). What I felt and heard, as we jumped back and forth between 96K and 48K, was akin to listening to the sound in a large room with lots of echoing surfaces, and then listening in a smaller room that had been professional calibrated. The 96K material sounded warmer and precise. Gunshots and shattering glass seemed more lifelike and realistic. At 48K, those sound were still pretty excellent (the speakers for this demo looked very expensive), but those percussive, explosive moments had much more noticeable harshness and edge to them.

As long as the studios don't charge a crazy-premium over standard Blu-rays -- they shouldn't because it doesn't cost extra, save for a little more encoding time -- I personally cannot wait to pick up Advanced 96K Upsampling Blu-ray titles.

In terms of what's available now, you can currently pick up 'San Francisco Symphony at 100' as well as the Joe Satriani concert film 'Saturated: Live in Montreal'. Also, as I said a moment ago, the Asian market release of Christian Bales 'The Flowers of War' (from Best * Original Production Limited) is slated to release this summer in the format; I'm not sure about the North American Blu-ray. To tell whether or not a title has this technology, look for the special gold badging, which will appear as a circular sticker (pictured), a gold bar along the lower portion of the Blu-ray's front cover, or as a technical specification on the Blu-ray's back cover.

For more information, be on the lookout for Josh's blog posts, read this detailed .pdf from Dolby, or check out these two videos. First, we have a short piece on the ' San Francisco Symphony at 100' Blu-ray Disc:

San Francisco Symphony at 100 Blu-ray Disc In Dolby TrueHD with advanced 96K Upsampling from Dolby Laboratories on Vimeo.

And, here's the full 45 minute Saturated Panel from Fidelity Forum 2.0:

Saturated: Live in Montreal Panel from Dolby Laboratories on Vimeo.

Dolby Atmos


On day two of Fidelity Forum 2.0, we finally heard the technology I've been most excited about: Dolby Atmos. Atmos was announced a couple weeks ago and, if you don't know what I'm talking about, have a look at this short video explaining the technology:

As I said above, we went into the Dolby Cinema Lab for this, which is set up for 26.3 surround sound, including six speakers on each side (two of which are full range), five rear speakers, and six overheads. The Atmos logo trailer was mixed at Dolby Burbank in a 38.1 speaker array, the Atmos launch demo took place in Las Vegas in a 47.3 configuration, and Skywalker Sound just built a new Atmos-capable mixing stage in a 41.3 setup.


Sounds complicated, right? Atmos actually begins with a 9.1 based configuration (the current Dolby 7.1 format plus stereo height channels), which sound designers will mix in a familiar workflow. However, what makes Atmos amazing is that it includes "object" mixing. Meaning, any individual sound effect or music clip can pan anywhere in a 180-degree hemisphere. The Atmos cinema processor -- which can be configured for any professional theatre -- will place that object discretely in as few or as many speakers as the filmmakers intend. What's particularly impressive is how scalable it all is for any venue. In terms of technical requirements, Dolby suggests a pair of height channel speakers for every pair of side channel speakers, full range surrounds because of added LFE capabilities, and individual speaker amplification (this allows for more discrete placement).

So how does it sound?

We were fortunate enough to demo the Atmos logo trailer (created by Erik Aadahl, best known for his sound work on 'Transformers: Dark of the Moon'), four sound only clips, the climax of 'Rise of the Planet of the Apes', and a secret clip about which I may not write despite it being the presentation highlight. Overall, when I first heard 7.1, I felt as though I had been sucked forward towards the screen. With Atmos, it sounds like you're literally in the world of the movie; the height channels are a big part of this, but the precision with which bullets ping and helicopters fly is impressive and perhaps the most lifelike I've ever encountered. But remember, all of these demos was designed to call attention to the new format; like anything, Atmos can be as aggressive or subtle as needed.

The Atmos logo sounds like a cross between the THX and 'Transformers'. It has a wide dynamic range with heart-stopping base and an incredibly immersive surround experience. The four sound-only clips were fun as well. A thunder and rain sequence was akin to sitting in a covered porch during a summer storm; I could hear the individual drops of rain hitting the ground, while others dripped off a roof. It was incredibly realistic. Next, they panned a song 360-degrees around the room, first in 5.1, and later in Atmos. The 5.1 had gaps, uneven levels, and bled across multiple speakers at a time. In Atmos, a single voice traveled in an exact line.

Then, Dolby took two conversations from 'The Dark Knight' and played them at the same time on the same side of the auditorium. In 5.1, you couldn't understand anything. In 7.1, things were clearer, but the conversations sounded on top of one another. In Atmos, it was like sitting at a restaurant and isolating two other tables conversing around you.

The last sound-only demo was originally created for Vodaphone commercials in the U.K. It began on a in-flight jetliner. After a terrifying crash sequence, a man swims to safety and encounters cannibals on a jungle island. While not as good as 'The Grey' plane crash, this was also incredibly immersive. Fellow passengers opening overhead bins sounded like they were doing so above you. In a moment where we were bobbing up and down under the water, you could hear the water rising up around you and receding. It was pretty cool.

'Rise of the Planet of the Apes' wasn't my favorite demo, but the sequence where the gorillas leaps into the crashing helicopter was pretty good. Perhaps in its current form a little too chaotic and not as discrete as the other clips, especially the finale that followed, which was perfect.

When properly mixed, Atmos is an unmatched force in theatrical motion picture sound capability, but when and where will you get to hear it?

Dolby just went over to Skywalker Sound to do a "test-mix" on Disney/Pixar's 'Brave'. If all goes well, Atmos will debut on 15 screens in the US when 'Brave' hits cinemas on June 22. Though the official list hasn't been released (look for that in the next couple weeks), these select cinemas will all be in major cities. AMC's "ETX" auditoriums, which already have built-in height channels, are likely conversion candidates.

Again, this is mostly a test. Atmos doesn't officially debut until next year, when Dolby is planning to run a "Road to 1000" campaign in hopes they'll have 1,000 Atmos screens by the summer of 2013. In the meantime, they plan to work with Hollywood's top filmmakers to mix the biggest movies in the format for next year.

To learn more about Atmos, here's the Launch Event and Panel:

Dolby Atmos Launch Event & Industry Panel from Dolby Laboratories on Vimeo.

Fidelity Forum 2.0 Wrap Up


Visiting the Laboratory is an aural treat. Despite the amazing demos, my favorite part was probably the visit to Mixing Room A, where we sampled the B.O.B. (featuring Halley Williams) song Airplanes and the Owl City song Fireflies in 7.1. Not only was the equipment drool-worthy (sorry about the puddle, fellas) and the room perfectly tuned, but we were able to isolate vocals and other track elements and learn how mutli-channel audio is mixed. Fascinating.

As for the other technology explored, Dolby TrueHD Advanced 96K Upsampling is a fun new home theatre improvement. I could hear it and I look forward to hearing as many movie soundtracks in the format as possible. Since I've already got the gear, why not, right? I suppose the only potential downside is the inevitable studio double-dip release, but that would probably happen anyway. Dolby Atmos won't be in our homes anytime soon, but as a theatrical experience, I'm eagerly waiting for 'Brave' and whatever follows.

Will either change the movies forever? For some, yes; for others, no. But at the end of the day, what's most important is Dolby, and many other companies out there, won't settle for what's "good enough."

Because they always need to make it better.

See what people are saying about this story in our forums area, or check out other recent discussions.


Dolby Announces 96k Upsampling for Better Blu-ray Audio

Fri May 18, 2012 at 10:00 AM ET
Tags: Dolby, Dolby TrueHD (all tags)

Dolby says their upsampling and filter process will also clean up artifacts like preringing.

You may have guessed, but here on High-Def Digest, we like our Blu-rays. All that video and audio quality packed onto a tiny disc is a pretty sweet setup, and it's about to get sweeter, thanks to the folks over at Dolby.

The company has created a new upsampling technique that allows for even better sound from your Blu-ray discs. Dolby accomplishes this by taking the upsampling that's often done by ultra-high end products and instead baking that into the disc from the beginning. By improving the audio before encoding, Dolby says that it's passing on the best possible sound on to users and minimizing the effect of artifacts along the way.

If you have a Blu-ray player or Receiver that's compatible with Dolby TrueHD, you won't have to do a thing to enjoy the new tech – no new hardware or software is required.

Dolby says that several authoring houses and other facilities are already on board including Deluxe Digital Studios and Technicolor.

Source: Dolby (PDF)

See what people are saying about this story in our forums area, or check out other recent discussions.


Dolby Announces 96k Upsampling for Better Blu-ray Audio

Fri May 18, 2012 at 10:00 AM ET
Tags: Dolby, Dolby TrueHD (all tags)

Dolby says their upsampling and filter process will also clean up artifacts like preringing.

You may have guessed, but here on High-Def Digest, we like our Blu-rays. All that video and audio quality packed onto a tiny disc is a pretty sweet setup, and it's about to get sweeter, thanks to the folks over at Dolby.

The company has created a new upsampling technique that allows for even better sound from your Blu-ray discs. Dolby accomplishes this by taking the upsampling that's often done by ultra-high end products and instead baking that into the disc from the beginning. By improving the audio before encoding, Dolby says that it's passing on the best possible sound on to users and minimizing the effect of artifacts along the way.

If you have a Blu-ray player or Receiver that's compatible with Dolby TrueHD, you won't have to do a thing to enjoy the new tech – no new hardware or software is required.

Dolby says that several authoring houses and other facilities are already on board including Deluxe Digital Studios and Technicolor.

Source: Dolby (PDF)

See what people are saying about this story in our forums area, or check out other recent discussions.


Onkyo Creates First Music Service to Utilize Dolby TrueHD 5.1

Fri May 11, 2012 at 12:00 PM ET
Tags: Streaming, Dolby, Onkyo, e-onkyo (all tags)

It's available now in Japan, and coming to the rest of the world this fall.

Streaming music has improved a great deal since it first came onto the scene, and Onkyo is taking it a step further with the e-onkyo music distribution service. It's the first service available that gives you lossless 5.1 channel Dolby TrueHD.

The selection is incredibly limited at the moment, with just 100 albums available. Your listening options are limited too – you'll need a compatible Onkyo receiver, like the upcoming TX-NR818 and TX-NR717.

"Consumer appreciation of the highest-quality audio playback experiences is increasing," says Dolby Senior VP Michael Bergeron. "Onkyo's e-music service with Dolby TrueHD gives the listener access to 100 percent studio master-quality audio, delivering unparalleled detail and immersion, and reproducing every nuance of the recording or concert event."

Source: Engadget

See what people are saying about this story in our forums area, or check out other recent discussions.


Onkyo Creates First Music Service to Utilize Dolby TrueHD 5.1

Fri May 11, 2012 at 12:00 PM ET
Tags: Streaming, Dolby, Onkyo, e-onkyo (all tags)

It's available now in Japan, and coming to the rest of the world this fall.

Streaming music has improved a great deal since it first came onto the scene, and Onkyo is taking it a step further with the e-onkyo music distribution service. It's the first service available that gives you lossless 5.1 channel Dolby TrueHD.

The selection is incredibly limited at the moment, with just 100 albums available. Your listening options are limited too – you'll need a compatible Onkyo receiver, like the upcoming TX-NR818 and TX-NR717.

"Consumer appreciation of the highest-quality audio playback experiences is increasing," says Dolby Senior VP Michael Bergeron. "Onkyo's e-music service with Dolby TrueHD gives the listener access to 100 percent studio master-quality audio, delivering unparalleled detail and immersion, and reproducing every nuance of the recording or concert event."

Source: Engadget

See what people are saying about this story in our forums area, or check out other recent discussions.


Dolby Teams with Philips for Glasses-Free 3D

Wed Apr 18, 2012 at 12:00 PM ET
Tags: Philips, Dolby, 3D, glasses-free 3D (all tags)

The tech offers 26 different viewing angles and can be adjusted to fit your distance from the TV.

Glasses-free 3D is a technology that has a great deal of potential, though no one has perfected it yet. Dolby and Philips are hoping to take it a step further with their new prototype that combines a 4K display with a sheet of undulated plastic that allows for 3D to be viewed from 26 different viewing angles.

Hands on experiences seem positive so far. "Viewing angles were particularly impressive: even from far off to the side, the 3D effect was still present, writes David Pierce of The Verge. "The picture was so crisp and clean that it almost took a minute to realize we were looking at 3D footage."

Source: The Verge

See what people are saying about this story in our forums area, or check out other recent discussions.


Dolby Digital Plus is Coming to HBO Go, Tablets, Smartphones, and More

Wed Jan 11, 2012 at 02:00 PM ET
Tags: Dolby, Tablets, Smartphones, HBO Go (all tags)

This adds to the already significant deals with streaming services like Netflix, Vudu, and CinemaNow.

People tend to focus on picture quality primarily when speaking about streaming services, but video is only half the story - bad audio can make even the best looking films suffer. The addition of Dolby Digital Plus to a variety of services and devices is a move to combat the problem and provide higher quality sound to those streaming their content.

HBO Go is the latest to adopt Dolby Digital Plus to provide its customers with better sound when tuning in through connected TVs and Blu-ray players. Samsung is also adding Dolby Digital Plus to the Acetrax application that's used by European Blu-ray players.

In addition to the Acetrax app Samsung is among the companies that will be using Dolby Digital Plus in new smartphones, and tablets. Other makers incorporating the tech are Acer, HP, Lenovo and more.

Finally, L L Cool J has partnered with Dolby specifically for CES. He's promoting a new website called Boomdizzle that's meant for collaboration between recording artists and Dolby provided technical assistance to make his Dolby enabled laptop sound its best.

See what people are saying about this story in our forums area, or check out other recent discussions.


Dolby Announces Lighter, Cheaper 3D Glasses for Theaters

Wed Mar 23, 2011 at 03:00 PM ET
Tags: Dolby, 3D Glasses (all tags)

The company has high hopes for its multi-use 3D glasses.

When it comes to 3D glasses, Dolby takes a different approach than market leader RealD. Instead of making cheap, disposable glasses, Dolby creates light and stylish glasses that are meant to be used again and again.

"With the newly designed Dolby 3D glasses, we look to maintain the premium quality visual performance that Hollywood has come to expect from Dolby 3D," says Dolby's Matt Cuson, "while providing a more comfortable fit for cinemagoers and a lower price point for exhibitors."

The glasses will cost anywhere from $12.00 and down depending on the amount ordered. Dolby has also stated that children's glasses will be coming out later.

Source: Engadget

See what people are saying about this story in our forums area, or check out other recent discussions.


The PS3 Gets 1080i Netflix with 5.1 Sound – Disc Free

Thu Oct 14, 2010 at 03:40 PM ET
Tags: PlayStation 3, Netflix, Dolby (all tags)

Other devices will see similar updates in the near future, but Sony gets it first.

If you're a Netflix fan with even a basic home theater setup, you've probably been chomping at the bit for 5.1 surround. Lucky PlayStation 3 owners will be the first to get it, helping to make up for having to use discs to stream for all this time.

On October 18 – that's Monday – if you've got a PS3, you'll be able to stream Netflix movies with 5.1 channel surround with Dolby Digital Plus. You'll also be able to watch videos in 1080i, an upgrade from the service which formerly capped out at 720p. What's more, you won't even have to use a disc to do it.

The folks at Netflix say that other devices like the Xbox 360, Roku streamers, Blu-ray players and receivers will be getting the 5.1 channel treatment too, but a date hasn't been set. Netflix hasn't publicly stated whether or not we'll see 1080i streaming on other devices, but it's almost surely on the way.

Update: It looks like the PlayStation Blog was wrong on this one. PS3 owners will actually be getting 1080p instead of 1080i. Thanks to the forum goers and emailers for pointing this out!

Source: Official Playstation Blog

See what people are saying about this story in our forums area, or check out other recent discussions.


High-Def Digest Chats with Dolby About 7.1 and 9.1 Surround

Wed Aug 18, 2010 at 03:00 PM ET
Tags: Dexter, Dolby, Michael S. Palmer (all tags)

By Michael S. Palmer

Dolby Laboratories was on hand last Saturday night at the 'Dexter Season 4' Blu-ray premier to talk multi-channel surround sound.

Here's a quick round up of what's available now in your local cinema, and for your home theater.


Dolby 7.1 Surround

In an odd reversal of home theater helping to improve theatrical exhibition, Dolby reps explained their new Dolby 7.1 Surround system, which rolled out at cinemas earlier this summer in conjunction with the release of 'Toy Story 3.' Blu-ray and Dolby TrueHD have been capable of delivering 7.1 in the home since 2006, but 8-channel sound in the cinema utilizing four discrete rear channels is surprisingly brand new. Yes, Sony's SDDS is an 8-channel format and has been in select theaters since 1993, but SDDS has five front channels, and only two rears just like Dolby Digital and DTS. Have a look the next time you're at the movies. There may be upwards of 15 to 20 speakers around you at your local megaplex, but it's still only two channels, Left Surround and Right Surround.

At present, most films (and now TV shows like 'Dexter') are mixed for a 5.1 theatrical, broadcast, and home entertainment releases. According to Dolby, despite some Blu-rays featuring 7.1 soundtracks, what 7.1 owners have been experiencing thus far is more akin to an expanded 5.1 mix; similar to the results of using products like Dolby Pro Logic IIx or IIz. Meaning, the four rear channels aren't quite as specific, or discrete, as they can or should be; the two extra channels are simply extrapolated, or split from the original two channel rears and encoded discretely for the Blu-ray.

Dolby 7.1 Surround came about when Disney/Pixar was preparing 'Toy Story 3'. They approached Dolby because they wanted to ensure theatrical surround sound was keeping up with visual technological advances like 3D and digital projection. The trick was to create a significant, immersive upgrade without needing time-consuming and cost-prohibitive construction. With Dolby 7.1 Surround, cinema goers get two new channels (in addition to the standard Front Right, Center, Front Left, Left Surround, and Right Surround): Back Surround Left and Back Surround Right. Exhibitors, depending on the age of their surround sound processors, simply need a firmware upgrade and to change a few wires.

'Toy Story 3' is the first theatrical movie to use the new 7.1 format -- the first movie designed and mixed with 7.1 in mind from the gournd up -- and therefore, when it comes home on November 2, 'Toy Story 3' will be the first true 7.1 Blu-ray release (not adjusted after the fact for home video, and only ironically available via a 7.1 DTS-MA track).

Dolby is currently working with theater chains to retrofit existing cinemas with the new format. Click here to find out where you can experience Dolby 7.1 Surround in your area. Let us know in the forums if you saw 'Toy Story 3' in an upgraded theater with the above embedded trailer and tell us what you think.

Dolby Pro Logic IIz


We spoke about Pro Logic IIx and IIz with Dolby last year, but it was fun to brush up on the subject again. For those who don't recall, Dolby Pro Logic IIx takes any stereo or 5.1 mix and upgrades it to 7.1 (Left, Center, Right, LFE, Left Surround, Back Surround Left, Right Surround, Back Surround Right).

Pro Logic IIz has a more interesting and complex pedigree. As described above both theatrically and in the home entertainment platform, 7.1 is an immersive sound environment, and will only become better as more and more films are mixed with that native capability. However, for many home theater fans, we're already pushing the limits of room logistics, and what our wives or girlfriends will tolerate in a decorative sense. The challenge for Dolby became how could they give an added value experience to all listeners, without adding another mandatory 100 feet of speaker cable to the back of the room (I'm of course paraphrasing and simplifying here).

To confront this challenge, they built the newest Pro Logic, IIz. One of Popular Science's "Best of What's New 2009", IIz is a 7.1 or optional 9.1 surround sound experience. In "7.1 Height" mode, home theater enthusiasts are able to take a 5.1 mix and add two more front "height" channels, a pair of satellite speakers, which should be placed at least a meter above the front channels at a 45 degree angle to give extra width. When getting a stereo, 5.1, or even 7.1 native source, IIz extracts "ambient sound and certain amorphous effects such as rain or wind" and directs them to these front height speakers. Dolby recommends Atlantic Technology (1400 SR-z, or other) for these height channels, and says one of the best demos for IIz is the rain in the opening moments of 'Ratatouille.'

With a 7.1 Pro Logic IIz AV receiver, customers have two options in how to run their system: 1) as a 5.1 plus the two height channels, or 2) as a traditional 7.1 system (four rear channels) without engaging the height channels.


But wait, there's more! Available on more advanced (read: more expensive) AVRs equipped with IIz is a drool-inducing 9.1 surround sound. This is the traditional 7.1 Surround Sound (four rear channels) plus the two height channels. Dolby is also hoping to expand IIz into the video gaming world; while it already works with any 5.1 input, including of course Dolby Digital Live, they're hoping that game developers can add in these ambient sounds, such as helicopters buzzing over head, to really place players into their gaming universes.

As a format, Dolby Pro Logic IIz has a different set of skills for every listener out there. Personally, I can't wait to try it out myself. If anyone already has IIz and height speakers running, please drop us a line in the forums and tell us what you think. IIz is available on many new AVRs from Denon, Onkyo, Sony, and Marantz. Click here for a quick Pro Logic IIz demo.

See what people are saying about this story in our forums area, or check out other recent discussions.



MORE HIGH-DEF DISC NEWS TAGGED "DOLBY":

» High-Def Digest home page


Like Us!