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DTS and Dirac Live


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As you know audio technologies from DTS Inc.(NASDAQ : DTSI) are used in a wide range of consumer electronics product applications and DTS provides a suite of audio processing technologies for users of consumer electronics products.

DTS also provides products and services to motion picture studios, radio and television broadcasters, game developers and other content creators to support the inclusion of DTS-encoded soundtracks in their content.

 

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DTS, Inc. recently installed a 32 channel Dirac Live Room Correction system in the mixing studios at their headquarters in Calabasas, California... this is what Zoran Fejzo, Head of R&D, Fred Maher, Mastering and Mixing Specialist and Bob DeMaa, Audio Testing & Mixing/Mastering Specialist, said:

 

"We all sat down and listened to Dirac Live. It's remarkable how much of difference it makes for some mixes and is really revealing about the room the material was actually mixed in. No other room correction system that we have tried really touches the precision we are hearing with Dirac"

 

The possibility of making that special 32 channel version of Dirac Live a commercial product for studios is under evaluation.

 

Ciao, Flavio

Warning: My posts may be biased even if in good faith, I work for Dirac Research :-)

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[ATTACH=CONFIG]12636[/ATTACH]

 

As you know audio technologies from DTS Inc.(NASDAQ : DTSI) are used in a wide range of consumer electronics product applications and DTS provides a suite of audio processing technologies for users of consumer electronics products.

DTS also provides products and services to motion picture studios, radio and television broadcasters, game developers and other content creators to support the inclusion of DTS-encoded soundtracks in their content.

 

[ATTACH=CONFIG]12637[/ATTACH]

 

DTS, Inc. recently installed a 32 channel Dirac Live Room Correction system in the mixing studios at their headquarters in Calabasas, California... this is what Zoran Fejzo, Head of R&D, Fred Maher, Mastering and Mixing Specialist and Bob DeMaa, Audio Testing & Mixing/Mastering Specialist, said:

 

"We all sat down and listened to Dirac Live. It's remarkable how much of difference it makes for some mixes and is really revealing about the room the material was actually mixed in. No other room correction system that we have tried really touches the precision we are hearing with Dirac"

 

The possibility of making that special 32 channel version of Dirac Live a commercial product for studios is under evaluation.

 

Ciao, Flavio

I would love if Dirac + JRiver could do 16 channel stuff for home theater.

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DTS, Inc. recently installed a 32 channel Dirac Live Room Correction system in the mixing studios

I really hope they will use flat target curve for mastering instead of the default "house curve" proposed by the Dirac software. There should be really only one reference curve and the only sensible one is flat.

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I really hope they will use flat target curve for mastering instead of the default "house curve" proposed by the Dirac software. There should be really only one reference curve and the only sensible one is flat.

 

Hello Igorzep,

 

you can be right or wrong.... it depends :)

from what it may depend has been discussed for example in this 40 years old document which has been presented at the AES (page 4):

http://diracdocs.com/BruelKjaerSceltaDiffusori.pdf

 

As you can read there cannot be one, and only one, reference curve so it is important that the target curve can be easily modified in Dirac Live.

 

Ciao, Flavio

Warning: My posts may be biased even if in good faith, I work for Dirac Research :-)

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Hello Igorzep,

 

you can be right or wrong.... it depends :)

from what it may depend has been discussed for example in this 40 years old document which has been presented at the AES (page 4):

http://diracdocs.com/BruelKjaerSceltaDiffusori.pdf

 

Yes, I've seen this doc already (will try to read through it again). But what I meant is something else, let me express my point in more detail.

 

Surely as an end user I need the target curve to be customisable. We still have a lot of recordings that was recorded in unknown conditions, at times when there was no such powerful equalisation, recordings are often mixed in a rooms with excess bass energy, our speakers are different, different directivity, not so ideal room, etc., so, we need to 'recreate' or compensate for this in our rooms. But for mastering... especially if we are talking about multichannel systems supposed to be in a well damped room... the differences from the speakers also will be minimal, assuming they are good speakers of course, and for the recording studio - they should be good. I hope :) So, the end result in such conditions is pretty much dependent on how the system is equalised, more precisely - the target. And we will newer know what it was, how to recreate exact conditions where the old recording was made without following any standard, so there should be a standard to start with, and the only sensible one, so it can be re-targeted again - is the flat mapping from voltage to sound pressure. Any other standard would be as good... but will be lost and forgotten soon in the universe of equally good ones. If everyone needs to apply some 'universal' target curve, like a 'boost bass a little' then it means the mixing was done... not very well. And if you are equalising the recording studio... do it with a sensible starting point.

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Hi Flavio,

 

do we know what kind of speakers are shown on the picture? Just for the sake of the multichanell insanity they are showing off there;)

 

Hi Youreye,

 

I'm sorry... I don't know, I'm afraid you have to ask DTS :)

 

Flavio

Warning: My posts may be biased even if in good faith, I work for Dirac Research :-)

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I totally agree that there should be a standard. That way, the listener can have greater access to the way the recording was originally intended to sound. The problem is that not every sound room is the same, so the EQ used in one room isn't appropriate in another. The standard would need to be verified through a calibration process. The calibration file or curve of the studio mastering could then be included with the digital file. I just don't know how the listener could change target curves on-the-fly from file to file.

 

The standard DLCT target is pretty universal for my music. All music sounds much better than no DIRAC filter.

 

Yes, I've seen this doc already (will try to read through it again). But what I meant is something else, let me express my point in more detail.

 

Surely as an end user I need the target curve to be customisable. We still have a lot of recordings that was recorded in unknown conditions, at times when there was no such powerful equalisation, recordings are often mixed in a rooms with excess bass energy, our speakers are different, different directivity, not so ideal room, etc., so, we need to 'recreate' or compensate for this in our rooms. But for mastering... especially if we are talking about multichannel systems supposed to be in a well damped room... the differences from the speakers also will be minimal, assuming they are good speakers of course, and for the recording studio - they should be good. I hope :) So, the end result in such conditions is pretty much dependent on how the system is equalised, more precisely - the target. And we will newer know what it was, how to recreate exact conditions where the old recording was made without following any standard, so there should be a standard to start with, and the only sensible one, so it can be re-targeted again - is the flat mapping from voltage to sound pressure. Any other standard would be as good... but will be lost and forgotten soon in the universe of equally good ones. If everyone needs to apply some 'universal' target curve, like a 'boost bass a little' then it means the mixing was done... not very well. And if you are equalising the recording studio... do it with a sensible starting point.

THINK OUTSIDE THE BOX

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The Inner Ring consists of 22.1 setup and is used for testing all possible home theater setups.

 

The Outer Ring consists of 28.1 speakers with bass management for each wall and independent dual LFE. The Outer Ring is used for testing a myriad of theater setups including NHK.

 

DTS

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