Re: Dolby Digital 2-Channel editing?

I've recorded a video with a Dolby Digital 2-Channel track. When I drop in into the timeline in Premiere Pro CS5.5, can I edit each discrete left and right channel separately? If so how?

I assume you're referring to AC3 audio? Before using the clip in a sequence, right-click > Modify > Audio Channels, and select the Mono radio button. This will map the left stereo channel to Mono Track #1, and the right stereo channel to Mono Track #2.
Again: do this before using the clip in a sequence.

Similar Messages

Dolby Digital Editing

OK-I have a project in which I am trying to take advatage of Dolby Digital in FCP 5; export the audio and video and put it on DVD. I have a 6 speaker bose system that is contected to my video deck to monitor sound. The video deck is conected to the MAC via firewire (It Works). In my FCP project I have added 12 output chanels assuming that they corespond as follows...(Please let me know if this in incorrect in any way)
A1-A4: Left and Right Speakers
A5-A8: Left and Right Rear Speakers
A9 & A10: Center Speaker
A11 & 12: Sub Wooofer
According to the manual, I can export the audio to dolby digital using Compressor 2 thru FCP 5. The audio tracks are mono and according to Compresor 2 manual I am suppose to assign channel identifier codes. How can I do this hence I can not figure it out! Should I make my tracks stereo? If I do and export the project using Compressor 2, will the channels corespond to the output hardware (spearkers) automaticlly? Help...
FCP Studio 5.1.2

firewire will only pass two channels of audio to a deck for monitoring.
Your computer/deck/bose setup lacks any encoding/decoding. It won't do it. If you expect to get the bose to monitor surround when only fed a two channel input, it has to be pre-encoded into dolby prologic.
What you need is to mix down your A1-A4 to two separate mono tracks for L & R. Mix down A5-A8 to two separate mono tracks for LS & RS. Mix A9 & A10 to a single mono track for Center, and mix A11 & A12 to a single mono track for the sub.
Compressor is not a mixing utility. You can feed it 6 tracks and it will compress them to a Dolby Digital file. It can't mix levels and mix 4 files together into one. It compresses them, sews them together, and gives you a file.
That file can't be edited anymore. It's a delivery format.
If you want to do 5.1, you need to mix your audio into 6 separate tracks somewhere other than Compressor. FCP doesn't really do it either. STP could, by using busses. ProTools is better at it. Cubase will do it. Deck will do it.

Multi-channel audio? How ? (Dolby Digital, PCM etc.)

So,
Take 2 now support 5.1 channels audio out, at least for some HD rentals.
I am wondering if anyone has gotten that to work.
I have Apple TV connected via HDMI to my receiver (which can decode both the bitstream as well as linear PCM for multi-channel tracks).
However, I don't seem to get any multichannel, and the Dolby Digital toggle in Apple tunes makes no difference.
Has anyone gotten 5.1 to work, and if so, which which movie/tv show/trailer?
Thanks,
Dan

1. Not a great fan of detaching audio except in multicam clips. Generally I'd suggest using the expand audio components function to access the channels.
2. Yes. Switch off the auto tracks in the browser and only turn them back on for the clips you need in the project. With expanded audio components, if you turn the channels back on they will reappear in the timeline.
3. You use roles for this. I know time is tight for news, but taking a few moments to assign roles to the clips in the borwser, which you can do in globally, will allow you to export with separate tracks.

How do you really preview all 5 channels in a Dolby Digital 5.1 sequence?

I'm trying to build up a 5.1 sequence and I'm struggle with the lack of information. I've purchased surcode for CS6 but I'm not sure that helps with a preview.
I hacked my realtek card to support dolby but that doesn't seem to make a difference. Only LF, C, and RF put out sound. LS and RS end up in the front speakers.
I've tried most reasonable things so here are some questions that maybe someone can answer?
Has anyone been able to preview in dolby 5.1 with complete isolation of sound by mapping to specific speakers.
If you are using optical what is the method for mapping to channels when it only show "optical"
When I select sound card mapping that shows 8x I can map to specific speakers, but not to optical. It maps, but nothing comes out of speakers.
Summary: I can't get 5 independent channels to map to speakers. Is it even possible to do this??? If not I wasted a lot of money on surcode.
Thanks
cds

Surcode only provides encoding to Dolby AC3 for file export. What it seems you are trying to do is use the optical output from your sound card to stream dolby digital 5.1 to your monitoring. I did a search on some gaming web sites and found this: http://www.reaper-x.com/2011/04/25/how-to-realtime-ac3-or-dolby-digital-encoding-for-games / I've never tried it but it might work with Premiere. Other than that you could use the analogue outputs from your sound card, if your amplifier has analogue ins.

Any cards support simultaneous dolby digital live and analog 2 channel output?

I am searching for a sound card that can output both dolby digital li've and 2-channel analog at the same time. I'm not sure if any of the Creative Labs sound cards can do this.
My Denon receiver outputs 5. in my main home theater room, but outputs only 2 channels to a separate room. I want to be able to play music in both rooms simultaneously. Unfortunately, the digital signal (which feeds the theater) is not converted to analog internally within the Denon receiver to output to the other room. The other room must receive an analog signal.
That is why I am looking for a sound card that can output both at the same time.
Does such a beast exist?

My computer updated to Widnows 8.1, now my sound blaster does not work. Everything else works (DVD, CD, Speakers, etc.) but I have no sound.
I'm not a tech person, a PC user and depend on my surround sound system.
I'd appreciate any help possible.
Thank you.

Dolby Digital Surround Sound dropping out with channel chang

Currently I have my cable box hooked up to my extrenal I/O box for my Audigy Platinum Pro ZS2 via my cable boxes SPDIF optical out to the I/O boxes optical in. With my initial set up I went to the AudioHQ and changed my Device Controls/Digital Input controls to SPDIF (Dolby Digital/DTS SPDIF-In Decode) and I had beautiful surround sound, but the only problem is that when I change the channel I lose all sound and I have to go back to the AudioHQ controls and change the Digital Input setting back to the (Default) setting and then change it back to the SPDIFDolby digital....etc, and then the sound comes back. So why is it that whenever I change the channel I lose my optical connection?and sound?and have to reset my Digital Input settings in order to get the sound back?Somebody please help...thanks. Jacob

Sry, your comment is 5 month old, but i have to ask you some thing too:
What headset do you use for the surround sound? I read EVERYWERE that headsets can just output games / music in stereo... for example the logitech g35...
Hope you can help me

Production Premium 4-Making Dolby Digital 5.1 Discs in Encore

Greetings,
I am a longtime Photoshop and now Lightroom user but have done my video editing in another product for years.
I moved to the Creative suite and Production Premium and Encore workflow and am trying to transition.
After 2 exceedingly frustrating Adobe support calls I gave up.
I have 2 questions....one I answered myself. It appears that to create a Dolby Digital 5.1 SD DVD or Blu-Ray disc you need to purchase an additional add-on codec to the tune of $200. Don't like it (as my $200 full package video editor includes it) but if true, than it is what it is. I saw some previous posts like this but then there were conflicts.
Second question. Exactly what do I have to purchase (are some better than others) and then how does it affect the disc making process in encore. Or the editing process in Prod Premium? Is there a tutorial or something?
I found the encor FAQ to not be very helpful and possibilty mis-leading. It makes it seem that this is an ADVANTAGE.
Does Encore DVD 2.0 support Dolby® Digital 5.1?
A: Yes, Encore DVD allows you to create DVDs containing Dolby Digital 5.1 content. However, Dolby Digital 5.1 content must be created in another application. The integrated Dolby Digiin audio reproduction, Encore DVD 2.0 supports the DTS audio format, in addition to the Dolby Digital format supported in earlier versions. Now, regardless of which of these two popular formats you prefer, creating the final results you want is easy with Adobe Encore DVD 2.0.
So Production premium supports a 5.1 workflow....the integration with Encore is touted....but I have to go OUTSIDE the suite to make a 5.1 audio disc that my $200 NLE currently can do?
Or is the plugin just an additional cost that is transparent....you push the button and it encodes....
Finally, for clarification, I do not try to import or maintain a 5.1 stream to a camera or anything. I just utilize the 5.1 channels to create a nice dialogue and music ambient mix. I put what I want in each channel. Pr Prem seems to support this. I just want it to burn to SD and BD with 5.1.
Thanks for any help!
BJBBJB1

As I'm undertanding (sorry but being italian, I've sometimes problems in translation) I hope this will help:
-In PP, you import all your clips (audio or not) and, of course your dolby files (example .ac3)
-when everything is done (effects, transitions, etc.), PP'll encode your project giving you one customed video (as you wish) and your dolby audio file.
If you have put in this project some stereo audio file, PP will give you anyway a Dolby encoded file (it will be a "pseudo" dolby).
- Now you can:
- import them in Encore as assets dragging them in the timeline later
-import them as timeline, so you'll already find them in the new timeline
-use DinamicLink from Encore (File\Project\DinamicLink\import a Premiere project) as Jeff says
If you already have a dolby audio file imported in Encore, you'll choose the audio option "do not Trascode" so the audio project you've created in PP will not be modified and you'll output a brand new Dolby audio file.
Hope this will help you
Sorry in advance if I missed any in translation

Premiere Pro CC, Dolby Digital License missing for MTS / AVCHD audio import?

Hi,
I'm running Premiere Pro CC on Mac 10.8.4 importing MTS files captured on a new Panasonic V720 Camcorder that records MTS / AVCHD files.
When I add the files to my project or drop them onto the timeline, the video appears fine but there's no audio and I get the warning message:
"This installation does not have a license to decode Dolby Digital audio".
I've tried switching from 5.1 to 2-channel audio on the camera in case that was the issue, no change.
The file plays fine on the mac with VLC player or MPlayer - mplayer is decoding audio with the FFmpeg AC-3 codec. I've imported MTS files created with other cameras (but presumably with different audio codecs) into Premiere fine with my current setup.
Any suggestions for getting this video and audio to work correctly?
Thanks!

Hey guys, thanks for the responses. I have checked my audio preference settings and don't really see anything in there that looks helpful...the following are my settings:
The LG TV is actually hooked up through a 7.1 receiver...I'm not sure why it registers the home theater unit as the tv....but 5.1 does play through my PC just fine with every other program.
I've been playng around with the various export settings and have found that I can successfully export 5.1 audio using the H.264 preset and switching the channels in the audio tab to 5.1. You cannot, however, do the same with the H.264 Blu-ray preset as it requires the above mentioned SurCode for compression. I'm guessing that means the non-Blu-ray preset is then uncompressed?
The projects that I'm setting up are very basic. I'm just using a single mp3 import and snapping it to one of the rear speakers. While editing, the sound does fade from the front channels but nothing comes out of the rear channels.
I guess I'm just having a hard time understanding why PPCC can export 5.1 but not play it back while editing....
Thanks again for the responses

Question about Dolby Digital 5.1 in Soundtrack Pro 3

Hi folks,
I am pretty confused in regards to using Soundtrack Pro 3 to create and export a AC-3 dolby digital 5.1 file to be used in burning a Blu Ray DVD using Toast Titanium 11. I admit that overall I am somewhat Final Cut Studio savy but for the life of me I cannot find reliable and understandable tutorials re: the dolby digital thing. I am hoping that there are people out there who will be patient with my admitted ignorance
So, what I am working on?
107 minute feature documentary film edited using FCP 7 with 65 tracks of audio mixed down (using STP3) to six (1 & 2 dedicated to Voice, 3 & 4 dedicated to sfx and ambient sounds, 5 & 6 dedicated to music.)
What do I want to do?
My film is going be to be screened at a festival next month and so I want to burn a blu ray disc (using Toast Titanium 11) with AC-3 Dolby digital 5.1 audio as apposed to 2 channel stereo.
What I don't understand?
I'm not entirely sure how the Dolby 5.1 export using STP3 works. My questions are:
Will it take a 2 channel stereo final mix and convert and export it so that it will be a Dolby Digital? If so, what about the 6 channels of audio that I mentioned before. Is it better to mix those 6 down to 2 before doing the Dolby 5.1 export?
If so, what if the theatre equipment (or any home dvd player) is not able to play Dolby 5.1? Will it then play the Blu Ray in 2 channel stereo or will there be issues?
Is there a 'standard' Dolby Digital setup when having to choose the 'Audio Coding Mode?'
And/or:
What settings would you suggest for very high quality Blu Ray export?
Anyways, I know there is a helluva lot of questions there but I obviously wanna get this right. Huge thanks in advance to any advice/suggestions you can give.
Cheers!

HI,
briefly from what comes to mind is;
your tracks need to be assigned via the Surround Sound Panner options, either or both in the tracks and submixes. Read about Surround Sound in Soundtrack Pro and also the effect options via the sound design reverberation. (The latter can create surround from a stereo submix as well )
The next chapter is the export option. FILE>EXPORT
The master can be optionally exported in Dolby surround AC-3 with a number of options you need to set in this window.
Then burning is the next chapter. I trust Toast can manage but have not tried yet.
When burning to Blue Ray one actually should use full resolution PCM files WAV format for highest quality
Audio Surround Sound. The Export then would need to be uncompressed from your final STP mix in single mono files (which is an option in STP ) and then imported into a special burning program.....
THese are my 2 cents in general.
WOLFGANG

Dolby Digital 5.1

Hi,
I have movie clips that were shot with a Sony HD handycam in Dolby 5.1 audio. Will I be able with Adobe Element 10 to output this to a blu-ray in Dolby Digital 5.1 audio?
Thanks.

Airborne,
The output was the part of the question, that I needed clarification on too. I knew that through PrE 9, the output would be a 2-channel (stereo) mixdown, and Steve verified that PrE 10 was no different, regarding the output (Export/Share). However, as it has been for a few versions, PrE can easily Import DD 5.1 SS for editing. It is the Encoding to DD 5.1 SS, that is the limitation.
Now, there are ways around that, but then one must leave PrE to do the final output, and to work effective with DD 5.1 SS, that would be pretty early in the editing process. Minnetonka Audio offers a stand-alone DD 5.1 SS Encoder, to get the Audio Stream in DD 5.1 SS AC3.
The reason that one needs to leave PrE early is that it does not offer full editing in DD 5.1 SS, like PrPro does. Instead, one would use a program, like Adobe Audtion, with Multi-track editing. It can output to six discrete Audio Streams, each in a separate 1-channel file. One would then use a stand-alone Encoder to get all six into a DD AC3 file.
On a sidenote: recording good 5.1 SS Audio is really tough. Many cameras that allow it, have mics placed very close together, but just pointing in different directions, while some do processing of a 2-channel Audio Stream, to create a faux 5.1 SS. In the first case, those multiple mics usually pick up a lot of Audio, that one will find not very usable, such as the camera operator's clothes rubbing together. To record true 5.1 SS, one needs 5 well-placed mics (the LFE channel is usually not recorded on location, but separated out, or added, in studio), The mics will be very narrow band, and run through a multi-channel mixer, so that the feed from each can be adjusted, easily. The result will be 5 discrete Audio Streams, one in each of 5 separate Audio files. The sound persons involved will need to be well-versed in 5.1 SS recording, and then the editor will need to be trained, as well. It is not as easy as just having a bunch of mics, pointed in different directions. It is the domain of skilled professionals, with proper and specialized equipment.
Offering DD 5.1 SS in-camera is more of a marketing tool, IMHO, and most users of such cameras actually fight the 5.1 SS, giving up on it, after just a bit.
Also, editing 5.1 SS is an art, even with the proper software, such as PrPro w/ the optional Minnetonka Audio SurCode DD 5.1 SS Encoder plug-in. There are so many considerations, beyond just stereo Audio.
If you are really determined to edit 5.1 SS, and output to DD 5.1 SS for DVD's, or BD's, I have several books that will prove useful.
I do most Projects in DD 5.1 SS, with PrPro and the SurCode Encoder plug-in. Most are really faux 5.1 SS, that I create in the studio, though some do start with 5 discrete Audio files, recorded by a professional sound crew, and furnished to me as separate WAV files. These Projects are edited in 5.1 SS, and then I output to DD 5.1 SS AC3's (one of the two formats, that can be used as the Primary Audio Source in DVD/BD)*. Often, the client will want DTS (cannot be Primary, and must be Supplemental Audio only). That (like DD Pro-Logic, etc.) must also be output with a separate Encoder (I use the SurCode DTS Encoder, which is a stand-alone, and not plug-in, like their DD 5.1 SS), and I also have to work on the Audio in Audition (in my workflow), outputting to six discrete Audio files, before Encoding. This is a multi-step, involved workflow, but produces great results.
Good luck,
Hunt
* In NTSC DVD, only PCM/WAV, or DD AC3 can be used for the Primary Audio Stream, where with PAL, MPEG Audio is optional, though really falling out of favor. Besides those Primary Audio Streams, many others can be used on DVD, but MUST be Supplemental, and are accessed only via a Menu, or from the remote's Audio button.

Digital Connections, SPDIF and Dolby Digital Info

I have noticed that many people have problems using their digital connections, so I put together this info to try and explain the difference between digital and analogue, and how to use them.
Digital ConnectionsDigital connections come in two standard forms, optical and coax. They both give you exactly the same result, the only difference is the medium (material) through which the signal travels. The thing to remember about digital is that for ordinary, uncompressed sound, it will only carry a stereo signal. So, if you like to use CMSS with your music, or you try the speaker test function, optical/coax is useless as you only hear the front left/right speakers.
Movies wth Dolby Digital (AC3) & DTSMovies on DVD often use encoded audio in the form of Dolby Digital (AC3) or DTS. This means that all 6 channels are compressed into a single stream of digital data. A decoder is required to extract the channels and send the sound to the correct speakers. There are three ways to do this.
) Pass the AC3/DTS signal to a external decoder. This is where your optical/coax connection is used. To go down this route, you must first have a set of speakers or a decoder that supports Dolby Digital. In your DVD software, select 'SPDIF' as the audio output method and 'SPDIF Pass-through' in your soundcard options. What this does is tells both the software and soundcard to leave the audio from the DVD in compressed form and send it straight through the digital outputs. Your digital speakers/receiver will do all the decoding to give you full surround sound. Please note that this is the only way to get 6 channels through an optical/coax cable.
2) Decode the AC3/DTS with your Sound Blaster.You should choose this option if you don't have an external decoder. In the DVD software, select 'SPDIF' as the audio output method and make sure that 'SPDIF Pass-through' in the souncard options is off. The DVD software will now pass the compressed audio to your soundcard, which will then decode the data. The soundcard will output the 6 channels using the analogue connections (or digital DIN, more on this later). If you try to use a digital optical/coax connection to your speakers, you will only hear faint sounds from the front left/right speakers.
3) Decode the AC3/DTS with software.If you have a soundcard that doesn't support Dolby Digital (like the SB Li've! 24-bit) and you don't have digital speakers, the only way for you to get surround sound in movies is to use software to decode the AC3/DTS. The free versions of DVD software you get with hardware often don't support this feature, you will most likely need a full version. First select 'Dolby Digital' or 'DTS' decoding in the DVD software audio options (you must select the right sound format for the movie you are watching). Then make sure that 'SPDIF Pass-through' in the soundcard options is off. As with method (2) you must connect your speakers with the 3 analogue cables, not optical/coax.
PC GamesPC games usually use technologies like as EAX to create surround sound, not Dolby Digital. So even if your speaker system has a Dolby Digital decoder, it will be of no use when playing games. The EAX processing is done on the soundcard, and the 6-channel sound is output via the analogue (or digital DIN if available). So you still need analogue connections to your digital speakers for games, if you just use an optical/coax cable you will only get the front left/right sound.(N.B. X-Box games do support Dolby Digital, so if you connect your X-Box to your Dolby Digital receiver/speakers with the optical cable, you can get full surround sound.)
Creative's 4-pole mini-jack & Digital DINYou can only get the full use out of this connection when used between Creative Sound Blasters and compatible Creative speaker systems. It is the digital equivalent of the analogue connections, but instead of using 3 stereo sockets, you use just one digital socket. There are 4 conducting connections in the socket (unlike coax which has two) so there are enough connections to carry 3 different digital stereo signals (front R/L, rear R/L and Sub/Centre). You will probably require a 4-pole mini-jack > DIN converter to connect your Creative speakers to this socket. Using this connection will allow you to get surround from games (unlike SPDIF). However the digital DIN input on some Creative speakers can't receive AC3/DTS data, so you may still require an optical/coax connection.
N.B. This digital socket on the Sound Blaster cards doubles as the digital coax output. If you don't have digital DIN, you can use a mono or stereo mini-jack > RCA converter to connect to the coax input on your speakers, as the front R/L or AC3/DTS signals are sent through the tip of the plug.
More InfoCreative's Speaker Conectivity Guide: http://support.creative.com/kb/ShowA....aspx?sid=5035
Dolby Surround info: http://www.dolby.com
I hope that clarifies the issue .
Message Edited by KokChoy-CL on 07-04-2008 :0 AM

Digital Connections, SPDIF and Dolby Digital (german revision)
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03-08-2007 01:52 AM
Digital Connections, SPDIF and Dolby Digital Info
Übersetzung + Erweiterungen + Revision 03-08-07
Der Digitale Anschluß
Ich habe beobachtet, daß viele Leute Fragen zu den Sound-Anschlüssen haben, daher trage ich hier einige Infos zusammen und erkläre die Unterschiede in der Verwendung der digitalen und analogen Anschlüsse.
Digitale Anschlüsse – S-PDIF & Toslink
Am PC gibt es zwei häufig verwendete digitale Anschlußformate optisch (Toslink) und koaxial (S-PDIF).
Im Prinzip erzielen beide Anschlüsse genau das gleiche Audio-Ergebnis.
Der primäre Unterschied ist das Medium ( das Material ) durch das das Signal übertragen wird. ( Glasfaser oder Kupfer )
!! Update !!
Ein wichtiger Aspekt in der Auswahl von digital-optischen Anschlüssen erklärt sich durch das Vermeiden einer sogenannten „Brummschleife“, d.h. eine elektrisch leitende Verbindung zweier Geräte muß vermieden werden.
( mit Lichtwellenleiter - LWL- z.B. mit dem Anschluß-System Toslink )
In der Elektrotechnik ( Niedervolttechnik ) wird oft der „Negative“ Pol der Spannungsversorgung über das elektrisch leitende Gehäuse ( die sogenannte Masse )geführt. Das spart einerseits einen weiteren Kabelweg ( also Kupfer ) ein und ergibt eine mehr oder weniger wirksame (Ab-) Schirmung. Diese Schirmung soll die elektronische Schaltung vor elektromagnetischen, hochfrequenten und niederfrequenten Störeinflüssen je nach Ausführung der Schirmung schützen.
Üblicherweise besitzt jedes elektronische Gerät eine eigene Spannungsversorgung. Netzteile in elektronischen Geräten unterscheiden sich in der Art der Spannungsumformung, in der Höhe der Spannung, in der zur Verfügung gestellten Leistung, durch verschiedene Bauarten und unterschiedliche Bauteil-Tolleranzen entstehen somit verschiedenste Masse-Potentiale.
Werden solche Geräte durch elektrisch leitende Kabel verbunden, kommt es zu einem Ausgleich der verschiedenen Masse-Potentiale. Ein negatives Ergebnis der Verbindung von TV-Geräten oder PC-Komponenten mit Audio-Komponenten ist oft eine hörbare Beeinträchtigung von Audio-Signalen - ein tieffrequentes Brummen.( auch Brummschleife oder Masseschleife genannt )
Hierfür verantwortlich zu machen ist eine elektrisch leitende Verbindung. In der HiFi-Technik ist das in der Regel ein Koaxialkabel und dessen Schirmung.
Vermeidung u. Reduzierung dieser Störgeräusche Ansätze
!! Der einfache Weg !!
Einsatz einer optischen Signal- / Datenübertragung mit Lichtwellenleiter
- Glasfaser als Trägermaterial
( Einsatz einer Datenübertragung ohne elektrisch leitende Verbindungen )
aufwendige Wege
Einsatz einer Galvanischen Trennung - mit einem Ground-Isolator
(Massetrennung )
+ die elektrische Verbindung der Schirmung wird umgangen
- aber Leistungs- & und Klangverlust(geringere Dynamik)
- Verwendung von ( hochwertigen ) symmetrischen Verbindungen
( „PLUS“ „MINUS“ „Masse“)
+ Trennung der Schirmung an einer „Seite“ des Kabels möglich
[bei Koaxialkabel unsinnig weil eine Ader zerstört wird und
anschließend dieses Kabel wertlos ist ]
- sehr große Anschlüsse
- Profibereich
- Einsatz einer zentralen Spannungsversorgung für alle miteinander
verbundenen Geräte
Nachtrag
Bitte nicht verwechseln mit Netzbrummen - die Einstreuung der Netzfrequenz 50 Hz ( EU ) oder 60 Hz ( US ) in den Audio-Signalweg das ist üblicherweise auf eine nicht ausreichende Entstörung oder(Ab-)Schirmung zurückzuführen ist.
- End - !! Update !!
Einige Vorbetrachtungen
Die traditionelle Ton-Übertragung ist ein unkomprimiertes Signal, es wird in Stereo übertragen.
Wenn du CMSS ( Creative Multi Speaker Surround simulierten Surround Sound ) aus deiner Stereo-Musik erzeugen willst oder der Sprach-Test abgerufen wird ( nur über den Center ) ist der digitale Anschluß ( optisch & koaxial ) unbrauchbar, denn es würden nur die Lautsprecher Front-Rechts und Front-Links angesprochen !! Es wird ein anderer Anschluß benötigt, der die Kanäle einzeln ansteuert.
Für das Format 5.1 ist das die Verbindung über die drei 3,5 mm Klinken-Stecker ( 3 mal 2 Kanäle ) mit der folgenden
Kanalzuweisung 5.1
Front R / Front L + Rear R + Rear L + Subwoofer / Center
Mehrkanalton in Filmen - DolbyDigital (AC3 / DD) oder DTS
Filme auf DVD verwenden häufig ein kodiertes Mehrkanal-Audiosignal, in der Form DolbyDigital ( AC3 / DD ) oder DTS. Bei dem gebräuchlichsten Format 5.1 werden 6 Signale ( 3 mal 2 Kanäle ) in einem digitalen Datenstrom zusammengefaßt und komprimiert = das Kodieren.
Nach der Übertragung des Signals muß aus diesem Datenstrom ein Decoder die entsprechenden Töne trennen und jedem Kanal zuordnen = das Dekodieren.
Drei Varianten der Decodierung sind möglich.
(1) - AC3 / DTS Signal wird zu einem externen Decoder geführt
Genau hier wird der optische / koaxiale Anschluß genutzt. Um diese Variante nutzen zu können, mußt du ein digitales Lautsprecher-Set oder einen Digital-Decoder ( z.B: Digital-Receiver ) besitzen, der die Dekodierung des gewünschten Formats ( DD, AC3, DTS) übernimmt. Für jedes Digital-Format benötigt man einen entsprechenden Decoder – das Handbuch weiß hier oft mehr – welches Format von welchem Gerät dekodiert werden kann !!
Wähle in deiner DVD-Software den zur digitalen Datenübertragung gewünschten Anschluß "S-PDIF"( Koaxial ) oder "Optisch" als Audio-Ausgang.
In den Soundkarten-Einstellungen muß die Option "S-PDIF-Durchschleifen" ( "SPDIF Pass-through" ) eingestellt werden.
Dadurch wird das Audio-Signal von der DVD in digitaler ( komprimierter ) Form direkt an die Digital-Ausgänge der Soundkarte weitergeleitet. Anschließend kann ein angeschlossener externer Decoder z.B. im digitalen Lautsprecher-System oder im Digital-Receiver die Decodierung übernehmen und es entsteht ein „Räumliches Klangbild“.
Bitte merken:
Daß ist der einzige Weg 5.1 Signale ( digital ) über ein koaxiales bzw. optisches Kabel zu übertragen.
(2) - AC3 / DTS mit der Soundkarte decodieren
Diese Variante ist zu verwenden, wenn du keinen externen Decoder / Receiver verwenden willst.
In der DVD-Software wird "S-PDIF" als Audio-Ausgang gewählt und es muß zwingend in den Optionen der Soundkarte "S-PDIF-Durchschleifen" ( "SPDIF Pass-through" ) deaktiviert werden.
Die DVD-Software wird jetzt das ( digitale ) komprimierte Audio-Signal an deine Soundkarte senden und dann werden dort die digitalen Daten decodiert. Die Soundkarte gibt dann die 6 Audio-Kanäle ( bei 5.1 ) über ihre drei analogen Anschlüsse aus ( 3 mal 3,5 mm Klinke ) mit folgender
Kanalzuweisung 5.1
Front R / Front L + Rear R + Rear L + Subwoofer / Center
Es wird in diesem Beispiel also ein 5.1-Lautsprecher-System benötigt, mit der analogen Anschluß-Option von drei Klinken-Steckern.
( also 3 x 2 Kanäle = 3 mal 3,5 mm Klinke )
- die Einspeisung eines digitalen Signals über DigitalDIN, ist mit dem optionalen digitalen E/A-Modulbei möglich ***
- wird hier ein optisches / koaxiales Kabel verwendest, hörst du nur schwache Töne der Front-Lautsprecher R + L
*** Bei Karten der SB073X-Serie verfügt diese Buchse nicht über die Digital-In-Funktion !! zur Unterstützung des digitalen E/A-Moduls )
[ mehr unten ]
(3) - AC3 / DTS mit einer Software decodieren
Wenn deine Soundkarte kein DolbyDigital unterstützt
( wie die SB Live! 24-bit ) und auch kein digitales Lautsprecher-System vorhanden ist, kannst du Raumklang
(Surrsound-Sound ) aus DV-Filmen auch über eine AC3 / DTS fähige Software erzeugen.
Gratis-DVD-Software-Versionen unterstützen diese Funktion häufig nicht, du benötigst dann eine Software-Voll-Version.
Wähle die gewünschte digitale Audio-Tonspur „DolbyDigital“ oder „DTS“, im Audio-Menü einer DVD.
Dann stelle sicher, das in den Soundkarten-Optionen "S-PDIF-Durchschleifen"
( "SPDIF Pass-through" ) ausgeschaltet ist.
Wie unter (2) mußt du deine Lautsprecher mit den drei analogen Kabeln anschließen und nicht optisch oder koaxial !! ( 3 mal 3,5 Klinke )
Kanalzuweisung 5.1
Front R / Front L + Rear R + Rear L + Subwoofer / Center
Generell sind bei zuvor genannten Varianten (1) – (3) auch andere mehrkanalige
Wiedergabeformate möglich.
In Abhängigkeit von der Ausstattung der Quelle also von der DVD. der CD. der TV-Karte, dem Game usw. sind andere Formate z.B. 2.0 / 2.1 / 4.0 / 4.1 / 5.1 / 7.1-Kanal Wiedergabe möglich.
PC Spiele
PC Spiele nutzen normalerweise Technologien wie EAX, die ihren eigenen Surround-Sound, ohne Verwendung von DolbyDigital erzeugen. Selbst wenn dein Lautsprecher-System einen DolbyDigital-Decoder besitzt, ist dieser für Games unbrauchbar. Denn die EAX Verarbeitung findet direkt auf der Soundkarte statt und die Ausgabe der 6 Kanäle ( 5.1 ) erfolgt über die analogen Ausgänge
( 3 mal 3,5 mm Klinke ) ( oder über DigitalDIN, wenn vorhanden *** ).
*** Bei Karten der SB073X-Serie verfügt diese Buchse nicht über die Digital-In-Funktion !! zur Unterstützung des digitalen E/A-Moduls ) [ mehr unten ]
Kanalzuweisung 5.1
Front R / Front L + Rear R + Rear L + Subwoofer / Center
Für Mehrkanalwiedergabe in Spielen benötigst du also Lautsprecher-Systeme mit analogen Anschlüssen oder einen Digital-Receiver mit analogem ( 5.1 ) Eingang.
Wenn du ein optisches / koaxiales Kabel verwendest, dann kannst du nur die vorderen Kanäle ( links / rechts ) hören.
!!! Notiz !!!
X-Box Spiele unterstützen DolbyDigital, wenn du deine X-Box mit einem DolbyDigital-Receiver oder einem digitalen Lautsprecher-System über optische Kabel verbindest, kannst du den vollen Surround Sound nutzen.
Die Sound Blaster Karten der SB073X-Serie bieten neben dem digitalen ( koaxial / extern ) Anschluß über den Anschluss Flexi-Jack auch noch einen weiteren Anschluß, direkt auf der Karte ( koaxial / intern )
Flexi-Jack - DigitalDIN
Wenn du kein digitales E/A-Modul ( Digital I/O-Modul ) benutzen kannst, ist es möglich mit einem Klinke-Chinch Adapter ( RCA-Adapter ), ein digitales Lautsprecher-System oder einen Digital-Receiver digital ( koaxial ) über den Flexi-Jack-Ausgang der Soundkarte zu verbinden. Alle MiniDin bzw. 3,5 mm Klinken-Stecker können in der Mono- oder auch in der Stereo-Ausführung verwendet werden, denn der mittlere / vordere Pin des 3,5 mm Klinken-Steckers überträgt das AC3 / DTS Signal. Dazu benötigt man eine der folgenden Verbindungen
3,5 mm Klinke ( Mini DIN ) auf Chinch - Adapter ( RCA-Adapter )
für den S-PDIF-Anschluß( koaxial ) an Lautsprecher-Systeme mit digitalem Eingang bzw. Digital-Receiver kann man folgende Varianten verwenden
- Klinke-Mono - Chinch-Stecker ( Stecker –Stecker ) ( Favorit !! )
- Klinke-Mono auf Chinch-Mono ( Stecker - Kupplung ) + Chinch-Verbindungkabel
( Stecker - Stecker )
- Klinke-Stereo auf Chinch-Mono ( Stecker - Kupplung ) + Chinch-Verbindungkabel
( Stecker - Stecker )
Das digitale E/A-Modul ( Digital I/O – Modul )
Die Verwendung von optionalem Zubehör Digitales E/A-Modul ( Digital I/O-Modul ) bietet die Möglichkeit der direkten Verwendung eines S-PDIF Verbindungskabels und stellt zusätzlich zum koaxialen Anschluß einen optischen Anschluß ( Toslink ) bereit. Die optische Verbindung kann wie oben beschrieben zur Vermeidung einer Brummschleife hilfreich sein.
Des weiteren wird ( abhängig von der Ausstattung der Soundkarte *** ) ein digitaler Eingang über das E/A-Modul bereitgestellt, der Eingang ist ebenso wie der Ausgang in optischer ( Toslink ) und koaxialer ( S-PDIF ) Bauform ausgeführt.
Achtung !!
( *** Bei Karten der SB073X-Serie verfügt diese Buchse nicht über die Digital-In-Funktion !! zur Unterstützung des digitalen E/A-Moduls )
interner S-PDIF E/A-Anschluss ( für Geräte der SB073X-Serie )
zum Anschluß einer Decoderkarte oder externer Decoder bzw. Lautsprechersysteme mit digitalem Eingang ist ein entsprechender Adapter erforderlich
Bei einigen Modellen ist eine Dekoderkarte im Lieferumfang enthalten bzw. in einigen Regionen als Zubehör erhältlich
Front Panel-Sockel (für Geräte der SB073X-Serie)
2 x 5-poliger Front Panel-Sockel nur für Verbindungen mit einem Intel HD Front Panel Audio-Standardsockel (nur Geräte der SB073X-Serie) Intel Front Panel Audio-Kabels (separat erhältlich)
Anschlusskompatibilität
Ausschließlich Intel HD Front Panel Audio-Standard
Nicht kompatibel mit AC97 oder Intel-kompatiblem HD Front Panel Audio
Einschränkungen
Wenn neben den hinteren Mikrofonen auch Frontmikrofone angeschlossen sind, werden die hinteren Mikrofone automatisch deaktiviert.
Sound Blaster X-Fi E/A-Konsole
Auf der Rückseite Ihrer X-Fi-E/A-Konsole* befindet sich eine sogenannte DIN-Buchse. Um die Funktionen für eine integrierte Lautsprechersteuerung zu nutzen, können Sie an diese Buchse ausgewählte analoge Creative-Lautsprechersysteme anschließen, die über eine Kabelfernbedienung oder eine Audiokonsole verfügen.
So können Sie beispielsweise über den Master-Lautstärkeregler Ihrer X-Fi-E/A-Konsole die Lautstärke der Lautsprecher regeln oder die Lautsprecher stummschalten.
-eof-

March XFI drivers SPDIF not working for Dolby digital playback

>? Tried to dolby digital movies using powerdvd 8.
No sound. Drivers work fine with games/desktop. So I think they installed ok.
Dolby digital out worked fine on the previous drivers. Am I forgetting to set something?
The build in dolby digital tester works. I'll hear sound on the receiver thru dolby digital only. But movies are silent.
This is xfi fatality pro. ? vista 64 SP
Also the spdif out properties only has 2 channel format showing. Shouldn't there be 5 channel as well?
Message Edited by galvin on 03-3-2009 04:8 PMMessage Edited by galvin on 03-3-2009 05:09 PM

So no one has any idea how to fix this? past drivers I had spdif pass through automatic. Is it disabled somehow in the march drivers?
Using power DVD 8 not 9. So that probably has newer options that don't exist. I installed the march drivers just the drivers. All the drivers have is the audio control panel and driver. There is no other software. So maybe there is a registry hack I can do to enable the pass through to work?
I think I may have found the problem but don't know how to fix it. In the audio control panel there is no decoder tab. And that tab gives options for setting
your receiver to decode dolby digital. So I think thats why movies are silent.
Just bought powerdvd 9. Maybe 8 is no longer compatable with the latest drivers. I'll see if this fixes it or not.
Same problem in powerdvd 9. When a movie is playing it does say this "S/PDIF output device:? Speakers (2- Creative SB X-Fi) (in use)" so the spdif is in use but the signal isn't getting to the receiever. Going to try and reinstall the drivers again.
Message Edited by galvin on 04-0-2009 :28 AMMessage Edited by galvin on 04-0-2009 :43 AMMessage Edited by galvin on 04-0-2009 2:53 PMMessage Edited by galvin on 04-0-2009 0:36 PMMessage Edited by galvin on 04-0-2009 02: PM

2 issues with X-Fi Titanium software (Dolby Digital related)

These arnt anything major but worth fixing IMO.
1. There is a slightly noticable sound quality drop in nati've Dolby Digital sources when using the "Speakers" as the defualt device compared to using SPDIF in Windows playback devices.
For example I have a movie encoded in Dolby Digital, I use the optical input on my 5. and leave "Speakers" as default device in Windows playerback devices, this way I can add effects such as CMSS3D EQ etc, but leaving EVERYTHING off the SQ is not as good as selecting SPDIF in Playback devices, the major downside though is having SPDIF in windows audio panel bypasses any settings in the creative console.
I realise this may be an issue with Windows rather than Creative.
2. Dolby Digital remains enabled when Headphones is automatically Activated / When Dolby Digital is activated with headphones 5. sound is used but the center, sub and 2 rear channels dont get passed.
I have my entertainment mode set to 5. wich automatically switches to Headphones when I plug them in.
I used Windows playback devices to do a speaker check, this is always set to 5. and the creative console never overrides this.
When I test my headphones with DD off I hear all 6 channels in my headphones, when I enable Dolby Digital I only hear the front left and front right channel, if headphones mode is suppose to be automated it should automatically adjust for Dolby Digital either by disabling it until the headphones are unplugged or to pass all 6 channels to the headphones like it otherwise normally would.

Edit: I now installed the Dolby Digital Live drivers, that were hidden on the download page until I pressed "All".
The DDL option now appears under "Encoder", but still there's not sound coming through.

SB Audigy 2 ZS - Conect to Teac Power Max 1500 with external decoder Dolby Digital Decod

I can't have de digital sound of my soundcard, beacause my speaker systems don?t have that type of cable (for digital sound, my system have a coaxial and optical.
How can ? conect my speakers (wich have an external decoder) to the digital out of de SB Audigy 2zs? I have buy de Creative Digital I/O Module, that have coaxil and optical output, but this not work in Audigy 2 zs....(:
Have I buy another speakers? this speaker?s are great, and I have my dvd conected to him.
Tks.
Message Edited by pedrom on 09-26-2006 02:04 PM

There's a digital output on the card itself. 'tis the farthest one from the motherboard I beli've.
What you erally need is a cable like t his one:
http://www.needledoctor.com/Sony-RK-...=2&category=92
Plug the mini-plug end into the soundcard and one of the outputs ( the left channel I believe ) will have the digital output.
You will only get surround sound via the decoder if when playing back pre-encoded DD/DTS content like DVDs. Games and stuff will playback in stereo when connected digitally as SPDIF only supports compressed multi-channel bitstreams or uncompressed 2 channel audio. No Creative card at present offers real time DD/DTS encoding ( there're other cards which do which support Dolby Digital Li've! or DTS Connect. ) Creative have a DTS encoder called the DTS-60 which can take analogue signals from the soundcard ( stereo mini-plug x 3 ) and encode it to DTS for output via a coaxial or optical SPDIF in real time. I've never used the DTS-60 and can't comment on how good it is. Also note that the Audigy 2 ZS has weak bass redirection if using the DTS-60 and the 60 lacks bass redirection of its own so you could very well end up with a 'bass-less' signal if you're connecting to small speakers, unless your decoder has volume controls for the subwoofer.Message Edited by nvidiot on 09-27-2006 0:32 PM

Dolby Digital 5.1 and Dolby 2.0

I have been editing a series of clips and 4 of the 5 clips are in Dolby Digital 5.1 Surround but one is only Dolby Digital 2.0. When I attempt to share, Final Cut seems to get hung up. Everything had been processing fine with the 5.1 clips only but once I introduced the 2 channel clips FCP 7 just gets hung up. I am thinking that FCP is having problems processing 5.1 then 2.0 and then back to 5.1 clips. Has anyone else had this problem before, and if so, what their solution might have been?
Thanks!

How are you setting up job in Compressor? In case you're not, use the Add Surround Sound function so you can map the single wav files to the appropriate channel.
Also, please confirm what DVDSP says once you import your .ac3 file - it should say 3/2 for the Channels (in the Inspector) when you select the file in the Assets tab.

Re: Dolby Digital 2-Channel editing?

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