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Author Topic: Sound Processors for D-Cinema Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 10-03-2006 11:11 AM                     Paul- Does the CP-500 need an option card for 6 channel analog input? I guess if people post info, I'll just update the chart in my post.  |  IP: Logged Dave Macaulay Film God Posts: 2321 From: Toronto, Canada Registered: Apr 2001 posted 10-03-2006 01:01 PM                     The CP500 needs the CAT685 analog input card for 6-channel input.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 10-03-2006 05:22 PM                     The Panastereo CSP1200 The USL JS 6 channel serries Smart Mod 2C Smart Mod5 Smart Mod7 DTS 6AD to name a few that have analogue 6 channel inputs  |  IP: Logged Dustin Mitchell Phenomenal Film Handler Posts: 1865 From: Mondovi, WI, USA Registered: Mar 2000 posted 10-03-2006 05:32 PM                     I believe you could add the Mod VI to Gordon's list. We have 2 digital screens that utilize those with no additional cards/equipment.  |  IP: Logged Martin Brooks Jedi Master Film Handler Posts: 900 From: Forest Hills, NY, USA Registered: May 2002 posted 10-03-2006 09:21 PM                        quote: Lyle Romer It far exceeds CD standard. As specified, it will be uncompressed 24 bit at either 48k or 96k samples per second (CD is 16 bit, 44.1k samples per second). The strange thing about this is that almost every time I've seen D-Cinema, I've thought the sound was inferior to Dolby Digital or DTS. It seems like it had the same problems as early CDs: harsh and brittle sound with no warmth.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 10-03-2006 09:35 PM                     That probably gets back to that old "keeping the auditorium in tune" kind of thing. The audio chain rarely gets any attention at all these days in commercial theaters, which I find very shocking. 5.1 surround sound is very common in the living rooms of many millions of Americans. They know when the theater is sounding shitty and wimpy. It reinforces that "my home system is better than this crap" sort of mindset. One must also consider the issue that a major dollar investment is happening in the projection side of things, but very often whatever audio hardware was in the booth, up on the walls and behind the screen would stay. Even if it was crappy.  |  IP: Logged Cameron Glendinning Jedi Master Film Handler Posts: 845 From: West Ryde, Sydney, NSW Australia Registered: Dec 2005 posted 10-03-2006 09:51 PM                     quote: quote: Lyle Romer It far exceeds CD standard. As specified, it will be uncompressed 24 bit at either 48k or 96k samples per second (CD is 16 bit, 44.1k samples per second). I'm assuming that this is the new standard? Is it smpte? will dts be releasing a higher quality version of Digital Cinema sound? As for the current 35mm it is very compressed? Dolby Digital averages 14 to 1, and is basically mp3 ( DTS averages 3 to 1 and I believe twice the bitrate ) I also believe that it is impossible to record 5 individual full bandwidth channels (say a mono orchestral works on each channel) the Dolby digital system cannot cope with this like say 70mm could.. To me 35mm Dolby digital is an extremely impressive effort done with smoke and mirrors. perfect it isn't. Gordon I would love your opinion on this Make your own 6 channel input cable Channel allocations for the 25 Way digital D connectors Pin 2 - Right Surround Pin 14 - Left Pin 15 - Left Surround Pin 17 - Right Pin 20 - Centre Pin 24 - Sub Bass Pins 1, 3 to 13 are all GNDs I believe its best to have one common earth.  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 10-03-2006 10:43 PM                     quote: Cameron Glendinning I'm assuming that this is the new standard? Is it smpte? will dts be releasing a higher quality version of Digital Cinema sound? This is what is specified in the DCI spec. There won't be any DTS, Dolby Digital etc with digital cinema. There is no need. It's just an uncompressed PCM bitstream. As for current 35mm, Dolby Digital is closer to 20:1. DTS is 4:1. I don't know what the Dolby AC-3 codec would do if you put a the same mono recording of an orchestra on all 5 channels. The codec was designed for movie and TV soundtracks so I don't think that was the intended application. Considering the compression level and the fact that AC-3 was developed in the early 90's it sounds pretty impressive. As for D-cinema audio, I've actually noticed how much better it sounds than any 35mm digital system. I think the poor sound others have reported is due to B-chain issues. The theaters I have seen D-cinema in have all been THX or formally THX auditoriums. I noticed the sound quality before I knew it was uncompressed.  |  IP: Logged Paul Konen Jedi Master Film Handler Posts: 981 From: Frisco, TX. (North of Dallas) Registered: Jun 99 posted 10-04-2006 09:20 AM                     Yeah, what Dave said above.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 10-04-2006 10:06 AM                     The theatrical Dolby Digital bitrate is 320 kilobits per second, well below the 448kb/s rate typically seen on DVD. The theatrical DTS format runs at 820 kilobits per second, but uses an older APT-X waveform codec that isn't as efficient as the DTS CAC codec used in the DVD format, which typically runs at 754kb/s. It is clear both Dolby and DTS are looking almost exclusively toward home audio formats on optical disc, games, computers and portable devices for their current and next generation audio formats. Those are areas where audio compression still has a relevant need. There's little to no relevance for it in digital cinema. There is little if anything to indicate Dolby will try to deploy Dolby Digital Plus or Dolby True HD into commercial theaters at all in either film-based or video-based formats. The same goes for DTS with its DTS-HD format. About the only thing I can see emerging at all is perhaps some implementation in IMAX or other large format film-based special venue theaters. But even there one could simply synch up the film print to a hard disc system playing back fully uncompressed 5.1 channel 24/96 audio. Basically put, audio compression systems for movie theaters is now a dying thing -even if those systems have memorable brand names and fancy format trailers. Someone will just have to come up with something catchy for 20-bit or 24-bit 5.1 LPCM.  |  IP: Logged Jarryd Beard Expert Film Handler Posts: 229 From: Hellertown, PA Registered: Jul 2004 posted 03-03-2007 03:13 PM                     We have the JDS-80 in place with two of our digital systems. Recently, one of the units began powering up in SR instead of non-sync mode. I looked at the preliminary manual in the manuals section, but the PDF only contains the first ten pages. How might I change the setting to power up in non-sync?  |  IP: Logged Dustin Mitchell Phenomenal Film Handler Posts: 1865 From: Mondovi, WI, USA Registered: Mar 2000 posted 03-03-2007 07:44 PM                     Jarrynd, you should probably start a new thread as you problem likely has nothing to do with the fact your processor is outputting to a digital system. In the meantime, has any work been done on the processor since it started doing this? Were any cards changed/anyone messing around in it? I don't know anything about that particular sound processor but I do know that often times there things ('wake up' format) are determined by a jumper inside the processor.  |  IP: Logged Jarryd Beard Expert Film Handler Posts: 229 From: Hellertown, PA Registered: Jul 2004 posted 03-03-2007 08:24 PM                     Sorry about that. I guess this was a bit off topic. To continue the discussion in regards to the JDS-80 and non-sync sound, go to this thread.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 03-04-2007 09:20 AM                     Cameron said "Gordon I would love your opinion on this Make your own 6 channel input cable Channel allocations for the 25 Way digital D connectors Pin 2 - Right Surround Pin 14 - Left Pin 15 - Left Surround Pin 17 - Right Pin 20 - Centre Pin 24 - Sub Bass Pins 1, 3 to 13 are all GNDs" It would depend on the pin allocation of what you are connecting to Also some devices have a balanced input  |  IP: Logged

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