DTS-S (not DTS Stereo)

[Michael Zarits]

Even 2 versions: One as a non-headered file (like the very first JP) and one with a standard 92 byte header.

[David Ferguson]

Are you sure it's not there? The 1996 version has Left Total and Right Total - they're just not going anywhere but they're there.

SCR-20251027-uomi.png

Thanks for this - somehow missed this when I was looking. I'll wire up my connector this coming week, and probably feed it to a CP500 which can feed the nonsync L R through the dematrix card.

It does make me wonder what pins 12 and 13 were for. My guess from reading the manual is these took Lt and Rt in from the projector? Given the DTS-S was designed to switch in and out of digital, and it takes Sub in, to swap that out? Or are they just unused?

[Gordon McLeod]

The Lt Rt output was at solar cell level not line level as it was to be fed into the projector 2 preamp

[Marco Giustini]

Oh, really? DTS-Stereo was supposed to go into the analogue pre-amp? What if Projector 2 was being used in a changeover setup?

I thought Lt and Rt meant "these need to go through a Pro Logic decoder". But then you have LFE in/out, I'd imagine DTS-Stereo could add a little extra LFE for those who had an LFE?

[Gordon McLeod]

One of the issues with it was it passed through the noise reduction and the dts disk was encoded with a emulated A type encoding but the backup optical track was often SR so they tended to sound shrill.
One had on the test disk tone for the NR reference and noise to set the slitloss circuit of the preamp

[Marco Giustini]

DTS-S had A-Type noise reduction?

Why not use a plain track, line level and letting it go through the Non Sync, configured for Pro-Logic?

[Tj Hopland]

I'm assuming they chose the optical input is because the vast majority of stereo processors had 2 projector inputs and were running platters/towers so it was available and a standardized path. Using optical without NR could be difficult to get in many processors, remember this was the budget option concept so we are not talking about CP200's. Sure you could do it with a 55/65 if you wanted to solder and had an extra button. Some others had links on the backplane for NR but that gets complicated fast. Same possible issue with using the NS path, not all processors had the ability to route that signal through the matrix. Many models if NS wasn't just L R anything else was just a mix to the other channels.

In the DTS-S era Dolby didn't have that great of a market share in a lot of areas. You had USL, Eprad, Smart, Kintek, Panastereo, and even more mono systems than there should have been that late in the game. How many CP100's and 50's were still around then? Even on the new builds in that era by the big chains you would see things like maybe half the complex Dolby and the other half something less expensive. A DTS-S would hook up to any of that. That half and half seemed to continue into the SRD and DTS6 times. Half the screens would end up with a CP500 and the other have say a USL or Panastereo with a 6D or later the DTS 6AD.

[Gordon McLeod]

DTS-S had A-Type noise reduction?

Why not use a plain track, line level and letting it go through the Non Sync, configured for Pro-Logic?

Most older processors did not support matrix decode through the nonsync

[Mark Gulbrandsen]

I only installed a couple DTS-S systems back in the day, most were DTS-6 players. They were used for Jurassic Park and perhaps one other movie after that. Then I installed what ever kits they sent out for 6 track conversion. So long ago I can barely remember, however, I do seem to remember that it may have been because they underestimated the interest from Theater Owners, and did not have enough DTS-6 systems available for Jurassic Park. I also remember going to the DTS Tech Seminar that was held at the Plitt Oakbrook Theater in the Chicago Western Burbs. There were other Tech's from all over the country attending.