福克斯国际频道与杜比实验室携手将影院级环绕声带入更多亚洲家庭
杜比全景声会得到全面普及
杜比全景声会得到全面普及作者：来源：《电影中国》2015年第10期杜比实验室在一年一度的CinaAsia展亮相，并带来了最新的影院服务器产品杜比IMS2000集成媒体服务器，以及TMS系统。
2015年中国影院市场依旧是高速发展的一年，而杜比实验室无论是在影院服务器还是杜比全景声方面都捷报频传，就此，本刊采访了杜比实验室技术内容合作总监Nick Watson和杜比实验室大中华区市场总监柯永德。
去年的CineAsia，杜比刚刚收购Doremi不久，现在一年多的时间过去，在产品和市场上都有哪些变化？在过去的一年里，杜比和Doremi两家公司的技术团队整合的相当不错，可以说非常成功。
产品方面，我们新推出了杜比IMS2000集成媒体服务器和杜比TMS，杜比TMS可以管理包括之前Doremi在内的所有杜比服务器，从这方面也能看出两者的整合是相当成功的。
在市场方面，我们全球服务器的出货量已经超过9万台之多。
在中国的销售也取得了不错的成绩，万达院线2015年采购了400多套杜比服务器，部署在2015万达国内新增的全部影院银幕中。
万达采购的是ShowVault/IMB，作为一款非常成熟的产品，它的独特优势在哪里？产品线的规划是怎样的？我认为ShowVault最大的优势是稳定性，这也是得到用户好评最多的一点。
对于影院来讲，稳定性最重要，比如在《速度与激情7》这样的大片上映的时候，上座率高，每一场都会很重要，不能因为服务器的原因造成损失，这就要求服务器有能够让人信赖的稳定性。
一款成功的产品，在市场上赢得了好口碑，会让客户建立起来信心，但杜比不会就此止步，仍旧需要不停的投入研发，推出更优质的产品，比如IMS2000，在存储性能和扩展性方面就会做的更好。
当然它会和ShowVault/IMB一起为客户服务一段时间，直到新产品得到广泛认可为止，我对IMS2000有信心，这是一款能够保障未来应用的产品。
近几年一直在谈无人值守放映，那么杜比服务器是否能满足无人值守放映的需求？目前现状又是怎样的？无人值守已经变成一个大的趋势，并且已经在部分影院开始应用。
EN：1836-2005标准
Licens givet til: Ronald A/S, Bomhusvej 20, DK-2100 København Ø
EUROPEAN STANDARD NORME EUROPÉENNE EUROPÄISCHE NORM
ICS 13.340.20
EN 1836
September 2005
Supersedes EN 1836:1997
Licens givet til: Ronald A/S, Bomhusvej 20, DK-2100 København Ø
Dansk stane 2005-09-28
COPYRIGHT © Danish Standards. NOT FOR COMMERCIAL USE OR REPRODUCTION
Licens givet til: Ronald A/S, Bomhusvej 20, DK-2100 København Ø
DS/EN 1836
København DS projekt: M201011 ICS: 13.340.20
诺基亚 Nokia 手机用户指南说明书
PhilipsDVD home theater systemSpectacular surround sound with superb clarityJust like in the moviesExperience sensational home entertainment with the powerful surround sound deliveredby this sytem. Enjoy endless entertainment with Karaoke Scoring, playback from USBdrives, portable media players and practically any type of disc.Connect and enjoy multiple sources•MP3 Link plays music from portable media players•USB Media Link for media playback from USB flash drivesBrings audio and video to life•DTS, Dolby Digital and Pro Logic II surround sound•Karaoke Scoring for fun and exciting song contests at home•Advanced Class D Amplifier for compact, powerful soundPlays all your movies and music•DivX Ultra Certified for enhanced playback of DivX videos•Plays DivX, MP3, WMA and JPEG digital camera photos•Plays CD, (S)VCD, DVD, DVD+R/RW, DVD-R/RW, DVD+R DL•Built-in FM tunerEasy to set up•Easy-fit™ connectors with color-coding for a simple set-upHighlightsUSB Media LinkThe Universal Serial Bus or USB is a protocol standard that is conveniently used to link PCs, peripherals and consumer electronicequuipment. With USB Media Link, all you have to do is plug in your USB device, select the movie, music or photo and play away.DTS, DolbyDigital, ProLogic llA built-in DTS and Dolby Digital decoder eliminates the need for an external decoder by processing all six channels of audio information to provide a surround sound experience and an astoundingly natural sense of ambience and dynamic realism. Dolby Pro Logic II provides five channels of surround processing from any stereo source.DivX Ultra CertifiedWith DivX support, you are able to enjoy DivX encoded videos in the comfort of yourliving room. The DivX media format is an MPEG4-based video compression technology that enables you to save large files like movies, trailers and music videos on media like CD-R/RW, and DVD recordable discs. DivX Ultra combines DivX playback with great features like integrated subtitles, multiple audiolanguages, multiple tracks and menus into one convenient file format.Karaoke ScoringAdd a dash of fun to your Karaoke sessions with Karaoke Scoring. Allow your performance to be judged for furtherimprovement, or for friendly competitions. Karaoke Scoring automatically rates your singing and gives you a humorous picture that is tied to how well you did. The fun never ends.Plays it allPlay virtually any media format you want - whether they be DivX, MP3s, WMA or JPEGs. Experience the unbeatable convenience of great playability, and the luxury of sharing media files on your TV or home theater system - in the comfort of your living room.Plays it allPlay virtually any disc you want - whether they be CDs, (S)VCDs, DVDs, DVD+R, DVD-R, DVD+RW, DVD-RW or DVD+R DL. Experience unbeatable flexibility and the convenience of playing all your discs on the one device.Advanced Class D AmplifierAdvanced Class D Amplifier for compact, powerful sound Easy-fit™ connectorsColor-coded connectors provide a simple and user-friendly solution to connect the speakers and subwoofer to the center unit of the home entertainment system simply by plugging the connectors in the matching colored interface at the rear of the center unit.200Issue date 2010-07-02 Version: 1.1.712 NC: 8670 000 48759 EAN: 87 12581 45921 5© 2010 Koninklijke Philips Electronics N.V.All Rights reserved.Specifications are subject to change without notice. Trademarks are the property of Koninklijke Philips Electronics N.V. or their respective owners. SpecificationsPicture/Display•D/A converter: 12bit, 108MHz•Picture enhancement: Progressive scanSound•Total Power (RMS): 200 W•Output power (RMS): 4 x 25W + 2 x 50W•D/A converter: 24 bit, 192 kHz•Frequency response: 45 - 18000 Hz•Signal to noise ratio: > 60 dB•Sound System: Dolby Digital, Dolby Prologic II, DTS, Stereo•Equalizer settings: Action, Classic, Concert, Drama, Gaming, Lounge, Rock, Sports •Sound Enhancement: Class "D" Digital Amplifier, Night ModeVideo Playback•Compression formats: MPEG1, MPEG2, DivX 3.11, DivX 4.x, DivX 5.x, DivX 6.0, DivX Ultra •Playback Media: DVD-Video, DVD+R/+RW, DVD-R/-RW, Video CD/SVCD, CD-R/CD-RW •Video disc playback system: NTSC, PALAudio Playback•Compression format: MP3, WMA•Playback Media: Audio CD, CD-R/RW, DVD+R/ +RW, DVD-R/-RW, USB flash drive•MP3 bit rates: 32-256 kbps and VBRStill Picture Playback•Picture Compression Format: JPEG •Playback Media: DVD+R/+RW, DVD-R/-RW, CD-R/RW, USB flash drive•Picture Enhancement: Rotate, Zoom, Slideshow with music playbackTuner/Reception/Transmission•Tuner Bands: FM•No. of preset Audio Channels: 40 Connectivity•Rear Connections: Component Video output, Composite video (CVBS) output, AUX in, FM Antenna, Easy-Fit speaker connectors•Front / Side connections: Microphone input 3.5mmjack, MP3 Line-in, USBPower•Power supply: 120/230VAC, 50/60Hz •Standby power consumption: < 1 W•Power consumption: 50 W Loudspeakers•Satellite speaker drivers: 3" full range woofer •Satellite speaker impedance: 4 ohm•Satellite speaker freq range: 150-20000 Hz •Center Speaker: Magnetically shielded •Center speaker drivers: 3" full range woofer •Center speaker impedance: 8 ohm•Center freq range: 150-20000 Hz •Subwoofer driver: 6.5" high efficiency woofer •Subwoofer type: Passive•Subwoofer impedance: 8 ohm•Subwoofer freq range: 45-150 Hz Accessories•Included accessories: Remote Control, 2 x AAA Batteries, CVBS video cable, FM antenna, Quick start guide, User Manual, World Wide Warranty leaflet, Power cordDimensions•Set dimensions(W x H x D): 360 x 55 x 332 mm •Set weight: 2.64 kg•Center speaker dimensions (W x H x D):267 x 100 x 78 mm•Center Speaker Weight: 1.25 kg •Subwoofer dimensions (W x H x D):163 x 363 x 369 mm•Subwoofer Weight: 4.7 kg•Front Speaker Depth: 78 mm•Front Speaker Height: 284.5 mm•Front Speaker Weight: 4.53 kg•Front Speaker Width: 100 mm•Rear Speaker Depth: 75 mm•Rear Speaker Height: 100 mm•Rear Speaker Weight: 0.45 kg•Rear Speaker Width: 100 mm•Packaging dimensions (W x H x D):455 x 421 x 445 mm•Weight incl. Packaging: 12.6 kg。
杜比数字环绕声的新制式—Doldy Surround EX大揭秘
杜比数字环绕声的新制式—Doldy Surround EX大揭秘1998年10月，在美国新泽西州大西洋场城的Show East电影展上，杜比和THX宣布：它们联合开发了一种新型的电影伴音--Surround EX。
1999年5月映了首部采用这种新式伴音的电影《星战前传：幽灵威胁》。
1999年9月，Surround EX又被推广到家庭影院领域。
地先上市的两张采用Surround EX伴音的DVD影碟是《王牌大贱谍2》和《鬼入侵》。
此处，迪斯尼的动画片《虫虫特工队》也采用的封面上都没有正式使用Surround EX伴音，但这几张影碟的封面上都没有正式使用Surround EX的标志。
根据各电影公司宣布的计划，2000年度将有更多的影片和DVD影碟采用Surround EX伴音，如《玩具总动员2》。
Surround EX有6.1个声道，是在Dolby Digital的5.1个声道之处又增加了一个后环绕声道（back surround）又名中央环绕声道（center surround）。
在电影院中，环绕声道的场扬声系统是由多个音箱组成的阵列，安装在左、右两侧及后侧的墙壁上。
在5.1声道方式下，左侧后面环绕音箱的左半组被用于左环绕声道，右侧及后面环绕音箱的右半组被用于右环绕声道。
变为6.1声道后,音箱的数量和安装位置并没有改变,但组合方式发生了变化:安装在后面的音箱被子改用于后环绕声道,而左\右环绕声道将只使用安装在左\右侧墙上的音箱。
增加后环绕声道的目的是为了解决5.1声道的一些固有缺点.首先,5.1声道的环绕声场院是弥散的,这固然有利于获得更强的包围感,但影片中的某些场院景需要声源具有较强的方向性时,这种弥散声场院就无能为力了。
听众虽然能感觉到声音是来自左面或右面,但无法确定地指出声源的方向。
其次,5.1声道无法制造出声音来自背后的效果，也无法产生出声音飞越头顶的感觉。
6.1声道的Surround EX可以使上述问题得到改善。
KEF革命性突破——纤薄T系列家庭影院组合
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音响基础知识—7.1声道家庭影院调整
音响基础知识—7.1声道家庭影院调整我想很多人会问，有必要7.1声道吗？搞那么多喇叭好象很麻烦，效果真的有很大的提升吗？我的器材能支持7.1声道？只要调整得当，7.1声道的魅力恐怕让你再也不想回到5.1声道的家庭影院，因为7.1声道真正能达到紧密的声音定位感、包围感与空间感。
什么是7.1声道笔者先解释一下为什么会有7.1声道这种环绕格式出现。
其实在多声道环绕格式里目前世界上主要有四大阵营：SACD的5.1、DVD Audio的5.1、DTS ES 6.1与Dolby Digital EX 6.1。
SACD与DVD Audio目前被使用在以音频为主的软件，电影并不使用这两种格式，而DTS ES 6.1与Dolby Digital EX 6.1才是电影使用的环绕格式。
但是，既然电影格式是 6.1声道而不是7.1的音轨，又何来7.1声道呢？请注意在我们的数码音效是世界里除了对DTS与Dolby Digital作译码之外，还有DSP(Digital Surround Processing)的音场处理模式。
在AV功放对DTS或是Dolby Digital 音频格式作声轨译码后，通常会加上DSP处理模式，让音场、音色等更接近大型剧院的效果，而此时在高端的AV 功放便会将6.1声道的音轨经过数码音场处理程序而转换成7.1声道。
那么针对 DTS 5.1与Dolby Digital 5.1的环绕格式，DSP是否也能将其转换成7.1声道呢？答案是可以的。
7.1声道的DSP处理模式在一些比较高端的AV功放都有具备，例如天龙3802、3803AV功放，更高价的天龙A11SR、A1SR与安桥DS989还配置了美国最先进的THX Ultra 2 DSP模式。
实际上很多AV功放即使不具备7.1声道也都至少配备6.1声道，那么7.1与6.1差别在哪里？7.1声道使用一对后环绕喇叭来代替6.1声道的一个，这样的好处很多，绝对不是好象只多了一个喇叭虚壮声势。
DTS、杜比多声道环绕声技术的发展与应用
DTS、杜比多声道环绕声技术的发展与应用李怀畅【摘要】随着多声道环绕声技术在电影院、家庭影院、高清电视、环绕声广播、汽车产品以及相关电子产品中得到应用和普及,为了使听众得到更好的环绕声体验,杜比实验室与DTS公司不断对环绕声技术进行研究与探索,针对这两家公司在目前市场上客户应用范围较广、用户使用较多的5.1,6.1,7.1及n.1声道环绕声技术的发展与应用进行了对比与分析.【期刊名称】《电声技术》【年(卷),期】2014(038)003【总页数】7页(P18-24)【关键词】杜比多声道环绕声技术;DTS;5.1声道环绕声;6.1声道环绕声;7.1声道环绕声【作者】李怀畅【作者单位】北京人民广播电台,北京 100022【正文语种】中文【中图分类】TN643;TN912.271 引言首先先了解一下什么是环绕声以及多声道环绕声的发展历史。
环绕声就是指在声音重现中实现原信号中各声源点的重现，使听众(欣赏者)感觉被周围各种声音包围，能够感受各个方向声音。
相对于单声道(声音定位于声源与听众形成的一条直线上)与立体声(声音定位于左右两个声源与听众形成的一个扇形区域之间)，环绕声通过扩展声源从而实现声音形成圆形区域环绕于听众的四周。
随着声学技术的发展与研究，环绕声技术也得到了发展，从传统的二维扩展到了三维空间，使听众能感受到更加广阔的听觉空间。
在环绕声的发展与应用过程中，许多公司都对环绕声技术进行了研究与探索，在本文中主要讨论的是在实际应用中使用范围较广且研究较为广泛的杜比、DTS多声道环绕声技术，另外在杜比与DTS多声道环绕声技术中实际包括了从单声道到多声道的格式标准，为了使主题更为突出，本文主要讨论较为典型的5.1，6.1，7.1，8.1 等多声道环绕声技术。
2 5.1声道环绕声技术发展早期的环绕声技术主要应用于影院，1992年杜比在宽银幕电影动作冒险片《勤务兵返回》一片中首次对Dolby AC3技术进行了尝试，通过采用5.1声道环绕声系统的声音效果远远超过当时杜比立体声系统的声音效果，特别在《星球大战》影片热映后，杜比AC3系统迅速占领了影院市场。
ABNTNBR15602_2D2_2007Ing_2008
BRAZILIAN STANDARD ABNT NBR15602-2First edition2007.11.30Valid from2007.12.01Digital terrestrial television – Video coding, audio coding and multiplexingPart 2: Audio codingDescriptors: Digital terrestrial television. Source coding. AAC. Level and profile. ICS 33.160.01ISBN 978-85-07-00608-4Reference numberABNT NBR 15602-2:200812 pages© ABNT 2008ABNT NBR 15602-2:2007© ABNT 2008All rights reserved. Unless otherwise specified, no part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and microfilm, without permission in writing from either ABNT.ABNT officeAv.Treze de Maio, 13 - 28º andar20031-901 - Rio de Janeiro - RJTel.: + 55 21 3974-2300Fax: + 55 21 2220-1762abnt@.br.brPublished in Brazilii © ABNT 2007 – All rights reservedABNT NBR 15602-2:2007© ABNT 2007 – All rights reserved iiiContents Pages1 Scope (1)2 Normative references (1)3 Terms and definitions (1)4 Abreviations (2)5 Audio input format (3)5.1 General conditions (3)5.2 Main parameters (3)5.2.1 Formats (3)5.2.2 Interfaces (3)5.2.3 Audio signal levels (4)5.2.4 Multichannel modes or configurations (4)5.2.5 Metadata (4)6 Audio services and auxiliary channels (5)7 Audio coding system (6)8 Audio compression and transmission procedures (6)8.1 Overview of the coding standard (6)8.2 Profiles and levels (7)8.3 Transport and multiplex layer (7)9 Audio coding parameter restrictions (8)9.1 Audio coding parameter restrictions for full-seg services (8)9.1.1 Audio coding modes (8)9.1.2 Main parameters (9)9.1.3 Operational restrictions with respect to stereo receivers compatibility (10)9.2 Audio coding parameter restrictions for one-seg services (10)9.2.1 Audio coding modes (10)9.2.2 Main parameters (11)Bibliography (12)ABNT NBR 15602-2:2007ForewordAssociação Brasileira de Normas Técnicas (ABNT) is the Brazilian Standardization Forum. Brazilian Standards, which content is responsability of the Brazilian Committees (Comitês Brasileiros – ABNT/CB), Sectorial Standardization Bodies (Organismos de Normalização Setorial – ABNT/ONS), and Special Studies Committees (Comissões de Estudo Especiais – ABNT/CEE), are prepared by Study Committees (Comissões de Estudo – CE), made up of representants from the sectors involved including: producers, consumers and neutral entities (universities, laboratories, and others).Brazilian Standards are drafted in accordance with the rules given in the ABNT Directives (Diretivas), Part 2. Attention is drawn to the possibility that some of the elements of this document may be the subject of patent rights. ISO shall not be held responsible for identifying any or all such patent rights.ABNT NBR 15602-2 was prepared within the purview of the Special Studies Committees of Digital Television (ABNT/CEE-00:001.85). The Draft Standard was circulated for National Consultation in accordance with ABNT Notice (Edital) nº 07,from June 29, 2007 to August 28, 2007, with the number Draft 00:001.85-002/2.Should any doubts arise regarding the interpretation of the English version, the provisions in the original text in Portuguese shall prevail at all time.This standard is based on the work of the Brazilian Digital Television Forum as established by the Presidential Decree number 5.820 of June, 29th 2006.ABNT NBR 15602 consists of the following parts, under the general title “Digital terrestrial television – Video coding, audio coding and multiplexing”:⎯Part 1: Video coding;⎯Part 2: Audio coding;⎯Part 3: Signal multiplexing systems.This Standard is the English version of the corrected version dated 2008.04.07 of ABNT NBR 15602-2:2007.iv © ABNT 2007 – All rights reservedBRAZILIAN STANDARD ABNT NBR 15602-2:2007© ABNT 2007 – All rights reserved 1Digital terrestrial television – Video coding, audio coding and multiplexing Part 2: Audio coding1 ScopeThis part of ABNT NBR 15602 specifies the parameters for the audio signals and the system of sound coding and decoding to be used in the Brazilian system for digital terrestrial television (SBTVD).2 Normative referencesThe following referenced documents are indispensable for the application of this document. For dated references, only the edition cited applies. For undated references, the latest edition of the referenced document (including any amendments) applies.ABNT NBR 15602-3:2007, Digital terrestrial television – Audio coding, video coding and multiplexing – Part 3: Multiplexing signalsABNT NBR 15603-2:2007, Digital terrestrial television – Video coding, audio coding and multiplexing – Part 3: Signal multiplexing systemsISO/IEC 13818-1:2007, Information technology – Generic coding of moving pictures and associated audio information: SystemsISO/IEC 14496-3:2005, Information technology – Coding of audio-visual objects – Part 3: AudioITU Recommendation BS.775-1, Multichannel stereophonic sound system with and without accompanying picture 3 Terms and definitionsFor the purposes of this part of ABNT NBR 15602, the following terms and definitions apply.3.1encodingtransforming process of external signals in bits representing such signalsNOTE The encoding takes place, for instance, through sampling, and the obtained information may also be compressed.3.2decodingprocess responsible for original signal recovery through the bits received by the coderNOTE The decoding also may, eventually, perform the decompression of the received information.3.3downmixoperation that transforms a n-channel matrix and obtains less than n channels, usually related to the conversion of a multichannel program to stereo or monoABNT NBR 15602-2:20073.4LATM/LOAStransport mechanism defined in the MPEG-4 that utilizes two layers, one for multiplexing and other for synchronizingNOTE The multiplexing layer LATM manages the multiplexing of several audio payloads (audio data) and its configuration data on the AudioSpecificConfig() elements. The synchronizing layer LOAS specifies the syntax for self-synchronizing in the MPEG-4 audio transport stream.3.5levelmaximum number of channels and sample frequency indicating the computational complexity of the decoder3.6full-seg receiverdevice capable of decoding the audio, video and data information contained in the transport stream layer of the thirteen segments aimed the fixed (indoor) and mobile servicesNOTE The classification of full-seg shall be applied to digital converters, and know as settop boxes and integrated thirteen segments with exhibition screen but not limited to those. This kind of receiver shall be capable of receiving and decoding the high definition television signals and at manufactures criteria, also be capable of receiving and decoding the information on layer “A” of the transport stream, which is originally aimed to the portable receivers, here defined as one-seg.3.7one-seg receiverdevice which decode exclusively audio and video information contained in transmission layer “A” located in the central portion of the thirteen segmentsNOTE The classification of the one-seg shall be assigned to portable receivers, also known as handheld devices, with screen size bellow 7 inches. Within the products classified as one-seg are, but not limited to, the mobile phone integrated receivers, PDA, one-seg dongles, portable television, that are energized by an internal battery and, therefore, without the necessary use of an external power source, as well as those aimed vehicular reception. This kind of receiver shall be capable of receiving and decoding only digital terrestrial television signal in layer “A” of the transport stream, and therefore only the basic profile, aimed the portable devices.3.8audio access unitaudio portion of an elementary stream that is individually accessibleNOTE For the proposes of this part of ABNT NBR 15602, the audio access unit is equivalent to a rawdatablock4 AbreviationsFor the purposes of this part of ABNT NBR 15602, the following abbreviations apply.AAC Advanced Audio CodingCPE Channel Pair ElementHDMI High-definition multimedia interfaceLATM Low overhead audio transport multiplexLFE Low Frequency EnhancementLOAS Low Overhead Audio Stream2 © ABNT 2007 – All rights reservedABNT NBR 15602-2:2007PCE Program Configuration ElementPCM Pulse-code modulationPS Parametric StereoPSI Program Specific InformationSAP Second Audio ProgramSCE Single Channel ElementSDI Serial Digital InterfaceSBR Spectral Band ReplicationTS Transport Stream5 Audio input format5.1 General conditionsThe general conditions for the audio input format shall be the following:a) sample frequency of audio signal: 32 kHz, 44,1 kHz or 48 kHz;b) configuration of stereophonic and multichannel signals (that means, signals consisting of two or more audiosignals to obtain an evolving reproduction or spatial sound): sample rate for all the signals shall be the same;c) quantization of input signals shall use 16 bits or 20 bits;d) one audio program shall have at least one audio channel. The maximum number of channels in the programshall be limited to maximum number of channels allowed for ISO/IEC 14496-3;e) it is recommended that multichannel programs be prepared in conformance with ITU RecommendationBS.775-1;f) for audio programs in multichannel mode compatible with the modes foreseen in the standard ITURecommendation BS.775-1 shall be in one of the allowed configurations presented on Table 3;g) in case a multichannel program is transmitted without a stereo program, the multichannel program shall be inmode 3/2 (5.0 or 5.1, with or without LFE of low frequency enhancement) to allow stereo downmix;5.2 Main parameters5.2.1 FormatsBitstreams or files containing uncompressed digital audio shall be accepted in PCM format, such as WAVE or AIFF, stereo and multichannel.5.2.2 InterfacesWithin the allowed digital input/output interfaces shall be AES3 (AES/EBU, with two PCM channels per bitstream), SDI, HD-SDI and HDMI.© ABNT 2007 – All rights reserved3ABNT NBR 15602-2:20075.2.3 Audio signal levelsThe reference level for sound pressure intensity shall be equal to 0 dB. The allowable dynamic range shall be limited to + 20 dB (headroom) and – 70 dB with respect to reference, corresponding to a typical dynamic range of 90 dB. Mean audio levels should be at – 20 dBFS (0 dB), to allow volume homogeneity between distinct channels. The signal shall allow peaks of at least 4 times its mean RMS power.5.2.4 Multichannel modes or configurationsThe transmission mode refers to the multichannel configuration used, the number of available channels in the transport stream and to the coding mode of this bitstream.The number of source audio channels shall be at least one for a basic configuration, two for typical stereo and five channels plus one low frequency enhancement (LFE) channel for standard “5.1” multichannel transmission. The source signals shall be preprocessed and/or combined prior to entering the encoder to produce the transmission channels, which shall be present in the bitstream.A same audio program may be transmitted in more than one mode, for instance, in stereo (2 channels) plus multichannel mode 3/2 (5.1) simultaneously, but the simultaneous transmission is not mandatory.In the case of exclusive transmission on multichannel mode 3/2 (5.1) the receivers shall be capable of synthesizing the stereo channel by means of a downmixing conversion, replication operations, dematrixing, combination and signal processing within the functional audio reproduction system of the receiver. The allowed multichannel modes for coding and transmission shall be as described in 9.1.1.5.2.5 MetadataAuxiliary data shall contain information such as content description of audio programs, configuration parameters of audio services and parameters of the transmitted audio signals in the bitstream.The following data may be allowed as auxiliary data:a) content description of audio programs being transmitted (for instance, sound program rating, audio objectsdescription mixed within the content, auxiliary channel content description, etc);b) the multichannel mode;c) the reference level for equalization operations during playback on the access terminal.Auxiliary data and the content description of audio programs may be classified in two levels.A first level shall be normative. This level shall affect directly the receiver operation (bitstream decoding) such as, for instance, number and channel mode information and coding profile and level extracted directly from PSI tables. The data under this category shall be essential for the correct decoding and playback of the audio service in the receiver.A second level shall be informative. This level shall not interfere with decoding, but give information about the content of the audio programs associated with each PID. Data in this category shall be used for processing the program information on the receiver.Table 1 summarizes the types of audio auxiliary data allowed in the system.4 © ABNT 2007 – All rights reservedABNT NBR 15602-2:2007© ABNT 2007 – All rights reserved 5Table 1 — Type of audio auxiliary data Parameter Description and usematrix_downmix_idx Description: coefficient indicator used in the multichannel-to-stereodownmix equations. Shall be transmitted in the bitstream as metadata,as specified in ISO/IEC 14496-3Use: Mandatory when a multichannel program is transmittedWhen the matrix_mixdown_idx_present parameter is set to ‘1’ in itsprogram PCE (PID), the downmix system described inISO/IEC 14496-3:2005, in subclause 4.5.1.2.2 and Table 4.70 shall beusedIf the receiving terminal performs the downmix process, the stereoanalog output shall be always active with this signalprogram_ref_level Description: representative value of the mean intensity of long termprogram audio volume for all combined channels with respect to the0 dBFS reference. It is represented in 128 levels (7 bits), in steps of0.25 dB with a total range of 32 dB in relation to the end of scale(0 dBFS)This parameter shall contain an informative description of the referencevolume used by the broadcaster (0 dB) with respect to the end of scale(0 dBFS), for dialogue normalization and to make the channel changemore comfortable to the viewerUse: mandatory. It is recommended to use prog_ref_level = 80 (0x50)which corresponds, to an indicative value of – 20 dBFS as 0 dBreference, according to ISO/IEC 14496-3This parameter shall be transmitted together with the DRC structure,as described in ISO/IEC 14496-3:2005, subclause 4.5.2.7Dynamic Range Control (DRC)Description: the dynamic range control is specially indicated totransmissions in multichannel mode and can be signaled by metadata,as indicated in ISO/IEC 14496-3:2005, subclause 4.5.2.7Use: is optional during encoding, but the decoder shall support this tool.In case the encoder do not sends the DRC information, the decodershall not use the DRC tool 6 Audio services and auxiliary channelsAudio services include the transmission of additional audio programs to the main program and shall be considered optional services, excluding the audio description channel which transmission is required by current legislation.The transmission of these services is done through the allocation of additional auxiliary channels in distinct audio programs (PID) or in the same bitstream of a unique PID, observing the maximum number of allowed channels in the same bitstream by the coding profile/level used.Additional channels to the main program may be used to transmit audio in other languages (for instance, SAP), to transmit additional programs to the main program, audio description services (AD), and secondary audio from other sound takes (additional content, such as effects).All additional channels referring to auxiliary audio services shall be appropriately signaled using valid component_type identification in the respective audio_component_descriptor of the program.The auxiliary channels shall be transmitted in distinct programs (distinct PID) with proper signaling and channel identification to be selected, decoded and played with or in substitution of the main audio program channels.ABNT NBR 15602-2:2007The audio description service usually consists in one voice monoaural channel and gives a scene description as a subcomponent associated to the television service. It shall support the understanding of the main entertainment (but no exclusively) for viewers with visual impairment.The AD transmission shall be implemented using at least one of the mechanisms below:a) as an auxiliary channel (monaural or stereo) containing the AD previously mixed with the main audio program;b) as a auxiliary channel containing separate AD to later processing with the main audio program;In both cases, the service should be signaled on the component_type parameter described in the “Audio component descriptor”, as per ABNT NBR 15603-2:2007, Table 28.The ability to mix one or more supplementary description channels with the main audio program may have other applications, including multilingual commentary, interactivity and educational purposes.7 Audio coding systemAudio signals shall be coded by a combination of time-frequency transform coding. The frequency transform shall decompose the input signal in its frequency components by means of a modified discrete cosine transform (DCT), which reduces the amount of information by reducing the decrease in frequency deviation of each component.An additional compression tool is the psycho-acoustic weighted bit assignment in which codes shall be weighted to minimize signal degradation in the frequency bandwidth perceived by human ears.Audio compression and transmission procedures shall comply with ISO/IEC 14496-3.Decoders shall be made under the assumption that any legal structure as permitted by ISO/IEC 13818-1 may occur in the broadcast stream even if presently reserved or unused. The audio decoder shall be able to skip over “reserved” structures and data structures which correspond to functions not implemented by receivers.8 Audio compression and transmission procedures8.1 Overview of the coding standardFigure 1 shows audio compression and transmission procedure.6 © ABNT 2007 – All rights reservedFigure 1 - Procedures for audio transmission and codingThe filter bank shall convert the digital audio input signal from time domain to frequency domain. After that, the filter bank applies the modified discrete cosine transform, and windowing functions to input signal blocks, according to audible psychological characteristics.The psychoacoustic process shall calculate the masking quantity (limits for differentiating a specific audio signal from other signals) and feed the filter bank with input signal blocks.The samples shall be quantized after the filter bank processing, based on masking factor calculated by psychoacoustic process. So that, the total number of bits utilized for each block shall not be exceeded. Bitstream shall be configured according to ISO/IEC 14496-3.8.2 Profiles and levelsThe audio coding shall be compatible with ISO/IEC 14496-3. The following profiles and levels of MPEG-4 AAC standard shall be allowed:a) LC (low complexity), basic profile of AAC standard; L2 and L4 levels;b) HE (high efficiency), advanced profile of high efficiency, combining the LC profile with the use of the SBR(spectral band replication) tool for version 1 of this profile, L2 and L4 levels;c) HE combined with PS (parametric stereo) tool for version 2 of this profile, L2 level.The profile and level of the MPEG-4 AAC coder shall be adequately signalized according to ABNT NBR 15602-3e ABNT NBR 15603-2.8.3 Transport and multiplex layerThe intermediate audio coding and framing shall be compatible with LATM/LOAS according to ISO/IEC 14496-3. The elementary stream shall be first encapsulated in the LATM transport format and shall use the A udioMuxElement() multiplex element.The audio transport synchronization layer (LOAS) shall use the AudioSyncStream() transmission format, according to ISO/IEC 14496-3.The MPEG-4 audio transported by the MPEG-2 transport stream using the LATM/LOAS transport syntax shall be identified by the stream_type 0x11, according to the stream_type_assignments in ISO/IEC 13818-1:2007.To decode audio, the receiver shall identify the type, profile and level transmitted and shall be capable to extract the audio objects payloads. It is mandatory the use of explicit SBR signaling without PES alignment to transmit MPEG-4 audio over MPEG-2 transport streams.© ABNT 2007 – All rights reserved7The receivers shall be capable of processing the SBR tool. The SBR presence signaling shall be explicit using the non-backward compatible explicit signalization mechanism, according to ISO/IEC 14496-3.Table 2 describes the LATM/LOAS transport syntax fields within StreamMuxConfig(), which shall be formatted to identify and recover audio payloads, according to ISO/IEC 14496-3.Table 2 — Main LATM configuration parametersLATM parameter Use descriptionaudioMuxVersion Shall have the value “0”allStreamsSameTimeFraming Shall have the value “1”numSubFrames Shall have the value “0” indicating only one PayloadMux() (access unit) within an AudioMuxElement()numProgram Shall have the value “0” indicating one program per LATMnumLayer Shall have the value “0” indicating only one layerframeLengthType Shall have the value “0” indicating that the payload frame length isvariable. The payload extension in bytes is directly specified inPayloadLengthInfo() with 8 bits words9 Audio coding parameter restrictions9.1 Audio coding parameter restrictions for full-seg services9.1.1 Audio coding modesThe coding mode determines the number of available channels on the audio service. The audio coding modes for digital transmission shall be in accordance to the restrictions of Table 3.Table 3 — Restrictions of the audio coding modesParameter RestrictionAllowed audio modes Monaural (1/0), stereo (2/0 and 2/0 + LFE)a, multichannel stereo (3/0, 2/1, 3/1, 2/2, 3/2, 3/2 + LFE)a, two independent audio signals (dual monaural), multi-audio (three or more audio signals) and a any combination of the above modesRecommended audiomodesStereo (2/0), multichannel (3/2 + LFE)Downmix The signaling presented in Table 1 shall be used for 5.0 and 5.1 configurations. In any other multichannel configuration, the receiver can use other downmix schemes, since audio intelligibility is assured. The stereo-to-mono downmix scheme is not covered by this Standard, but clipping shall be avoideda Number of channels for front/surround loudspeakers.EXAMPLE 3/1 = 3 front + 1 surround; 3/2 = 5.0 = 3 front channels and 2 surround.© ABNT 2007 – All rights reserved 9The decoder shall be capable to process any of the recommended audio modes.The second channel configuration according to its operation mode, and its transmission order within the payload, shall be in accordance with Table 4.Table 4 — Channel configurations and recommended modes for MPEG-4 AAC ModeChannel configuration SE order of transmission a Standard element for loudspeaker mapping b Monaural (1/0)1 <SCE1><TERM> SCE1 = C Stereo (2/0)2 <CPE1><TERM> CPE1 = L and R 3/03 <SCE1><CPE1><TERM> SCE1 = C, CPE1 = L and R3/1 4 <SCE1><CPE1><SCE2> <TERM> SCE1 = C, CPE1 = L and R, SCE2 = MSMultichannel 5.0 (3/2) 5 <SCE1><CPE1><CPE2> <TERM> SCE1 = C, CPE1 = L and R,CPE2 = LS and RSMultichannel 5.1 (3/2 + LFE)6 <SCE1><CPE1><CPE2> <LFE><TERM> SCE1 = C, CPE1 = L and R,CPE2 = LS and RS, LFE = LFE a Abbreviations related to the syntactic element (SE): SCE – single channel element, CPE – channel pairelement, LFE – LFE channel element, TERM – terminator.b Abbreviations related to loudspeaker arrangement: L – front-left loudspeaker / R – front-right loudspeaker / C– front-central loudspeaker / LFE – low frequency enhancement / LS – left-surround loudspeaker / RS – right-surround loudspeaker / MS – monaural surround loudspeaker .In the case a two independent audio signals are transmitted (monaural dual or 1/0 + 1/0) the recommended SE order of transmission is: <SCE1><SCE2><TERM>, being SCE1 the first (main) channel and SCE2 the second program channel.If the used configuration is not present on Table 4, it shall be reproduced using a configuration with the same number of channels and with the respective signaling.9.1.2 Main parametersThe audio coding system main parameters shall be as presented on Table 5.Table 5 — Main audio coding parameters – Full-seg servicesParameter RestrictionAllowed transport mechanismsLATM/LOAS (according to ISO/IEC 14496-3) Recommended channel numberMono (1.0), 2 channels (stereo or 2.0) or multichannel (5.1) Allowed profiles and levels Low complexity AAC: level 2 (LC-AAC@L2) for two channelsLow complexity AAC: level 4 (LC-AAC@L4) for multichannel High-Efficiency (HE): level 2 (HE-AAC v1@L2) for two channelsHigh-Efficiency (HE): level 4 (HE-AAC v1@L4) for multichannelMaximum allowed bit rateIn accordance to ISO/IEC 14496-3 Samples per frame frameLengthFlag in GASpecificConfig() shall be set to 0, indicating that the frame length shall be of 1024 samples for AAC and 2048when using SBR. 960 samples for AAC (or 1920 when using SBR)are not allowedFor high-fidelity transmission it is recommended the use of the profile/level AAC@L4 in multichannel mode and profile/level AAC@L2 for stereo mode. In stereo audio transmission, level 4 (L4) shall not be used.Signals may be encoded on any bit rate supported by the selected profile and level. At the same time, the multichannel signal may use any of the profile sample rates.The dynamic range control tools of MPEG-4 AAC may be used.9.1.3 Operational restrictions with respect to stereo receivers compatibilityWhen the multichannel service is available:a) the transmission shall occur with a minimum of one program in two channels (2/0 or stereo) or onemultichannel program (3/2);b) the simultaneous transmission of two channels is not mandatory when the multichannel service is available.Basically, the two channels receiver (stereo) shall be capable to process the signal through downmixing;c) the receiver shall be capable to interpret the downmix coefficient using PCE according to the AAC standard(see Table 1) when the 5 (3/2) and 5.1 (3/2 + LFE) channel services are available.9.2 Audio coding parameter restrictions for one-seg services9.2.1 Audio coding modesThe coding mode determines the number of available channels on the audio service. The audio coding modes for digital transmission shall be in accordance to the restrictions described on Table 6.Table 6 — Restrictions on audio coding modes – one-seg service Parameter RestrictionAllowed audio modes Monaural (1/0), stereo (2/0)The audio decoder shall be capable to process any of the recommended audio modes.The channel configuration, according to the operation mode, and its transmission order within the payload shall be in accordance to Table 7.Table 7 — Channel configuration and standard modes for MPEG-4 AAC Mode Channel configuration SE order oftransmission aStandard element for loudspeaker mapping b Monaural (1/0) 1 <SCE1><TERM>SCE1 = C Stereo (2/0) 2 <CPE1><TERM>CPE1 = L and R a Abbreviations related to the syntactic element (SE): SCE – single channel element, CPE – channel pairelement, LFE – LFE channel element, TERM – terminator.b Abbreviations related to loudspeaker arrangement: L – front-left loudspeaker / R – front-rightloudspeaker / C – front-central loudspeaker.。
DOLBY_Atmos_WhitePaper_CN
杜比＠全景声TM
固 DOL町［
下一代影院声音技术
概述
现代影院在制作、发行和放映回盟等方面受到诸多限制．因此难以创造出具有渗透力旦 逼真的声音效果。社比＠全景声（ Dolby® Atmos ）作为下－代影院的声音平台，将有效 地解决这一问题，并带给观众前所未有的昕感体验。
杜比全景声〔Dolby Atmos〕将动态音频对象的灵活性和强大功能加入了传统的以声道为
高性价比的编码发行解决方案，其中包含了三个银幕声道以及一个单声道的环绕声声道
（如图 1.1 ）。影院声音的质量在 80 年代引入了杜比 SR 降噪系统以及 THX® 认证系统之 后有了进一步的提升。
放映机
声音处理器
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功率放大器 主要点
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杜比技术概况
/gb/consumer/technology/digital.html#1杜比技术概况1.简介杜比实验室的核心技术，无论是模拟技术还是数字技术，都是提高基本声音质量的信号处理系统，同时也有应用于录音带、录像带、电影声轨、DVD碟片、电脑和电视游戏、电视节目、卫星和有线广播节目中的多声道环绕声技术。
有些杜比技术使用在专业音频产品中，包括杜比实验室生产的影院声音处理器和数字音频编解码器。
它们普遍使用在世界各地的录音和后期制作室、广播设备、电影院、磁带和碟片生产公司。
另外，杜比技术也授权给诸如卡座、DVD播放机、家庭影院系统、电脑和机顶盒的消费类产品生产商。
这些杜比技术集成在与杜比实验室密切合作的各大集成电路（IC）制造商所生产的芯片中，这使得杜比的认证客户能够把杜比技术应用到他们的产品中。
1.简介2.模拟录音技术∙A型降噪（A-type NR）∙B型降噪（B-type NR）∙C型降噪（C-type NR）∙频谱录音（Spectral Recording (SR)∙S型降噪（S-type NR）∙峰值储量扩展技术（HX Pro）3.数字音频编/解码技术∙AC-1∙AC-2∙杜比数字(AC-3)∙杜比E（Dolby E ）∙MLP无损压缩技术(MLP Lossless TM)∙先进音频编/解码技术（AAC）4. 电影音频技术∙杜比立体声（Dolby Stereo）∙杜比频谱录音（Dolby SR）∙杜比数字（Dolby Digital ）∙杜比数字环绕EX（Dolby Digital Surround EX）5.消费类环绕声∙杜比环绕（Dolby Surround）∙杜比定向逻辑环绕声（Dolby Surround Pro Logic）∙杜比定向逻辑环绕声II（Dolby Surround Pro Logic® II）∙杜比数字技术（Dolby Digital）∙杜比耳机技术（Dolby Headphone）∙杜比虚拟扬声器技术（Dolby Virtual Speaker）∙虚拟杜比环绕声和虚拟杜比数字技术（Virtual Dolby Surround and Virtual Dolby Digital）模拟录音技术从A型降噪技术开始，杜比实验室开发了一系列降噪处理技术来提高模拟录音质量，在进行技术处理的同时并没有破坏原始录音素材。
精彩迭出无限影音——记南昌首届沃夫德尔高级音响体验展示会
｝ 和 赞 许 ． 同 时 价 值 近 １ 万 元 的 世 现场更是火爆异常，由主办方全程赞助支 善．这将对改善和提高广大群众的影音观 佩 ５
ｉ 级静电扬声器的鼻祖一 英国国都旗舰 持的 《南昌首届Ｐ ３足球１ 人Ｐ 大赛 》 Ｓ １ Ｋ
｝ Ｅ Ｌ ２０ 在南昌也是首次开声． 箱 Ｓ 一 ９５
｝ 体 验 中 国 巡 回 ）南 昌站 展 示 会 在 南 Ｏｐ ｓ 音 ｕ ２系列音箱与 １ Ｏ 离清投影完美结 叹 回 去 以后 也 要 为 自 己在 家 里 配 置 一 套 完 ３ 莱 大 酒 店 举 办 。 由 全 系 列 欧 美 知 名 台 的 蓝 光 家 庭影 院 系统 演 示 了 什 么 才是 顶 整的多声道音响系统来成就 自己游戏娱乐 音 响 品 牌 Ｗｈ ｒｅ ｌ、 Ａ ｄｏｌｂ ａ ｆ邀请了南
对英国沃夫德尔高级平板音箱的奖品奖
昌市摄影协会的众多会员摄影师，参加 了 励．其他参赛选手也分别获得 了不同的奖
在 本次巡回展示会 的音乐 中心 ，主
《 首届沃夫德尔音响模特摄影大赛》．现 品奖励 会场上 ，所有来参观这玫展示会
ｒ 特邀 请 了香 港 著 名 音 响评 论 犬 师 陈 经 场觏丽的模特与音响产品的完美融合给摄 的观众都纷纷感叹不枉此行 ．沃夫｛ 寒尔的 生进行Ｈｌ 器材 点评 与音乐素养修 影师提供了丰富的艺术元素和费感，观众 高 级 肜音 产 品 的 确 品 位 出众 ．动 人 心 魄 ． 一
级的家庭私人影院效果 ．现场观众都被深 最大化的体验乐趣。本玫竞技 比赛最后的
冠 军 还获 得 了 由 Ｓ 沃 夫德 尔公 司 送 出 的 ＷＴ
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杜比全景声,单声道、立体声、51、71声道(DOC)
杜比全景声知多少《地心引力》混录师与杜比总监联袂亲解在了解杜比全景声之前，我们有必要了解一下在它之前的一些常见声音格式。
Stuart说，回顾电影和影院的声音演进历史，最开始时是单声道（Mono），然后是立体声（Stereo），其后是环绕声（Surround），再其后是5.1和7.1声道，理论上接下来将是9.1、11.1甚至13.1声道。
单声道：只在银幕背后中间位置设置一个扬声器，由此得名单声道：（下图）立体声：在前者基础上，将单声道的中间扬声器扩展为左右对称的两个扬声器（土色），从而变为了两个声道，由此得名立体声：（下图）环绕声：在前者基础上，在观众席的两侧和后面增加了一组扬声器（紫色），让声音真正实现环绕观众，由此得名环绕声：（下图）5.1声道：在前者基础上，将环绕声道一分为二，分为左环绕（蓝色）和右环绕（粉色），银幕前方还增加了重低音效果音箱（Subwoofer）。
综上，有银幕中央声道、银幕左右声道、环绕左右声道这5个声道，再加上所谓0.1声道的重低音声道，由此得名5.1声道：（下图）7.1声道：在前者基础上，将环绕声道一分为四，有了左侧环绕（蓝色）、右侧环绕（粉色）、左后环绕（黄色）和右后环绕（绿色），比5.1多了2个声道，由此得名7.1声道：（下图）推出杜比全景声的必要性Stuart表示，虽然已经有这么多声音格式上的变革，但从电影制作者的反馈来看，这些变革和进步还是不够。
如图1和图2所示，在5.1声道中，如果想实现直升机声音的移动效果，声音不是在右侧环绕区域（图1），就是在左侧环绕区域（图2），也就是从影院的一侧跳到另一侧，这种跳跃并不是真正的移动效果。
在7.1声道中，直升机的声音从右环绕到右后环绕，再到左后环绕，最后到左环绕（即声音依次从粉、绿、黄、蓝色扬声器发出），实现了声音的移动效果，但是还不够精确后来杜比公司尝试了9.1、11.1、13.1声道，但声道的增加只是量变，不能带来质变。
草谷为福克斯WCCB提供移动电视系统
那里有 全套的草谷播 出系统 ，包括全 网络化的 Ｓ Ｎ系统 ，数十 套 展览会 （ ＯＢ ，展 出了多 款最新的 草谷产 品和解决方 案 ，包括 Ａ Ｋ Ａ） Ａ ｒｒ ｄ 高清编辑系统 ，以及 Ｆｎ ｌ ｕ Ｐ ｏ编辑 系统。利 用草 Ｌ Ｋ系列高清摄像机 ，Ｋ ｙ ｎ ｅ ｕｏａ Ｅ ｉ ｔ ｉ ｔ ｒ ａＣ Ｄ ａ ｅ ｎ 视频制作中心 ，Ｋ ｙ ｋ ａ ａ 高清制作
过６ Ｏ台 ，草谷公 司还将提 供现场技术 支持 。届 日 ，瑞典和斯堪 的 寸
草谷助 美国 ＭＬ ｅｗｏｋ ＢＮ ｔ ｒ 赢得 ４项体育艾美奖
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纳维亚境 内的国家 均能收看到 由 ＳＶ Ｔ直 播的婚礼盛 况 ，其他 国家 也将进行转播。
近日 ，福克斯旗下的 ＷＣＣＢ电视 台 （ 覆盖美 国北卡罗来￣ ／ ／ 用 ＡｕｏａＢｏ ｅ和 Ｋ ａ ｅ ａ １ｉ ３Ｉ Ｊ １ ｒｒ ｒｗｓ ２Ｂ ｓ Ｃ ｍｐ中的 Ｍｅ ｉＦａ ｄａ ｒｍｅ数据库。
的集成和 安装调试 也交由 草谷 公 司完 成。Ｗ Ｃ ＣＢ希望借此 升级其 草谷 高清设备直播瑞典皇 室婚礼
务器 ，Ｔ ２多通道高清硬盘录像机 ，以及 ＥＤＩ ＵＳ多格 式非编软件 。 这些产品均支持 ３ Ｄ应用 ，同日 也可兼顾 传统广 电应用 。 寸
上对素 材进 行上 载、下 载、审看 等操 作，大大 简化 了工 作流 程。
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自２０ ０ ４年天津 电视 台率先采购由索尼 中国专业系统集 团集成
第一 台 ４ Ｋ大型 投 影机 落户 天津 台新 大楼 视听 室。今 年 ３月
多声道音频标准全解析
多声道音频标准全解析随着“高清”(HD 英文High Definition 高分辨率的简称)成为最近的热点，不少影音爱好者的注意力大多都集中在了高清视频回放设备上：蓝光DVD播放机、全高清电视机、1080p投影机成了玩家必谈的话题，似乎忽略了“高清”系统还包括高品质的多声道音频标准，今天我们一起来回顾一下多声道音频标准的发展脉络。
杜比（Dolby）多声道音频标准杜比实验室（杜比公司的注册名称）是由美国人：R.M.DOLBY博士建立的，最初创立在英国，1976年后，公司的主要工作转移到美国旧金山。
杜比公司是世界领先的模拟/数字音频制定机构，先后发明了杜比降噪系统、杜比环绕声系统等多项技术，对电影音响工业和家庭音响技术产生了巨大的影响。
1965年，第一台杜比A型降噪器诞生，影响录音界多年，此后，杜比实验室开发了一系列的技术：C型降噪、SR（频谱录音）、S型降噪、HXPro、杜比立体声、杜比环绕、杜比定向逻辑、AC－1、AC－2、杜比数字（AC－3）、杜比耳机、杜比E等。
这些技术被广泛应用于专业及民用音响器材，电影录音，影院回放设备，数字广播等方面。
杜比定向逻辑环绕声尽管效果出色，但仍旧属于模拟技术的范畴，有着先天的不足。
随着数字技术的日益成熟和下一代电视广播的要求，杜比实验室与日本先锋公司在1994年发布了他们合作研制开发的全新数字化多通道影视音响系统：AudioCoding－3（简称AC－3），1997年又更名为杜比数字（DOLBY DIGITAL），它是建立在定向逻辑环绕声基础之上的纯数字音频标准，大型电影院和家庭影院中均可使用。
杜比TrueHD是专为高清光盘媒体所开发的无损压缩技术（是HD DVD的强制性音频标准，蓝光的可选标准，目前HD DVD已经淡出高清舞台），单论技术原理，其实和之前的DVD-audio有些类似，但其最多可支持达13.1个声道，最高码流达到了18Mbps之巨，是非常BT的一种音频流（要用HDMI接口传输，传统的数字接口已经满足不了此音频流的传输），其信息量之丰富与清晰度最高的录音棚母带毫无二致，让用户能够享受高清晰度图像的同时，也能享受令人惊叹的声音。
什么是杜比AC-3
什么是杜比AC-3在杜比定向逻辑环绕声技术的基础上，于1990年杜比公司与日本先锋公司合作，采用先进的数位压缩技术，推出新颖的全数字化杜比数码环绕声系统。
它可使多声道信号有更多的信息被压缩到双声道中去，并将这种系统称为AC- 3。
AC是英语“音频感觉编码系统”的缩写词。
AC-3技术首先应用到电影院，后来又进入普通家庭。
杜比AC-3系统设置完全独立的6个声道，即全频带的左、中、右、左环绕和右环绕声道，再加上一个超重低音声道。
由于这样声道的结构，AC-3系统又称为5.1声道。
杜比AC-3的特点(1)配置5.1声道将输入的音频信号解码后，可以输出5.1声道信号，其中有3个前置声道(L、C、R)，还有2个后置环绕声道(LS、RS)，它们互相独立，频响宽度都是全声频域，即20Hz－20KHz(±0.5dB)及3Hz－20.3KHz(-3dB)，各频道的频响十分宽阔。
目前，广泛应用于音响系统的杜比定向逻辑环绕声系统，无法和杜比AC-3频带宽度相比。
还有，杜比定向逻辑环绕声系统实为4声道系统，即前置左、中、右和后置环绕声，它的环绕声实为单声道环绕声，两个后置环绕声道重放共同的声音信号，两声道采取并联甚至串联方式；其环绕声的频响被限制在100Hz－7KHz范围内；另外，它没有设置独立的超低音声道，它是由前置左、右声道分离出20Hz－120Hz的超重低音，来重放具有震撼效果的超重低音。
AC-3系统配置了独立的超低声道，其频响为20Hz－120HZ(±0.5dB)及3Hz－121Hz(-3dB)，要求超低音箱的音量比其它各声道大10dB，具有更加震撼的低效果。
(2)各声道全数字化且互相独立AC-3各声道互相独立地携带不同信号，是全数字化音频信号。
取样频率是32、44.1或48KHz，数据传输量每声道为32kb/s－640kb/s，在5.1声道模式下。
杜比引领业界转型
杜比引领业界转型作者：来源：《电子世界》2012年第03期在高清内容和设备空前增长、迅速发展的情况下，杜比数字+技术是理想的音频解决方案在2012年国际消费电子展（CES）上，杜比实验室（NYSE:DLB）的突出亮点是杜比数字+技术（Dolby® Digital Plus）。
该技术是高清娱乐必不可少的组成部分，也是通过各类设备传输和享受优质音频效果的绝佳途径。
杜比数字+技术是全球艺术家、广播电视运营商、电信和移动运营商，以及设备制造商理想的音频解决方案，该技术现已应用于超过4.3亿件产品上，包括高清电视、智能手机、平板电脑、PC、游戏机及蓝光™播放器。
杜比销售和营销全球执行副总裁Ramzi Haidamus表示：“目前，市场上在售设备有数十亿，杜比在提供确保人们获得最佳娱乐体验的平台方面占有独特的地位。
人们对通过各类产品传送高清内容的需求快速增长，而杜比数字+技术的全球应用表明了业界相信杜比有能力满足这一需求。
”无论是通过广播电视、宽带还是无线网络来传送娱乐内容，杜比的专长和技术都能帮助保有和维护艺术家所创作内容的完整性。
展现在“高清客厅”领域的领先地位杜比将在拉斯维加斯国际会展中心中央大厅8153号展位上，展示杜比数字+技术在家庭娱乐方面的广泛应用，包括在联网电视以及全球最热门、最具创新性的视频点播（VOD）服务方面的应用。
杜比今天宣布，HBO Go®将采用杜比数字+技术向联网电视和蓝光播放器传送内容。
此外，三星™也将采用杜比数字+技术，在欧洲为其用于智能蓝光播放器和智能蓝光家庭影院系统的Acetrax™应用提供支持。
三星电子英国视听产品经理Chris Moseley表示：“随着视频点播的日益普及，消费者将享受到按需付费服务的便利，以及可供选择的内容的弹性。
我们很高兴宣布，消费者在使用带有杜比数字+技术的三星智能蓝光产品时，再也不必以牺牲音质为代价，来享受电影点播的便利。
”上述两项合作，是杜比继与CinemaNow®、Netflix®及Vudu™的合作之后，在视频点播领域，新增的合作关系。
SYNC在线试题答案
SYNC®在线试题一、单选题（32题）1.以下关于新蒙迪欧SYNC® with MyFord Touch®多媒体通讯娱乐互动系统描述不正确的是（ C ）A.与微软共同开发B.新的硬件平台C.只可与手机进行连接D.语音操控，解放双手2.以下关于新蒙迪欧 SYNC® with MyFord Touch®“四角设计”说法正确的是（ A ）A.左下：娱乐、右下：空调、左上：电话、右上：导航B.左下：空调、右下：娱乐、左上：导航、右上：电话C.左下：娱乐、右下：空调、左上：导航、右上：电话D.左下：空调、右下：娱乐、左上：电话、右上：导航3.以下哪个功能不可以通过新蒙迪欧SYNC® with MyFord Touch®系统中的电话子系统实现（ D ）A.发送短信B.通话记录C.快速拨号D.SKYPE语音通话4.以下哪个功能不可以通过新蒙迪欧SYNC® with MyFord Touch®系统中的娱乐子系统实现（ D ）A.收听AM/FMB.播放USB设备中的曲目C.播放蓝牙设备中的曲目D.通过Siri播放iPhone的曲目5.新蒙迪欧SYNC ®with MyFord Touch®系统导航可以搜寻附近兴趣点的范围是（ A ）A.16Km以内B.15Km以内C.14Km以内D.13Km以内6.以下关于新蒙迪欧YNC® with MyFord Touch®系统中的导航子系统描述错误的是（ B ）A.导航地图供应商是四维图新公司B.SD卡具有加密设置，即可读取也可存储，保证了数据的安全C.附近兴趣点导航模式D.路口导航功能7.以下关于新蒙迪欧SYNC® with MyFord Touch®系统中的导航子系统描述正确的是（ A ）A.有触摸屏控制和语音控制两种方式B.仅可使用触摸屏控制C.仅可使用语音控制D.拥有有触摸屏控制、语音控制和手写板控制三种方式8.关于新蒙迪欧SYNC® with MyFord Touch®导航模式描述正确的是（ A ）A.有目的地模式和地图模式B.只有地图模式C.有兴趣点模式和地图模式D.有目的地、兴趣点和地图模式9.新蒙迪欧SYNC® with MyFord Touch®的地图模式的向上（2D地图）模式表示前进方向始终指向屏幕上方，此视图适用的最高制图比例为（ A ）A.4公里B.2公里C. 2.5公里D.5公里10.新蒙迪欧SYNC® with MyFord Touch®的地图模式的3D地图模式可拉高地图视角。
Hisense U7G 4K ULED 电视机说明书
Model U7G QuantuminchesBeauty Beyond the ScreenHi-View Engine (4K)Using machine learning, this proprietary technology uses a complex combination of hardware and software technologies to make automatic adjustments to the picture in real-time, enabling fast graphic processing and the best viewing experience. It continuously modifies settings by assessing individual scenes,and then breaks down, analyzes, and fine-tunes each frame down to the pixel. The result is a beautiful, precise image and clear motion that can only be experienced on Hisense ULED tvs.4K ULED ™Like 4K great, but better. The 65U7G has our exclusive ULED technologies. They boost color , contrast, brightness, motion… we could go on. It’s the TV your old TV wants to be.Game Mode ProAll the most advanced gaming tech, all in this TV. HDMI 2.1 inputs recognize gaming sequences to automatically adjust settings for smooth, uninterrupted play. The automatic low-latency mode (ALLM), variable refresh rate (VRR) and FreeSync minimize input lag, screen jitter, and frame tearing.So your gaming looks sick even if you suck.Quantum Dot Wide Color GamutSee over one billion shades. Quantum Dot produces purer, richer, more brilliant and accurate colors than a regular LED TV. We could get into how it works. But it’s a lot easier to say it makes every day look like the 4th of July.Dolby Vision ™• Dolby Atmos®Dolby Vision HDR picture and Dolby Atmos sound are cinema technology for your home. They provide amazing realism you can see and hear in every scene.Peak Brightness/Full Array Local Dimming ZonesLet’s start with the science. Screen brightness is measured in nits. One nit is the same brightness as one candle. So the higher the nit rating, the brighter the screen. The average TV is 250-350 nits. Anything over 500 nits is extremely good. This is up to 1,000nits peak brightness across 90 localdimming zones.You get the picture. A picture that’s brighter and perfectly lit in any light condition.Ultra Motion and 120Hz Native refresh rateUltra Motion removes the digital ‘noise’ that can affect moving objects. W hether it’s a bird, a plane or the man of steel, everything you see isexceptionally clear. Blurred lines? Not on this TV, the 120Hz native refresh rate means smoother gaming with pictures that keep up with your play. Sure, it’s great for Netflix, the big game and the real housewives of wherever. But the U7G is made for the gamers. It’s got our exclusive ULED technologies, 4K resolution, Quantum Dot Color, Dolby Vision HDR, Full Array Local Dimming zones and Android TV operating system. On top of all that, we added a 120Hz Native panel for smoother, more fluid motion and HDMI 2.1, Variable Refresh Rate and Auto Low Latency Mode for gaming that looks sick, even if you suck. The U7G also has up to 1,000 nits peak brightness, which makes HDR ‘pop’ and means the picture is lit no matter how bright the room. All this looks great on paper. Now think how much better it would look on this TV.IMAX EnhancedIMAX Enhanced brings the cinema experience home. It combines digitally remastered 4K HDR content and DTS audio technologies with the bestconsumer products and streaming platforms. Built for people who want a more premier, at-home experience.Google AssistantThe Google Assistant* is built into Android TV. Tell it to turn on the lights, change the thermostat, add stuff to your grocery list, or just play that video of your friend falling over for the millionth time. And with universal search, you can even get recommendations with Android TV.Voice RemoteThe backlit voice control makes controlling your TV easier. Open apps, turn the volume up or down, search for your favorite shows. And if the actual remote goes missing, use the buttons on the TV to activate ‘Remote Finder ’. Five bucks says it’s down the back of the couch.Works with AlexaThe U7G works with Alexa through any of your Alexa-enabled devices. Just ask Alexa to switch the TV on or off, change channels and lots more.Hands Free Voice ControlPut down the remote. Change the channel, find the latest movie, stream your favorite video and more with your voice. The quicker, easier way to find whatever you want to watch.Hey Google. Android TV ™opens the door to more than 700,000 movies and shows, plus video streaming from Netflix, Prime Video, Disney+, Hulu, YouTube and more. All available using your voice as the remote control. No need to press buttons on the actualremote. Android TV ™also comes with Google Assistant, so you can find the latest blockbuster, check the score of the big game and even dim the lights* without leaving what you’re watching. The U7G. It’s the best of TV, instantly.*Google Assistant-compatible products required to use voice commands*HDR viewing experience will vary by model, content availability and internet connection.D IME N S ION S/WE IG H TTV Dimensions(without the stand)66.0×38×3.3 inches(with the stand)66.0 ×41.4×14.5 inchesTV Stand Width 59.3 x 14.5 inches26.1 x 14.5 inchesTV Weight (without the stand)76.3 Ibs(with the stand)77.6 lbsCarton Dimensions (WxHxD)73.5x45.2x8.9 inchesShipping Weight97.0 lbsD IS P L AYActual Screen Size (Diagonal)74.6 inchesScreen Class75 inchesScreen Type LCDT Y P E OF T VSmart TV Yes (Android TV)App Store Yes (Google Play App Store) PICTURE QUALITYScreen Resolution4K UHD and ULED, 3840x2160p Local Dimming Yes, 90 zonesPeak Brightness Up to 1000nitsWide Color Gamut Yes, Quantum DotMotion Rate480Native Refresh Rate120Aspect Ratio16:9HDR*Yes(Dolby Vision/HDR10/HDR10+/HLG)Backlight Type Source Full ArrayAUDIOAudio Output Power (Watts)15Wx2Dolby Atmos YesLANGUAGESOn-screen Display English/French/Spanish POWERPower Consumption350WStandby Consumption<0.5WPower Supply (Voltage/Hz)AC 120V, 50/60Hz CONNECTIVITYWi-Fi Built In Yes (802.11ac 2.4GHz/5GHz) Bluetooth®YesPORTSHDMI4HDMI CEC, HDMI ARC YesEthernet (LAN)1USB 1 USB3.0 + 1 USB 2.0RF Antenna1RCA Composite Video Input1OTHER FEATURESNoise Reduction YesParental Control YesClosed Caption YesSleep Timer YesGoogle Assistant Built-InAlexa Works WithChromecast Built-InWeb Browser YesMEMC Yes4K Upscale YesWALL MOUNTVESA600×300 / M6 ACCESSORIESRemote Yes (Voice Remote)Quick Start Guide and/or UserManualQuick Start Guide is in the box/User Manual is available online Power Cable YesWARRANTY/UPCWarranty 1 yearUPC Code888143010434TECHNICAL SPECIFICATIONSDigital Audio Output 1 OpticalEarphone/Audio Output 1Model U7Ginches*HDR viewing experience will vary by model, content availability and internet connection.All product, product specifications, and data are subject to change without notice to improve reliability,function, design or otherwise. ©2020Hisense USA, All rights reservedHisense USA Corporation7310 McGinnis Ferry Road, Suwanee, GA,30024 1-888-935-8880。
内地港台日韩欧美电影频道
内地港台日韩欧美电影频道内地港台日韩欧美电影频道如果办公椅可以行驶，而且时速达到48公里，你敢不敢坐？如果越野车可以直立行走，你会不会目瞪口呆？还有安装了直升机引擎的汽车；为你清扫院子的吹叶器……6月，《世界地理》频道升级你的想象力，让每个疯狂点子都变成现实。
只要你想法足够新奇，动手十分勤快，热情始终不减，你，也可以成为《疯狂科学家》！《疯狂科学家：投篮机器》你愿意和一台机器比赛投篮吗？机器人设计师史提夫·诺瑞斯爱打篮球，但投篮技术很差。
于是他和业余发明家约翰合作，一同设计建造一部新奇的巨大投篮机器。
最后，约翰将在数百名观众面前，和投篮机器单挑比赛。
谁胜谁负？播出时间：6月1日晚20:00 《疯狂科学家：水战车》你见过会喷水的轮椅吗？约翰与做出全天下最酷轮椅的蓝斯·葛瑞豪斯合作。
他们一同乘坐蓝斯做的两部喷水轮椅，进行水柱射击比赛。
他们能否及时完成，并赶上当地足球场举办的重大活动呢？播出时间：6月1日晚20:30《疯狂科学家：喷射办公椅》你的办公椅能成为交通工具吗？业余发明家约翰与工会电工唐合作。
唐常在家中车库利用备用零件制造喷射引擎。
这次两人想发明一张时速可高达78公里的喷射办公椅。
播出时间：6月 2日晚20:00《疯狂科学家：超级攀岩车》你见过五个轮子的越野车吗？怎样才能让越野车具有“攀岩”的能力？约翰将与加州土生土长的克麦隆·卡森合作，制造一辆超级越野攀岩车。
他们还会带着新发明来到崎岖的采石场，检验发明成果。
播出时间：6月 2日晚 20:30《疯狂科学家：高速吹叶机》克里斯·克鲁格是美国南卡罗莱纳州的赛车手，他曾把直升机引擎装上小汽车。
这次，约翰和克里斯计划制作一个终极园艺工具，让一个普通的喷水装置也能喷出火来！播出时间：6月3 日晚 20:00 《疯狂科学家：跳月器》约翰这次将和一个天才发明家族合作，设计一个12米高的“跳月器”。
这个设备可在地面用自行车把人送到高空，让人体验惊险的“月球漫步”！播出时间：6月 3日晚20:30每年的这个时候，让自己像孩子一样。
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福克斯国际频道与杜比实验室携手将影院级环绕声带入更多亚洲家庭
作者：
来源：《电子世界》2012年第05期
2012年2月1日，香港——杜比实验室（纽交所代码：DLB）与福克斯国际频道（FOX International Channels，FIC）共同宣布，两家公司正在联手通过福克斯国际频道新近推出的高品质付费电视频道——FOX Movies Premium HD提供影院级环绕声节目。
2012年1月1日，FOX Movies Premium HD频道在东南亚主要市场以无缝在线过渡的方式替代了Star Movies™高清频道，自此开始为观众提供优质的听觉体验。
福克斯国际频道节目、创意和频道运营高级副总裁李俊熙（Joon Lee）表示：“作为亚洲领先的卫星电视广播商，福克斯国际频道致力于为我们的观众提供最佳家庭娱乐体验。
通过与杜比的合作，FOX Movies Premium频道将电视观赏体验提高到了新的水平。
杜比的高品质环绕声与我们的优质频道服务相得益彰。
二者结合在一起，我们实现了真正的家庭影院体验。
”
杜比实验室亚太区副总裁孙海石（Mahesh Sundaram）表示：“我们很高兴能够加强与福克斯国际频道的合作，让更多亚洲观众得以舒适地坐在家中欣赏杜比5.1环绕声内容。
环绕声已经成为国际认可的高清电视音频标准。
杜比致力于与包括广播商、运营商和设备制造商在内的整个生态系统开展广泛合作，以提供这个全新的广播时代所需要的灵活性和技术特性。
”
关于福克斯国际频道（FOX International Channels）
福克斯国际频道（FOX Interna
-tional Channels，FIC）是新闻集团（News Corporation）旗下的国际多媒体公司。
在拉丁美洲、欧洲、亚洲与非洲市场，福克斯国际频道以37种语言开发、制作和发行超过300个全资持有或持有多数股权的娱乐、纪实、体育以及电影频道。
这些网络及其相关的移动、非线性和高清扩展频道覆盖了全球超过10亿个累计订户。
福克斯国际频道拥有的全球在线广告部门.Fox（发音为“dot-fox”）专业从事在线视频与展示业务，福克斯国际频道还拥有四家电视制作公司，自1993年起开始运营。
在亚洲，福克斯国际频道运营多个频道品牌，包括FOX、STAR和国家地理（NationalGeographic）品牌，覆盖14个市场，在亚太和中东地区拥有超过5.5亿累计订户。
福克斯国际频道在香港、中国大陆、台湾、日本、韩国、新加坡、马来西亚、印度尼西亚、菲律宾、泰国、越南、印度、澳大利亚和中东设有办公室。
有关详细信息，请浏览：。
关于杜比实验室
杜比实验室是全球领先的娱乐技术提供商，杜比技术是最佳娱乐体验的必不可少的组成部分。
成立于1965年的杜比实验室，其高品质音频和环绕声技术最负盛誉。
今天无论在电影、家庭或是行进途中，杜比的创新技术最大可能地丰富了人们的娱乐生活。
如需了解更多信息，请浏览网站。
“杜比”、“Dolby”、和双D标志是杜比实验室的注册商标。
S12/25257 DLB-G。