Dolby Laboratories DP571, DP572 user manual Reversion Preset, Channel Mode

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Dolby E Multichannel Distribution System User Manual

DP571 Dolby E Encoder

 

 

 

 

Reversion Preset

Metadata Params

Program 1-N

Metadata Params Reversion Preset

Enter

Esc

Reversion Preset

Program Config

Enter

Esc

See the Program Config section for possible settings.

Figure 3-8Reversion Preset menu

Reversion Preset specifies a Program Config to use in case an external metadata source is interrupted. See Metadata Revert on page 9 for more information on this feature.

Channel Mode

1/0 Mono: Single front channel, no surround channels. For a two-channel system, the signal is reproduced equally from both channels attenuated 3 dB. For a 5.1-channel system, the signal is reproduced from the center channel (L, R, LS, RS channels are not used).

2/0 Stereo: Left and right channels, no center or surround channels. For a two-channel system, the signal is reproduced equally from the L, R channels. For a 5.1- channel system, the signal can either be reproduced from only the L, R channels or, optionally, from L, C, R, S (see Dolby Srnd Mode).

3/0: Left, center, and right channels, no surround channels. For a two-channel system, the L, R signal is reproduced equally from the L, R channels; the center channel is attenuated 3 dB and sent to the L, R channels. For a 5.1- channel system, the signal is reproduced by the L, C, R channels.

2/1: Left, right, and surround channels. For a two-channel system, the L, R signal is reproduced equally from the L, R channels; the surround channel is attenuated 3 dB and sent to the L, R channels. For a 5.1-channel system, the signal is reproduced by the L, R, S channels. This is an extremely un- common format.

3/1: Left, center, right, and surround channels. For a two-channel system, the L, R signal is reproduced equally from the L, R channels; the center and surround channels are attenuated 3 dB and sent to the L, R channels. For a 5.1-channel system, the signal is reproduced by the L, C, R, S channels.

2/2: Left, right, left surround, and right surround channels. For a two-channel system, the L, R signal is reproduced equally from L, R channels; the Ls, Rs channels are attenuated 3 dB and sent to the L, R channels, respectively. For a 5.1-channel system, the signal is reproduced by the L, R, Ls, Rs channels. This format is sometimes called quad.

3/2: Left, center, right, left surround, and right surround channels. For a two- channel system, the L, R signal is reproduced equally from the L, R channels. The center channel is attenuated 3 dB and sent to the L, R channels. The Ls, Rs channels are attenuated 3 dB and sent to the L, R channels, respectively. For a 5.1-channel system, the signal is reproduced by the L, C, R, Ls, Rs channels.

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Contents Dolby E Model DP571 Encoder Model DP572 DecoderUnited States Dolby Laboratories IncUnited Kingdom Table of Contents 10BASE-T DP572 Setup Mode Menu Reference Page List of Figures List of Tables Preface Regulatory Notices CanadaIEC Notices Important Safety Notice Aviso Importante De Seguridad Belangrijk Veiligheids-voorschriftChapter Introduction Unpacking and Inspection Unpacking and Inspection Fusing InformationCheck Main Fuse Internal Fuse 1Checking the main fuseDigital I/O Signal CharacteristicsSystem Considerations Video ReferenceConnection with the DP569 Multichannel Encoder 2Connection between a DP569 and DP572Front-Panel User Interface Conventions3DP571 and DP572 front-panel controls and LEDs Menu Selection and Push-button Operation Display LEDs Dolby E Program ConfigDisplay Output/Input DataTC and Main Fault, Remote, PCM Dly, Error, and VRefName Function Input/Output Channel ActivityRemote Quickstart Guide for the DP571 and DP572 Dolby E 20bit Channel Configuration Common Features of the DP571 and DP572PCM Delay Channel MetadataConfiguring Jumper Settings Connector Tx Term On Rx Term OnChapter Common Dolby E Applications FilmMusic Commercial and InterstitialNews and Local Programming Live EventsPostproduction 1Typical Dolby E system in a postproduction facilityPage Chapter DP571 Dolby E Encoder Hardware Reference2DP571 front and back panel Digital Inputs PCM Delay InputLTC Input Main Out PCM Delay OutUsing the Status Port to Select Presets StatusAuxiliary Pin 7 Transition Pin 8 Transition PresetPreset Tally a Preset Tally B 11 10BASE-TDP571 Setup Mode Menu Reference 3DP571 Unit Setup menusNotational Conventions Program ConfigEncoding Considerations Program Program and Channel Explanation Config Time Code Input Operating ModeMetadata Revert 48kHz Pull Down Metadata SourceAC-3 Metadata Frame RateBit Depth Presets PresetsBitstream Mode Channel Mode Center Dwnmx Lev Enter EscEnter Metadata ParamsReversion Preset Channel ModeRF Mode Pro Dolby Srnd ModeLine Mode Pro Dialogue LevelSystem Settings DP571 Status Mode MenuFirmware Upgrade Chapter DP572 Dolby E Decoder 2DP572 front and rear panels PCM Input Main6 10BASE-T Using the Status Port to Select Voiceover and Switched Modes Pin Direction Connection ExplanationDigital Outputs PCM Delay OutputCtrl in pin PCM Chan Config Output Routing Mode LTC OutputDP572 Setup Mode Menu Reference 3DP572 Unit Setup menuPCM Bypass Program PlayKHz Pull Down Bypass MetadataBypass Latency PCM Chan ConfigOutput Routing Headphone Prog Voiceover ModeDelay SRC Voiceover AttenPCM Delay Headphone MapDP572 Status Mode Menu DP572 Unit Setup Firmware UpgradePage Chapter System Specifications

DP571, DP572 specifications

Dolby Laboratories has long been a pioneer in audio and video technology, continuously pushing the boundaries of entertainment experiences. Among their range of innovative products, the Dolby DP572 and DP571 audio processors stand out as powerful tools for commercial cinema and installation applications. These devices are designed to enhance the overall sound experience in theaters, auditoriums, and other large venues, making them crucial for delivering high-quality audio.

The Dolby DP572 is a multi-channel audio processor that supports 7.1 surround sound configurations. It is equipped with advanced Dolby technologies, including Dolby Digital, Dolby Digital Plus, and Dolby TrueHD. This versatility allows filmmakers and sound engineers to create immersive soundscapes that bring an added layer of realism to the viewer's experience. One of the salient features of the DP572 is its advanced processing capabilities, which include automatic calibration, loudness control, and extensive equalization options, ensuring that the sound quality is optimized for any environment.

On the other hand, the Dolby DP571 is a companion processor designed primarily for applications that require flexible audio routing and management. It features the same high-quality audio processing as the DP572 but focuses more on signal management, making it ideal for venues that may need to adapt their audio setup frequently. The DP571 supports both analog and digital audio inputs and outputs, providing versatility for various sound systems. Both units feature user-friendly interfaces, making them accessible for system integrators and operators alike.

In terms of connectivity, both processors boast multiple inputs and outputs, allowing seamless integration with existing audio systems and peripherals. They also support industry-standard audio formats, making them compatible with a wide range of content sources. Signature Dolby technologies, such as dialogue enhancement and surround sound synthesis, ensure that even the most complex audio tracks are rendered with precision.

In summary, the Dolby DP572 and DP571 audio processors are essential components for any cinema or professional audio setup. Their advanced features, compatibility with multiple audio formats, and the legendary sound quality synonymous with Dolby make them invaluable tools for creating immersive audio experiences that captivate audiences. Whether used in conjunction or independently, these processors deliver the high-fidelity sound that is key to modern entertainment.
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