- Surround sound in movies originated in the 1940s with Fantasia's sound system but was costly; multi-channel systems emerged in the 1950s but were also expensive.
- Dolby Stereo in the 1970s made surround more affordable and Star Wars helped popularize it; Dolby and THX standards in the 1980s further improved quality.
- The 1990s saw the beginning of digital surround with Dolby Digital, DTS, and Sony's SDDS formats providing 5.1 and more channels on film prints and later CDs/DVDs starting with Jurassic Park and Batman Returns.
- Surround sound in movies originated in the 1940s with Fantasia's sound system but was costly; multi-channel systems emerged in the 1950s but were also expensive.
- Dolby Stereo in the 1970s made surround more affordable and Star Wars helped popularize it; Dolby and THX standards in the 1980s further improved quality.
- The 1990s saw the beginning of digital surround with Dolby Digital, DTS, and Sony's SDDS formats providing 5.1 and more channels on film prints and later CDs/DVDs starting with Jurassic Park and Batman Returns.
- Surround sound in movies originated in the 1940s with Fantasia's sound system but was costly; multi-channel systems emerged in the 1950s but were also expensive.
- Dolby Stereo in the 1970s made surround more affordable and Star Wars helped popularize it; Dolby and THX standards in the 1980s further improved quality.
- The 1990s saw the beginning of digital surround with Dolby Digital, DTS, and Sony's SDDS formats providing 5.1 and more channels on film prints and later CDs/DVDs starting with Jurassic Park and Batman Returns.
- Surround sound in movies originated in the 1940s with Fantasia's sound system but was costly; multi-channel systems emerged in the 1950s but were also expensive.
- Dolby Stereo in the 1970s made surround more affordable and Star Wars helped popularize it; Dolby and THX standards in the 1980s further improved quality.
- The 1990s saw the beginning of digital surround with Dolby Digital, DTS, and Sony's SDDS formats providing 5.1 and more channels on film prints and later CDs/DVDs starting with Jurassic Park and Batman Returns.
1940: Fantasia Walt Disney can be considered the inventor of surround sound Costly Fanta sound systems: only two systems were sold
1950: Multiple channel surround stereo
Cinerama & Cinemascope This is Cinerama: seven channel surround sound These were also costly systems
1970: Dolby Stereo system
Optical Four channel technology by Dolby in 1976 1977s Star Wars was a surround sound Hit
1980: Dolby SRS and THX
1983:THX standard by Lucasfilm: named after movies: THX 1138 1987: Dolby SR: improved Dolby Stereo system www.rajeshsharma.co.in 2 7/17/2010
History.
1990: The beginning of digital era
1992: Dolby Digital Surround:- Audio Coding 3 --- AC3---- DD 5.1 channel system: L, R, C, Ls, Rs, LFE (deep bass) Putting data on films optical tracks in digital format Batman Returns was the first movie to use DD
1993: DTS Surround Sound technology
DTS Coherent Acoustics Audio: 5.1 channel system Putting data on CD instead of films tracks First Movie was Jurassic Park in 1993
1993: SDDS by Sony
7.1 channel system
1999: Dolby Digital Surround EX: 6.1 channel system Later on with Dolby True HD etc..
DTS followed with DTS-ES, DTS-96/24 etc.
DTS HD Master Audio: Lossless Audio Coding Bit to Bit Matching the Studio Recording (Lossless) 7/17/2010
www.rajeshsharma.co.in 3
Bitrates
Audio data bitrates for kbps/ch
44.1KHz 16 Bit 24 Bit 705.6 1058.4 48KHz 768 1152 96KHz 1536 2304 192KHz 3072 4608
Audio data bitrates for consumer audio players
sampling rate CD Audio Digital Audio Tape, DAT DVD Audio (example) 44.1KHz 48KHz 96KHz sample size 16 16 24 kbps/ch 705.6 768 2304
www.rajeshsharma.co.in 4
7/17/2010
Compression for Quality
Traditional coding schemes focus on compression DTS utilize compression for improving audio quality
www.rajeshsharma.co.in 5
7/17/2010
LPCM vs DTS audio
Replacing LPCM CD audio with dts audio
The algorithm operates over a continuum of bitrates.
CD Audio: 44.1kHz. 16Bit LPCM audio
www.rajeshsharma.co.in 6
7/17/2010
DTS Coherent Acoustics
DTS is fully scalable.
New streams are always backward compatible DTS Core Decoder: DTS Digital Surround (legacy decoder) CORE Audio delivers 5.1 channels at 48KHz, 24 Bit
DTS Extended Audio: DTS ES, DTS 96/24
Extended Audio has additional audio e.g. 96KHZ /24 Bit support Center Surround channel support Extra channel support
FILE Structure:
www.rajeshsharma.co.in 7
7/17/2010
Encoding Specs
Encoding algorithm operates for
Up to 5.1 primary audio channels + 32 extended audio channels 16-24 Bit input range 8-96 KHz sampling frequency 32 6144 kbps bitrates 3:1 up to 40:1 compression ratios PCM Frame Size: 256-4096 samples Subframe size: 32 sub band samples SubSubframe size: 8 sub band samples Bitstream Frame size: 95 16383 Bytes
Dynamic Meta Data:
Dialog Normalization Dynamic Range Compression Dynamic DownMixing www.rajeshsharma.co.in 8 7/17/2010
Encoding Process
Complexity of coding system
Asymmetrically weighted toward the encoder decoder is simple as compared to encoder
Encoder Overview: 32 sub band filter bank Objective Redundancy Removal: ADPCM on each sub band Perceptual irrelevancy removal: Psycho Acoustics & transient analysis
www.rajeshsharma.co.in 9
7/17/2010
Decoding Process
Decoding is simple process:
De-multiplex the data into each sub band Inverse quantization of sub band signals Inverse poly phase filter bank
DSP function block: programmable by user
Up/down matrixing, Dynamic range control, inter channel delays..
www.rajeshsharma.co.in 10
7/17/2010
Framing
Different frame size for
Better audio compression / quality To reduce burden on decoder side Long frames gives good compression for steady audio Small frames are good for transient audio Maximum decoder buffer size can not exceed 5.3kbyte
www.rajeshsharma.co.in 11
7/17/2010
Sub band ADPCM
Encoder side ADPCM process
www.rajeshsharma.co.in 12
7/17/2010
ADPCM
Encoder ADPCM
Decoder ADPCM:
www.rajeshsharma.co.in 13
7/17/2010
Global Bit Management
Global Bit management algorithm makes use
psychoacoustic analysis
Psychoacoustics analysis makes use of
Auditory masking phenomenon Threshold of hearing
Key to bit allocation: SMR :- Signal to Masking Ratio
www.rajeshsharma.co.in 14
7/17/2010
Variable Length Coding
Further 20% reduction by doing
variable length entropy coding of sub band differential quantizer codes
Entropy coding of side information for low bit rate application Vector quantization of prediction coeff. to increase efficiency Iterative Bit Rate control loop Adjusting the scale factor and repeating the whole process of ADPCM
www.rajeshsharma.co.in 15
7/17/2010
Other features
Joint frequency coding Down Mixing on decoder side Dialog Normalization Dynamic Channel Mixing on decoder side Optional DRC functionality on decoder side Other user data like time code data Extension data for quality improvement
www.rajeshsharma.co.in 16
7/17/2010
Encode: Extension Data: X96
This bit stream structure
is useful for
Scalable audio codec Backward compatible decoder
Encoding 96kHz/24Bit Data in extension: X96
www.rajeshsharma.co.in 17
7/17/2010
Extension Decode
Backward compatible extension decoding
Three types of Extensions in Core Substream
X96 for 96kHz/24 Bit audio data XCh for one extra channel audio data: 6.1 audio XXCh for more than 5.1 audio data: 7.1 audio (example) www.rajeshsharma.co.in 18 7/17/2010
Core+X96
X96 carries data for bandwidth > 24 KHz
www.rajeshsharma.co.in 19
7/17/2010
CORE + Extension Architecture
Core Audio: primary audio for 5.1 channel reproduction Audio Bandwidth < 24kHz (SF <= 48KHz) Bit rate up to 1.5Mbps
Extended Audio: Up to 32 additional full bandwidth channels Audio bandwidth > 24kHz Bit rate up to to 6 Mbps
www.rajeshsharma.co.in 20
7/17/2010
DTS HD
DTS High Definition Audio:
DTS-HR: High Resolution Audio with constant Bit rate of 6 / 3Mbps: XBR DTSDTS-HD MA: Master Audio with variable Bit Rate: XLL DTSLossless Audio of bit rate up to 24 / 18 Mbps Bit to Bit Matching studio recording
DTS HD Stream: up to 4 extension sub streams
www.rajeshsharma.co.in 21
7/17/2010
Audio Presentation
Possible to code several audio presentation in single stream Up to eight audio assets in an extension substream Various audio presentations possible by mixing different assets Mixing information to be transmitted as Metadata Examples: Audio asset 0 carries the primary audio: music, effects Audio asset 1 carries dialog in English Audio asset 2 carries dialog in Hindi Audio asset 3 carries directors commentary in Hindi Audio Asset 4 carries the audio description..
www.rajeshsharma.co.in 22
7/17/2010
Coding Modes
Four Coding Modes for compression into an audio asset DTS-HD coding mode May contain multiple coding component e.g. 5.1/48kHz core + 7.1 lossless extension
DTS HD Lossless coding mode
Without associated constant bit rate component
DTS HD Low Bit Rate coding mode Auxiliary Coding mode
www.rajeshsharma.co.in 23
7/17/2010
Coding Components
First coding mode may consist of several coding components Ten components defined till date Core: core components with core sub stream XCh: DTS-ES backward compatible 6.1 extension within core sub stream X96: sampling frequency extension up to 96 kHz within core sub stream XXCH: channel extension beyond 5.1 within core sub stream ExSSCore: Core component within extension sub stream ExSSXBR: constant bit rate extension (>1.5Mbps) within extension sub stream ExSSXXCh: XXCh within extension sub stream ExSSX96: X96 within extension sub stream ExSSLBR: Low Bit Rate component within current extension sub stream ExSSXLL: Lossless extension within the extension sub stream www.rajeshsharma.co.in 24 7/17/2010
DTS variants (Products)
DTS-Core: 5.1 Primary audio stream core component decoder DTS-ES: Core + XCh, XXCh support DTS 96/24: Core + X96 Support DTS LBR: ExSSLBR support DTS-HD High Resolution: Core + ExSSXBR support DTS-HD Master Audio: ExSSXLL support DTS-Broadcast DTS Neo, DTS- Surround Sensation are additional support systems
www.rajeshsharma.co.in 25
7/17/2010
Surround Sound
www.rajeshsharma.co.in 26
7/17/2010
Phantom Source
Alan Blumlein: 1931 gave stereophonic law of sines for
phantom source.
www.rajeshsharma.co.in 27
7/17/2010
Law of sines
To make the sound follow the actor across the screen, Blumlein gave the stereophonic law of sines
www.rajeshsharma.co.in 28
7/17/2010
ITU-R BS.775: 5.1 speaker placement
ITU recommendation for
5.1 speaker layout
L: +30 Ls: +110
R: -30
Rs: -110
There is speculation that rear loudspeakers at 150 provide "more exciting surround effects
www.rajeshsharma.co.in 29
7/17/2010
Dolby 5.1 Layout
www.rajeshsharma.co.in 30
7/17/2010
DTS 5.1 standard Layout
courtesy dts
www.rajeshsharma.co.in 31
7/17/2010
7.1 channel layout
7.1 standard (DTS) speaker layout
courtesy dts
www.rajeshsharma.co.in 32
7/17/2010
7.1 rear surround speaker layout
courtesy dts
www.rajeshsharma.co.in 33
7/17/2010
Surround Sound
3-D
sphere of human hearing can be virtually achieved, using audio channels above and below the listener
