What is DTS Sound?

There are so many DTS “flavors” that it’s no wonder consumers get very confused and even
go into shut-down mode when you talk about DTS, Dolby, THX and other sound formats.
Isn’t it just about the music or movies? I mean, who cares? Well, as it turns out, technologies
like DTS Sound are responsible for improving the potential of the soundtracks we listen to.
DTS Sound, in particular, is really more or less a filter (a fancy sort of EQ or equalizer) that
enables qualified Field Application Engineers to “tune” TVs and sound bars.

So this flexible tuning system can work in a myriad of ways, depending upon whether the
sound bar or TV has its software as part of a larger DSP system or contained on a SoC
(silicon-on-chip) platform. The more capabilities a product has, the more tuning capabilities
DTS Sound can engage in. DTS Sound is based on a host PC as a piece of software that can
interact directly with the sound bar or television platform.

DTS Sound utilizes psychoacoustic principles (how our ears interact with sound and audio in
a room) to deliver an optimized sound experience. DTS Sound can affect the way bass
response occurs and also how high frequencies are optimized for a product. One big way
DTS Sound does this is by analyzing whether or not a driver can handle a particular
frequency. If it can’t, it will translate that into a harmonic frequency that the driver can
handle—and it does it on-the-fly! The obvious result here is more perceived bass, but in a
more natural way that has the nice side effect of not damaging your speakers or muddying up
your mid-bass. Manufacturers can optimize and integrate DTS Sound in their products and
then provide users with limited controls to adjust settings on the fly to maximize the benefits
of the platform.

Given the many different acoustical possibilities for rooms, having some options is a great
idea for products like televisions and sound bars in particular. DTS Sound typically provides
those in very simplistic user-interface controls on televisions and sound bars, under the Sound
menu.

Here are a few of the characteristic benefits of the DTS Sound filters:

 Dynamic volume leveling in separate frequency bands

 Automatic bass management (crossover) configuration for bass drivers/subwoofers.
 Adaptive translation of low-frequency content (for frequencies which cannot be
reproduced in some drivers) to higher harmonic locations for improved bass
 Use of multiple types of filters for maximum performance & efficiency (FIR for mid-
to-high frequencies and IIR for low frequencies)
 Scalable, consistent tuning for various applications.

DTS Sound is a really impressive feature-set for lower-end products that have to compromise
due to price points and application. While DTS Sound isn’t a CODEC, it is a technology that
integrates well into products who would otherwise not be able to deliver much of the material
mastered in today’s movie soundtracks.
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well as what’s going on in the world of new home theater products and technology.

Overview of the DTS:X Surround Sound

Format
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MDA Tool Interface with DTS:X Logo. Images provided by DTS

Home Theater

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by Robert Silva
Updated April 06, 2017

In late 2014, DTS announced that it was countering Dolby Atmos and Auro 3D Audio with
its own immersive surround sound format DTS:X. DTS demonstrated the DTS:X surround
sound format at an event that I attended on April 9th, 2015. Shortly after, DTS:X was off-
and-running.

MDA - Multi-Dimensional Audio

DTS:X has its roots with SRS Labs (since absorbed into DTS), which developed "Object
Based" surround sound technology under the umbrella name of MDA (Multi-Dimensional
Audio), which I have reported on previously.

The key aspect of MDA technology is that sound objects are not tied to specific channels or
speakers, but assigned to a position in 3 Dimensional space.

Using the MDA infrastructure (which is royalty free to the motion picture and audio/video
industry) content creators have an open-ended tool for mixing audio that can applied to a
variety of different end-use formats (Audio for The Avengers: Age of Ultron was mixed using
MDA for output to the IMAX audio format). With its royalty-free incentive, and user
flexibility, you will see more movie studios, production, and post-production facilities using
MDA technology.

However, for the purpose of this article, MDA is the foundation for DTS:X, which can also
be applied commercial cinema, home theater, music, and personal listening environments.

Using MDA for creation, and DTS:X as the output format, sound mixers/engineers have a
tool in which each individual sound object (which can add up to hundreds in some films) can
be individually (or grouped in small clusters) placed in a specific point in space, regardless of
channel assignment or speaker layout.
On playback, the preciseness of sound object placement is more accurate and immersive as
more channels and speakers are available, but having heard both MDA and DTS:X, with
various speaker and channel setups, you can get some immersive benefits of DTS:X encoding
in even a modest 5.1 or 7.1 channel setup.

Of course, you also have to have access to content that is mixed/mastered using MDA tools
and delivered by DTS:X as well.

DTS:X + CINEMA

This application of DTS:X brings another immersive surround sound option to cinemas.
Although there are some hardware and software requirements, DTS:X is adaptable to a
variety of movie theater speaker setups, including theaters that may already be setup for the
Dolby Atmos (also object based) or Barco Auro 11.1 (not object based) immersive surround
sound formats.

The DTS:X codec can "remap" its sound object distribution according the speaker layout that
is available. This means that although theater owners need to add a content server and make
some tweaks to gain DTS:X certification, the overall financial cost of adding DTS:X to
commercial cinemas need not be a significant financial burden.

DTS is being implemented by several movie theater chains in the U.S., Europe, and China,
including Carmike Cinemas, Regal Entertainment Group, Epic Theaters, Classic Cinemas,
Muvico Theaters, iPic Theaters, and UEC Theaters.

For current information on DTS:X implementation in Cinemas, refer to the DTS In Theaters
Page and also check your local movie theater listings for specific theaters and movie releases
in your area.

DTS:X + AVRs:

DTS:X is not just for commercial cinema use, it is also available for home theater. Here are
some basics that you need to know.

DTS:X Encoding and Backwards Compatibility

DTS:X is backwards compatible with any home theater receiver that incorporates DTS
Digital Surround or DTS-HD Master Audio decoders.

In other words, if you play back DTS:X encoded Blu-ray Disc (which can still be played on
any Blu-ray Disc or UHD Blu-ray player that has the ability to output a DTS bitstream over
HDMI) with a DTS:X compatible receiver, you will be able to access the fully immersive
DTS:X encoded soundtrack.

However, even if your receiver does not have a built-in DTS:X decoder, no problem, the
bitstream still contains DTS-HD Master Audio and DTS Digital Surround options as well,
you just won't get the more immersive listening option that DTS:X provides. You can build
your DTS:X Blu-ray Disc collection and pick up a DTS:X compatible receiver on your own
timeline.
Check out a running list of DTS:X encoded Blu-ray and Ultra HD Blu-ray Discs.

For home theater receivers that incorporate DTS:X, a companion surround sound format is
also included: DTS Neural:X. DTS Neural:X provides an option for users to listen their
current non-DTS:X encoded Blu-ray and DVD content in a more immersive manner that can
approximate the height and wide information that approximates DTS:X, just not as precise.
DTS Neural:X can upmix 2, 5.1, and 7.1 channel sources.

Channel and Speaker Layout Flexibility

DTS:X is channel and speaker layout agnostic. In other words, even though DTS:X for home
theater is designed to be optimally used with an 11.1 (or 7.1.4 in Dolby Atmos terms)
channel and speaker layout, DTS:X will remap sound object distribution according to the
channel and speaker system it has to work with.

In other words, if that helicopter is supposed to originate in the top right front of the sound
field, DTS:X will place that helicopter in that space as close as possible within a given the
speaker layout, even if no height speakers are present (although having height speakers
results in more accurate sound placement).

Some question the accuracy of DTS:X within a setup that includes vertically firing speakers
instead of overhead/ceiling height speakers, that some may already have as part of a Dolby
Atmos setup or the VOG (Voice of God - using a single ceiling height channel) speaker setup
that is used in an Auro3D Sound speaker layout.

However, there should not be a problem if the home theater receiver is executing DTS:X
remapping features properly. If DTS:X is channel and speaker agnostic, then neither setup
should present an unreasonable challenge in producing the intended immersive surround
sound listening experience.

Precise Dialog Control

Another feature of DTS:X is the ability to actually control the volume levels of each sound
object individually. Of course, with up to hundreds of sound objects in any given movie
soundtrack, this is mostly reserved for the original sound mastering and mixing process, but
when I say mostly, I also mean the some of this capability can be provided to the consumer in
the form of dialog control.

This is more that just being able to control the volume of your Center Channel, as can be
done on most home theater receivers to boost dialog volume, as the the Center Channel may
also contain other sound elements as well which get raised or lowered along with the dialog.

With DTS:X, the sound mixer has the ability to isolate the dialog as a separate object. If the
sound mixer further decides to keep that object unlocked within a specific piece of content,
and the Home Theater receiver manufacturer decides to include a Dialog-only level function
in the receiver that is part of the receiver's DTS:X implementation, the user then has the
capability of adjusting the center channel dialog object completely independent from the
other channel levels, adding more flexibility for tailoring your listening preference.
Home Theater Receiver Options

DTS:X capable home theater receivers are now quite common from brands, such as Denon,
Marantz, Onkyo, Pioneer, Yamaha, etc... and are available in the $499 and up price range.

For examples of DTS:X capable home theater receivers, refer to our picks for Best Home
Theater Receivers, priced from $400 to $1,299 and $1,300 and Up.

NOTE: Although most 2017, and newer, mid-and-high-end home theater receivers have
DTS:X capability built-in, for many 2016 model year receivers, it may be necessary to
download a free firmware update to access it. If your receiver falls into that category, consult
your user manual or contact the manufacturer's customer support department for details.

DTS Headphone:X

A variation of DTS:X is being implemented in the mobile environment via DTS

Headphone:X. The Headphone:X application allows any listener, with any pair of
headphones, listening to any content, to experience a fully immersive sound field (of course
content mixed specifically for Headphone:X will be more precise). Headphone:X capability
can be accessed on your PC, Mobile Device such as smartphones, or a Home Theater
Receiver that includes the DTS Headphone:X option (manufacturer dependent).

Check out more details on DTS Headphone:X in our article: Headphone Surround Sound, and
and on the Official DTS Headphone:X Page.

More To Come...

DTS is planning more for DTS:X and immersive audio in the TV broadcast and streaming
environments, and also now available on some high-end sound bars, so definitely stay tuned
as information becomes available.

Headphone Surround Sound - The Basics

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Watching TV With Headphones. Getty Images 106748964 - Schedivy Pictures Inc. - DigitalVision

Home Theater

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by Robert Silva
Updated May 19, 2017

How We Hear Sound

When hearing sound in normal conditions, or listening to speakers, the sound elements arrive
at your ears at different times due to distance, wall reflections, bouncing off other objects in
the listening environment, even off your shoulders and parts of your head. In fact, even sound
that is coming from one direction (say from the left), even though is heard by the left ear first,
is still heard in a lessened manner by the right ear as the sound passes through your
environment.

All these factors provide information regarding the distance of the sound sources from your
ears. How sound interacts with your head and ears is referred to as the HRTF (Head Related
Transfer Function).

In addition to HRTF, the characteristics of sounds coming at you change as you move in your
environment, as well as moving objects emitting sound change their distance from you
(resulting in the The Doppler Effect).

Sound In Your Head

Unlike hearing sound in the natural world or via speakers, when listening to audio (either
music or movies) using wired headphones or headphones connected wirelessly to your
television, the sound seems to originate from within your head, which is unnatural.

The reason for this is that when wearing headphones, all sounds arrive at your ears at the
same time, which means there are no distance cues and no natural sound reflections, thus
negating the HRTF effect. As a result, everything sounds like is it coming from inside your
head.

Even sounds entering your ears from left or right in a headphone environment sound like they
are inside the left or right side of your head, instead of a distance from it.

To compensate for this, there are various techniques that can be employed for headphone
listening that deliver sound with more natural depth that can more closely approximate the
characteristics of sound arriving at your ears as it might with your ears exposed to the natural
environment.

Even the use of open or closed headphones can impact the sonic signature.

Expanding The Sound Field

With stereo, expanding the sound field a matter of placing center channel sound elements
(such as vocals) in front of you, while the left and right channels are placed farther from the
left and right of your head.

With surround sound, the task is more complex, but it is possible to place left, center, right,
left surround, right surround, or more channel (surround sound) cues accurately in the
"space" beyond the borders of your head, rather than inside it.
There are several (but similar) technologies that have been developed to accomplish this task,
such as:

 Dolby Headphone - Can use any pair of headphones, but home theater receiver, laptop, or
mobile device needs to have feature built-in.
 DTS Headphone:X - Can use any pair of headphones, but home theater receiver, laptop, or
mobile device needs to have feature built-in. DTS Headphone:X not only provides a
horizontal surround environment, but can also provide overhead sound cues with
compatible content.
 Yamaha Silent Cinema - Can use any pair of headphones connected to any Yamaha Home
Theater Receiver, HTIB (Home Theater-in-a-Box), or sound bar that provides Silent Cinema
audio processing.

 Auro 3D Audio (for headphones) - Can use any pair of headphones, but requires home
theater receiver, or mobile device to feature Auro 3D Audio for headphones processing.
Provides immersive sound environment with with both horizontal and overhead sound
depending on content.
 Dirac VR - For music one can use any pair of headphones, but requires home theater
receiver, or mobile device that features Dirac Surround Sound processing for headphones.
For audio/video VR application, you need compatible VR headgear system and content.
Dirac VR processing includes head-tracking capability. In other words, if you turn your head,
the sounds still come from the proper direction, just like when you are listening to room
speakers or natural sound.

 Smyth Research - Can use any pair of headphones, but requires purchase of a special audio
decoder/processor that provides inputs for sources, such as CD/DVD/Blu-ray Disc players,
and USB flash drives. Includes similar head-tracking capability as the Dirac system.

These technologies employ algorithms that create a virtual surround environment that not
only gives the listener an enveloping sound, but removes it from within listener's head and
places the sound field in the front and side space around the head, which is more like
listening to a regular speaker-based surround sound system.

The main benefit of the above-mentioned technologies is that, as mentioned, will work with
any set of headphones, no special headphones are required - all of the needed surround
headphone audio processing for each method is incorporated into the Home Theater
Receiver, Preamp, Surround Sound Processor, or other compatible device, that you would
plug your headphones into. Also, these technologies can also work with wireless headphones
(Bluetooth is limited to Stereo).

For home theater, check to see if your home theater receiver (or one that you may be
considering) features Dolby Headphone, Yamaha Silent Cinema, or other headphone
surround sound processing system that allows the use of any set of headphones.

However, even if your home theater receiver, or other device that provides headphone
listening doesn't come with built-in surround sound headphone processing, with some
headphones, you can still access a surround sound listening environment.

One example is with the Ultrasone S-Logic Headphones discussed next.

The Ultrasone S-Logic Headphone Surround System

Another type of approach to headphone surround sound is that taken by German Headphone
maker, Ultrasone. What makes the Ultrasone approach different is the incorporation of S-
Logic. The key to S-Logic is the position of the headphone speaker driver. The driver not
located in the center of the earpad, where it would send sound directly to your ear, but
slightly off-center (see reference photo). For a comparison between the driver placement of
the driver position used by Ultrasone and more traditional headphones, check out how the
driver is placed in KOSS Pro4AAA Headphones.

By placing the driver in an off-center position, the sound is sent to the outer ear structure
first, where it is then funneled into the middle and inner ear in a more natural fashion. In
other words, the sound is heard as it would be in nature or when listening to speakers; the
sound reaches the the outer ear first and is then sent into the middle and inner ear.

This approach can work very well. There is an increased expansiveness and directional
perception of the soundstage. Instead of the sound just coming at your from left and right, the
soundstage opened up to the beyond the earpad borders. Sound appears to originate from
slightly above and slightly behind my ears as as well as slightly from the front. With music,
voice and instrument placement was very precise and distinct.

Of course, the degree of this effect also depends on the source material being played.

Although it is not the same experience listening to DVD and Blu-ray surround sound tracks
with the Ultrasone S-Logic system as it is when listening to an actual 5.1 or 7.1 loudspeaker
setup (rear sound effects are minimal), it is still a credible experience.

One drawback is that the center channel is not placed at quite enough distance forward; it is
more in the center of, and slightly above, your head. On the other hand, the left, right, and
surround effects have enough spaciousness and direction.

Ultrasone has taken an innovative, yet simple, approach to headphone listening that is well
suited for listening to either music CD or DVD/Blu-ray/Ultra HD Blu-ray soundtrack
material, and there is no additional equipment or special sound processing requirement other
than the headphones. The effect is available with any amplifier or receiver with a headphone
connection.

The Bottom Line

So, as you can see, I have outlined two practical ways to access surround sound in a
headphone listening environment.

One way is to make use of virtual or digital sound processing technologies that can be used
with any pair of headphones.

The other way is to have special headphones that can create a surround sound listening
environment with any amplifier or receiver with a headphone connection, regardless if the
amplifier or receiver is equipped with the appropriate dedicated virtual or DSP technology for
surround sound headphone listening.
Both approaches are viable, it really boils down to what your own ear, and budget, favors.

Surround Sound Formats Guide

A quick rundown on surround sound formats available for home theater

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Surround Sound Format Logos. Logos provided by Dolby, DTS, and Auro Technologies
Home Theater

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by Robert Silva
Updated November 11, 2017

Surround sound is integral to the home theater experience. To find out more about surround
sound formats and what options are available for home theater to check out my quick
surround sound formats guide, which spotlights the major formats that are in use. The formats
are listed alphabetically, accompanied by a brief explanation, with a link out to full articles
for fuller setup and technical details.

Also, to dig deeper into the history and basics of surround sound, and what you really need to
access it, refer to my articles: Surround Sound - The Audio Side Of Home Theater and What
Is Surround Sound and How Do I Get?

Audyssey DSX
Audyssey Laboratories, Inc.

Audyssey DSX (Dynamic Surround Expansion) is a surround sound processing format that
allows for the addition of front vertical-height speakers, but also incorporates the addition of
left/right wide speakers positioned between the front left and right and surround left and right
speakers. There is no content encoded with this format, instead, a home theater receiver that
incorporates Audyssey DSX analyzes the embedded sound cues in a 2,5, or 7 channel
soundtrack and expands the sound field to the specific speaker layout used. More »

Auro 3D Audio
Official Auro3D Audio Logo and Engine Diagram. Image Provided by D&M Holdings

In the home theater surround sound timeline, Auro 3D Audio is the youngest surround sound
format available to consumers. However, it is the most complex to set up.

Auro 3D Audio is a consumer version of the Barco Auro 11.1 channel surround sound
playback system used in some commercial cinemas.

In the home theater space, Auro 3D Audio is a competitor to the Dolby Atmos and DTS:X
immersive surround sound formats.

In terms of speaker setup, Auro 3D Audio starts with 5.1 channel speaker layer and
subwoofer, then, just above that speaker layout (above the listening position) is another set of
front and surround speakers (that means a two-layer speaker layout - These are referred to a
level 1 and level 2.

Level 1 is 5.1 channels - front left, center, front right, left surround, right surround, and
subwoofer), Level 2 is the Height Layer - front left, center, front right, left surround, right
surround) - this results in a 9.1 channel speaker setup.
However, although not require, to get the full benefit of Audio 3D Audio, you also, need to
include one ceiling mounted speaker that is placed directly above the listening position. This
added speaker setup option is referred to the as the VOG channel (Voice of God). The total
number of speakers (not including the subwoofer) is 10.

Auro 3D Audio is both a decoding and processing format. If a Blu-ray Disc or other
compatible content source is encoded with Auro 3D audio, and your home theater receiver
has the necessary decoder, it will distribute the sound as intended. However, the Auro 3D
Audio system also includes an up mixer, so that you can get some of the benefits of Audio
3D Audio on standard 2, 5, and 7 channel content.

Access to the Auro 3D Audio format is only available on select high-end home theater
receivers and AV preamp processors. More »

Dolby Atmos

Official Dolby Atmos Logo. Logo provided by Dolby Labs

Dolby Atmos is a surround sound configuration introduced in 2012, initially as a commercial

cinema sound format, that provides up to 64-channels of surround sound by combining front,
side, rear, back, and overhead speakers. Dolby Atmos is surround sound encoding format that
is designed to provide a completely immersive surround listening experience.

Now adapted for home theater use, Dolby Atmos is available on select Blu-ray and Ultra HD
Blu-ray Disc releases, and provides several speaker setup options (depending on brand/model
of the home theater receiver) that may require 7, 9, or 11 total channels (that is a lot fewer
speakers than 64!).

For the best results, it is encouraged that consumers employ ceiling mounted speakers for the
height channels. However, Dolby, in partnership with several home theater makers have
developed standards for vertically firing speakers that can be incorporated into both
bookshelf and floor standing designs, or as separate modules that can be placed on top of the
most current bookshelf or floor standing speakers. More »

Dolby Digital, Dolby Digital EX, Dolby Digital Plus

The Dolby Digital Family.

Dolby Digital is a digital encoding system for audio signals that can be decoded by a receiver
or preamplifier with a Dolby Digital decoder.

Dolby Digital is often referred to as a 5.1 channel surround system. However, it must be
noted that term "Dolby Digital" refers to the digital encoding of the audio signal, not how
many channels it has. In other words, Dolby Digital can be Monophonic, 2-channel, 4-
channel, or 5.1 channels. However, in its most common applications, Dolby Digital 5.1 is
often referred to as just Dolby Digital.

Dolby Digital EX is based on the technology already developed for Dolby Digital 5.1. This
process adds a third surround channel that is placed directly behind the listener.
In other words, the listener has both a front center channel and, with Dolby Digital EX, a rear
center channel. If you are losing count, the channels are labeled: Left Front, Center, Right
Front, Surround Left, Surround Right, Subwoofer, with a Surround Back Center (6.1) or
Surround Back Left and Surround Back Right (which would actually be a single channel - in
terms of Dolby Digital EX decoding). This requires another amplifier and a special decoder
in the A/V Surround Receiver.

Dolby Digital Plus expands the Dolby Digital family up to 7.1 channels. This means that in
addition to left and right surround speakers, it provides the ability to accommodate a pair of
left and right surround back speakers.

Dolby Digital and EX soundtracks are available on DVD, Blu-ray Discs, and some streaming
content, while Dolby Digital Plus is available on Blu-ray and some streaming content. More »

Dolby Pro Logic, Prologic II, and IIX

Dolby Pro-Logic II Logo. Logo provided by Dolby Labs

Dolby Pro Logic extracts a dedicated Center Channel and Rear Channel from two-channel
content. The Center Channel more accurately centers the dialog (this necessitates a center
channel speaker for full effect) in a movie soundtrack. Also, there is a rear channel, but
although the rear surround channel employs two speakers, they are still passing a
monophonic signal, limiting rear-to-front and side-to-front motion and sound placement cues.

Dolby Pro Logic II is a surround sound processing technology, developed by jointly by Jim
Fosgate and Dolby Labs.

Dolby Pro-Logic II technology can create a "simulated" 5.1 channel surround environment
from any two-channel source (such as stereo CDs and Vinyl Records) as well as from a 4-
Channel Dolby Surround signal.

Although different that Dolby Digital 5.1 or DTS (discussed later in this list), in which each
channel goes through its own encoding/decoding process, Pro Logic II makes an effective use
of matrix-ing to deliver an adequate 5.1 representation of a stereo film or music soundtrack.
Dolby Pro Logic IIx is an enhancement to Dolby Pro-Logic II, that includes the addition of
two back channels, in addition to Dolby Pro-logic II's 5.1 channels, thus making Dolby Pro-
logic IIx a 7.1 channel surround processing system.

Dolby Pro Logic IIz

Official Dolby Pro Logic IIz Logo. Image Provided by Dolby Labs

Dolby Pro Logic IIz is a surround sound processing format that is a predecessor to Dolby
Atmos. Unlike Dolby Atmos, content does not have to be specially encoded, which means
that any 2, 5, or 7 channel sources can benefit. Dolby Pro Logic IIz offers the option of
adding two more front speakers that are placed above the left and right main speakers. This
feature adds a "vertical" or overhead component to the surround sound field (great for rain,
helicopter, plane flyover effects). Dolby Prologic IIz can be added to either a 5.1 channel or
7.1 channel setup.

Yamaha offers a similar technology on some of its home theater receivers referred to as
Presence. More »

Dolby TrueHD
Official Dolby TrueHD Logo. Dolby Labs via Wikimedia Commons

Dolby TrueHD is a high definition digital-based surround sound encoding format that
supports up to 8-channels of surround decoding and is bit-for-bit identical to a studio master
recording. Dolby TrueHD is one of the several audio formats designed and employed in the
Blu-ray Disc format, and, formerly in the now discontinued HD-DVD format. Dolby TrueHD
is delivered from Blu-ray Disc or other compatible playback devices via the HDMI
connection interface. More »

Dolby Virtual Speaker

Dolby Virtual Speaker Logo. Dolby Labs

Dolby Virtual Speaker is designed to create a fairly accurate surround experience that gives
the illusion that you are listening to a complete surround speaker system but is utilizing just
two speakers and a subwoofer.

Dolby Virtual Speaker, when used with standard stereo sources, such as CD, creates a wider
soundstage. However, when stereo sources are combined with Dolby Digital encoded DVDs
are played, Dolby Virtual speaker creates a 5.1 channel sound image using technology that
takes into account sound reflection and how humans hear sound in a natural environment,
enabling the surround sound signal to be reproduced without needing five, six, or seven
speakers. More »

DTS (also referred to as DTS Digital Surround)

Official DTS Digital Surround Logo. Image provided by DTS

DTS is a 5.1 channel encoding and decoding surround sound format that is similar to Dolby
Digital 5.1, but DTS uses less compression in the encoding process. As a result, many feel
that DTS has a better result on the listening end.

In addition, while Dolby Digital is mainly intended for the Movie Soundtrack experience,
DTS is also being used in the mixing and reproduction of musical performances.

To access DTS encoded information on CDs and DVDs, you must have a home theater
receiver or preamplifier with a built-in DTS decoder, as well as a CD and/or DVD player
with DTS pass-through. More »

DTS 96/24

Official DTS 96/24 Logo. Image provided by DTS

DTS 96/24 is not so much a separate surround sound format but is an "upscaled" version of
DTS 5.1 that can be encoded onto DVDs. Instead of using the standard DTS 48kHz sampling
rate, a 96kHz sampling rate is employed. Also, the standard 16-bit depth, the bit-depth is
extended up to 24 bits.

What all of the above jargon means is that there is more audio information embedded into the
soundtrack, translating into more detail and dynamics when played back on 96/24 compatible
devices, which includes most home theater receivers.

Also, even if your source device or home theater receiver is not 96/24 compatible, that is not
a problem as non-compatible devices can still access the 48kHz sampling rate and 16-bit
depth that is present in the soundtrack. More »

DTS Circle Surround and Circle Surround II

Circle Surround Diagram. Image and Logo provided by DTS

While Dolby Digital and DTS approach surround sound from a directional standpoint
(specific sounds emanating from specific speakers), Circle Surround emphasizes sound
immersion.

A normal 5.1 source is encoded down to two channels, then re-decoded back into 5.1
channels and redistributed back to the 5 speakers (plus subwoofer) in such a way as to create
a more immersive sound without losing the directional cues of the original 5.1 channel source
material.

Circle Surround provides enhancement of Dolby Digital and similar surround sound source
material without degrading original intent of the surround sound mix.

Circle Surround II adds an additional rear center channel, providing an anchor for sounds
emanating from directly behind the listener. More »

DTS-ES
Official DTS-ES Logo. Image provided by DTS

DTS-ES refers to two 6.1 channel surround encoding/decoding systems, DTS-ES Matrix and
DTS-ES 6.1 Discrete.

DTS-ES Matrix can create a center rear channel from existing DTS 5.1 encoded material,
while DTS-ES 6.1 Discrete requires that the software being played already has a DTS-ES 6.1
Discrete soundtrack. DTS-ES and DTS-ES 6.1 Discrete formats are backward compatible
with 5.1 channel DTS Receivers and DTS encoded DVDs.

These formats are rarely used on DVDs and are almost non-existent on Blu-ray Discs. More »

DTS-HD Master Audio

Official DTS-HD Master Audio Logo. Image provided by DTS

Similar to Dolby TrueHD, DTS-HD Master Audio is a high definition digital-based surround
sound format that supports up to 8-channels of surround decoding with increased dynamic
range, wider frequency response, and higher sampling rate than other standard DTS formats.
DTS-HD Master Audio is one of the several audio formats designed and employed by Blu-
ray Disc and the now discontinued HD-DVD format. To access DTS-HD Master Audio, it
must be encoded onto a Blu-ray Disc or other compatible media format and delivered via the
HDMI connection interface on a home theater receiver that has a built-in DTS-HD Master
Audio surround sound decoder. More »

DTS Neo:6

DTS Neo:6. Image by Robert Silva - Licensed to About.com

DTS Neo:6 is a surround sound format that functions in a similar fashion to Dolby Prologic II
and IIx (mentioned previously in this article). If you have a home theater receiver that
includes DTS Neo:6 audio processing, it will extract a 6.1 channel (front, center, right, left
surround, right surround, center back) field from existing analog two-channel material, such
as a stereo CD, vinyl record, or stereo movie soundtrack or TV broadcast. Also, even though
DTS Neo:6 is a six-channel system, the center back channel can be split between two
speakers. More »

DTS Neo:X
Official DTS Neo:X Logo. Image provided by DTS

DTS Neo:X was originally introduced by DTS as a counter to Dolby's ProLogic IIz and
Audyssey's DSX surround sound formats. DTS Neo:X is an 11.1 channel surround sound
format.

This format does not require mixing soundtracks specifically for the 11.1 channel sound field.
A DTS Neo:X processor is designed to look for cues already present in stereo, 5.1 or 7.1
channel soundtracks that may benefit from placement in an expanded sound field that
includes front height and wide channels.

DTS Neo:X can also be scaled to work within 9.1 or 7.1 channel environment, and you find
some home theater receivers that feature DTS Neo:X incorporate the 7.1 or 9.1 channel
options. In these types of setups, the extra channels are "folded" with the existing 9.1 or 7.1
channel layout, and also not as effective as the desired 11.1 channel setup, it does provide an
expanded surround sound experience over a typical 5.1, 7.1, or 9.1 channel layout.

One thing to note is that DTS has retired on Neo:X on home theater receivers that are
compatible with DTS:X surround format, which is discussed next. More »

DTS:X
MDA Tool Interface with DTS:X Logo. Images provided by DTS

Developed in a parallel timeline, and featuring some similarity to Dolby Atmos, the DTS:X
surround format is surround decoding format in which sound objects can be placed in a 3-
Dimensional space, rather than just assigned to specific channels or speakers.

Although DTS:X requires encoded content (Blu-ray or Ultra HD Blu-ray), it does not require
a specific speaker layout, like Dolby Atmos. Although it can work fine with a Dolby Atmos
speaker setup, and most home theater receivers that include Dolby Atmos, also include
DTS:X (sometimes a firmware update is required).

A properly-equipped home theater setup that features DTS:X audio decoding will map a
decoded DTS:X signal to 2.1, 5.1, 7.1, or any one of several Dolby Atmos speaker setups.
More »

DTS Virtual:X
DTS Virtual:X Logo and Illustration. Images provided by Xperi/DTS via PRNewswire

DTS Virtual:X is an innovative surround sound processing format that projects a

height/overhead soundfield without the need to add extra speakers. Using complex
algorithms, your ears are fooled into hearing height, overhead, and even rear surround sound.

Although not as effective as having actual physical height speakers, it does cut down on
speaker clutter.

DTS Virtual:X can add height enhancement to both two-channel stereo and multi-channel
surround sound source content. It is best suited for use in soundbars, where all the speakers
are housed within a single cabinet. However, it can be applied in home theater receivers.
More »

Surround Sound - The Audio Side of Home

Theater
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Speaker Setup Diagram. Official AVR147 Documentation Provided by Harman International - Used
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by Robert Silva
Updated July 22, 2017

Ever since Stereophonic sound became popular in the 50's the race has been on to create the
ultimate home listening experience. Even as far back as the 1930's, experiments with
surround sound were conducted. In 1940, Walt Disney incorporated his innovative
Fantasound surround sound technology in order to totally immerse the audience in both the
visual and audio sensations of his animation achievement, Fantasia.

Although "Fantasound", and other early experiments in surround sound technology could not
really be duplicated in the home environment, that didn't limit the quest by recording
engineers for both music and film to develop processes that would eventually result in the
surround sound formats that are enjoyed in home theaters all around the world today.

Monophonic Sound

Monophonic sound is a single-channel, unidirectional type of sound reproduction. All

elements of the sound recording are directed using one amplifier and speaker combination.
No matter where you stand in a room you hear all the elements of the sound equally (except
for room acoustic variations). To the ear, all the elements of the sound, voice, instruments,
effects, etc... appear to originate from the same point in space. It is as if everything is
"funneled" to a single point. If you connect two speakers to a Monophonic amplifier, the
sound will appear to originate at a point equidistant between the two speakers, creating a
"phantom" channel.

Stereophonic Sound

Stereophonic Sound is a more open type of sound reproduction. Although not totally realistic,
stereophonic sound lets the listener experience the correct sound staging of the performance.

The Stereophonic Process

The main aspect of Stereophonic sound is the division of sounds across two channels.

The recorded sounds are mixed in such a way that some elements are channeled to the left
part of the soundstage; others to the right.
One positive result of stereo sound is that listeners experience the correct sound staging of
symphony orchestra recordings, where sounds from the various instruments more naturally
emanate from different parts of the stage. However, monophonic elements are also included.
By mixing the sound from a lead vocalist in a band, into both channels, the vocalist appears
to be singing from the "phantom" center channel, between the left and right channels.

Limitations Of Stereo Sound

Stereophonic Sound was a breakthrough for consumers of the 50's and 60's but does have
limitations. Some recordings resulted in a "ping-pong" effect in which the mixing
emphasized the difference in the left and right channels too much with not enough mixing of
elements in the "phantom" center channel. Also, even though the sound was more realistic,
the lack of ambiance information, such as acoustics or other elements, left Stereophonic
sound with a "wall effect" in which everything hit you from the front and lacked the natural
sound of back wall reflections or other acoustic elements.

Quadraphonic Sound

Two developments occurred in the late 60's and early 70's that attempted to address
limitations of stereo. Four Channel Discrete and Quadraphonic Sound.

Problems With Four-Channel Discrete

The problem with Four Channel Discrete, in which four identical amplifiers (or two stereo
ones) were needed to reproduce sound, was that it was extremely expensive (these were the
days of Tubes and Transistors, not IC's and Chips).

Also, such sound reproduction was really only available on Broadcast (two FM stations each
broadcasting two channels of the program simultaneously; obviously you needed two tuners
to receive it all), and four channel Reel-to-Reel audio decks, which were also expensive.

In addition, Vinyl LP's and Turntables could not handle playback of four-channel discrete
recordings. Although several interesting musical performances were simulcast using this
technology (with a co-operating TV Station broadcasting the Video Portion), the whole set-
up was too cumbersome for the average consumer.

Quad - A More Realistic Surround Approach

Taking a more realistic and affordable approach to surround sound reproduction, than that of
Four Channel Discrete, the Quadraphonic format consisted of matrix encoding of four
channels of information within a two channel recording. The practical result is that ambient
or effects sounds could be embedded in a two channel recording that could be retrieved by a
normal phono stylus and passed through to a receiver or amplifier with a Quadraphonic
decoder.

In essence, Quad was the forerunner of today's Dolby Surround (in fact, if you own any old
Quad equipment--they have the ability to decode most analog Dolby Surround signals).
Although Quad had the promise to bring affordable surround sound to the home environment,
the requirement to buy new amplifiers and receivers, additional speakers, and ultimately a
lack of consensus amongst hardware and software makers on standards and programming,
Quad merely ran out of gas before it could truly arrive.

The Emergence Of Dolby Surround

In the mid-70's Dolby Labs, with breakthrough film soundtracks such as Tommy, Star Wars,
and Close Encounters of the Third Kind, unveiled a new surround sound process that was
more easily adaptable for home use.

Also, with the advent of the HiFi Stereo VCR and Stereo TV Broadcasting in the 1980's,
there was an additional avenue for which to gain public acceptance of surround sound: Home
Theater. Up to that point, listening to the sound portion of a TV Broadcast or VCR tape was
like listening to a tabletop AM radio.

Dolby Surround Sound - Practical For The Home

With the ability encode the same surround information into a two channel signal that was
encoded in the original Movie or TV soundtrack, software and hardware manufacturers had a
new incentive to make affordable Surround sound components. Add-on Dolby Surround
processors became available for those that already owned Stereo-only receivers. As the
popularity of this experience reached into the more and more homes, more affordable Dolby
Surround sound receivers and amplifiers became available, finally making Surround sound a
permanent part of the Home Entertainment experience.

Dolby Surround Basics

The Dolby Surround process involves encoding four channels of information--Front Left,
Center, Front Right, and Rear Surround into a two channel signal. A decoding chip then
decodes the four channels and sends them to the appropriate destination, the Left, Right,
Rear, and Phantom Center (center channel is derived from the L/R front channels).

The result of Dolby Surround mixing is a more balanced listening environment in which the
main sounds derive from the left and right channels, the vocal or dialog emanates from the
center phantom channel, and the ambiance or effects information comes in from behind the
listener.

In musical recordings encoded with this process, the sound has a more natural feel, with
better acoustical cues. In movie soundtracks, the sensation of sounds moving from front to
rear and left to right adds more realism to the viewing/listening experience by placing the
viewer in the action. Dolby Surround is easily useful in both musical and film sound
recording.

The Limitation Of Dolby Surround

Dolby Surround does have its limitations, however, with the rear channel being basically
passive, it lacks precise directionality. Also, the overall separation between channels is much
less than a typical Stereophonic recording.
Dolby Pro Logic

Dolby Pro Logic addresses the limitations of standard Dolby Surround by

adding firmware and hardware elements in the decoding chip that emphasize important
directional cues in a movie soundtrack. In other words, the decoding chip will add emphasis
to directional sounds by increasing the output of the directional sounds in their respective
channels.

This process, although not important in musical recordings, is very effective for film
soundtracks and adds more accuracy to effects such as explosions, planes flying overhead,
etc.. There is greater separation between channels. In addition, Dolby Pro Logic extracts a
dedicated Center Channel that more accurately centers the dialog (this necessitates a center
channel speaker for full effect) in a movie soundtrack.

The Limitation Of Dolby Pro-logic

Although Dolby Pro-Logic is an excellent refinement of Dolby Surround, its effects are
derived strictly in the reproduction process, and even though the rear surround channel
employs two speakers, they are still passing a monophonic signal, limiting rear-to-front and
side-to-front motion and sound placement cues.

Dolby Digital

Dolby Digital is often referred to as a 5.1 channel system. However, it must be noted that
term "Dolby Digital" refers to the digital encoding of the audio signal, not how channels it
has. In other words, Dolby Digital can be Monophonic, 2-channel, 4-channel, 5.1 channels, or
6.1 channels. However, in its most common applications, Dolby Digital 5.1 and 6.1 is often
referred to as just Dolby Digital.

The Benefits Of Dolby Digital 5.1

Dolby Digital 5.1 adds both accuracy and flexibility by adding stereo rear surround channels
that enable sounds to emanate in more directions, as well as a dedicated Subwoofer Channel
to provide more emphasis on low-frequency effects. The subwoofer channel is where the .1
designation comes from. For more details, refer to my article: What the .1 Means in Surround
Sound.

Also, unlike Dolby Pro-logic which requires a rear channel of only minimal power and
limited frequency response, Dolby Digital encoding/decoding requires the same power output
and frequency range as the main channels.

Dolby Digital encoding began on Laserdiscs and migrated to DVD and satellite
programming, which has solidified this format in the marketplace. Since Dolby Digital
involves its own encoding process, you need to have a Dolby Digital receiver or amplifier to
accurately decode the signal, which is transferred from a component, such as a DVD player,
via either a digital optical connector or digital coaxial connector.
Dolby Digital EX

Dolby Digital EX is actually based on the technology already developed for Dolby Digital
5.1. This process adds a third surround channel that is placed directly behind the listener.

In other words, the listener has both a front center channel and, with Dolby Digital EX, a rear
center channel. If you are losing count, the channels are labeled: Left Front, Center, Right
Front, Surround Left, Surround Right, Subwoofer, with a Surround Back Center (6.1) or
Surround Back Left and Surround Back Right (which would actually be a single channel - in
terms of Dolby Digital EX decoding). This obviously requires another amplifier and a special
decoder in the A/V Surround Receiver.

The Benefits Of Dolby Digital EX

So, what is the benefit of the EX enhancement to Dolby Digital Surround Sound?

Essentially, it boils down to this: In Dolby Digital, much of the surround sound effects move
towards the listener from the front or sides. However, the sound loses some directionality as
it moves along the sides to the rear, making a precise directional sense of sounds from
moving objects moving or panning across the room difficult. By placing a new channel
directly behind the listener, panning and positioning of sounds emanating from the sides to
the rear are much more precise. Also, with the additional rear channel, it is possible to
originate sounds and effects from the rear more precisely as well. This places the listener
even more in the center of the action.

Dolby Digital EX Compatibility

Dolby Digital EX is completely compatible with Dolby Digital 5.1. Since the Surround EX
signals are matrixed within the Dolby Digital 5.1 signal, software titles encoded with EX can
still be played on existing DVD players with Dolby Digital outputs and decoded in 5.1 on
existing Dolby Digital Receivers.

Although you may end up buying new EX-encoded versions of films you may have already
in your collection when you finally get your EX setup running, you can still play your current
DVDs through a 6.1 Channel Receiver and you will be able to play your new EX-encoded
discs through a 5.1 channel receiver, which will just retain the additional information with the
current 5.1 surround scheme.

Dolby Pro Logic II and Dolby Pro Logic IIx

Although the previously outlined Dolby surround sound formats are designed to decode
surround that is already encoded on DVDs or other material, there are thousands of music
CDs, VHS movies, Laserdiscs, and television broadcasts that contain only simple analog two
channel stereo or Dolby Surround encoding.

Surround Sound For Music

Also, with surround schemes such as Dolby Digital and Dolby Digital-EX primarily designed
for movie viewing, there is a lack of an effective surround process for music listening. In fact,
many discriminating audiophiles reject much of the surround sound schemes, including the
new SACD (Super Audio CD) and DVD-Audio multi-channel audio formats, in favor of
traditional two-channel stereo playback.

Manufacturers, such as Yamaha, have developed sound enhancement technologies (referred

to as DSP - Digital Soundfield Processing) that can can place the source material in a virtual
sound environment, such as a jazz club, concert hall, or stadium, but cannot "convert" two or
four channel material into a 5.1 format.

The Benefits Of Dolby Pro Logic II Audio Processing

With this in mind, Dolby Labs has come to the rescue with an enhancement to its original
Dolby Pro-Logic technology that can create a "simulated" 5.1 channel surround environment
from a 4-Channel Dolby Surround signal (dubbed Pro Logic II). Although not a discrete
format, such as Dolby Digital 5.1 or DTS, in which each channel goes through its own
encoding/decoding process, Pro Logic II makes an effective use of matrixing to deliver an
adequate 5.1 representation of a film or music soundtrack. With advancements in technology
since the original Pro-Logic scheme was developed over 10 years ago, channel separation is
more distinct, giving Pro Logic II the character of a discrete 5.1 channel scheme, such as
Dolby Digital 5.1.

Extracting Surround Sound From Stereo Sources

Another benefit of Dolby Pro Logic II is the ability to adequately create a surround listening
experience from two-channel stereo music recordings. I, for one, have been less than satisfied
trying to listen to two-channel music recordings in surround sound, using standard Pro Logic.
Vocal balance, instrument placement, and transient sounds always seem to be somewhat
unbalanced. There are, of course, many CD's that are Dolby Surround or DTS encoded,
which are mixed for surround listening, but the vast majority are not and thus, can benefit
from the application of Dolby Pro-Logic II enhancement.

Dolby Pro Logic II also has several settings that allow the listener to adjust the soundstage to
suit specific tastes. These settings are:

Dimension control, which allows users to adjust the soundstage either towards the front or
towards the rear.

Center Width Control, which Allows variable adjustment of the center image so it may be
heard only from the Center speaker, only from the Left/Right speakers as a "phantom" center
image, or various combinations of all three front speakers.

Panorama Mode which extends the front stereo image to include the surround speakers for a
wraparound effect.

A final advantage of a Pro-Logic II decoder is that it can also perform as a "regular" 4-

channel Pro-Logic decoder, so, in essence, receivers that include Pro-Logic decoders can,
instead, include Pro Logic II decoders, giving the consumer more flexibility, without having
to have the expense of requiring two different Pro-Logic decoders in the same unit.
Dolby Pro Logic IIx

Lastly, a more recent variant of Dolby Pro Logic II is Dolby Pro Logic IIx, which expands
the extracting capabilities of Dolby Pro Logic II, including its preference settings, to 6.1 or
7.1 channels of Dolby Pro Logic IIx-equipped receivers and preamps. Dolby Pro Logic IIx
serves to deliver the listening experience to a greater number of channels without having to
remix and reissue the original source material. This makes your record and CD collection
easily adaptable to the latest surround sound listening environments.

Dolby Prologic IIz

Dolby Prologic IIz processing is an enhancement that extends surround sound vertically.
Dolby Prologic IIz offers the option of adding two more front speakers that are placed above
the left and right main speakers. This feature adds a "vertical" or overhead component to the
surround sound field (great for rain, helicopter, plane flyover effects). Dolby Prologic IIz can
be added to either a 5.1 channel or 7.1 channel setup. For more details, check out my
article: Dolby Pro-Logic IIz - What You Need to Know.

NOTE: Yamaha offers a similar technology on some of its home theater receivers
called Presence.

Dolby Virtual Speaker

Although the trend towards surround sound relies on adding additional channels and
speakers, the requirement of multiple speakers around an entire room is not always practical.
With that in mind, Dolby Labs has developed a way to create a fairly accurate surround
experience that gives the illusion that you are listening to a complete surround speaker system
but is utilizing just two speakers and a subwoofer.

Dolby Virtual Speaker, when used with standard stereo sources, such as CD, creates a wider
sound stage. However, when stereo sources are combined with Dolby Prologic II, or Dolby
Digital encoded DVDs are played, Dolby Virtual speaker creates a 5.1 channel image using
technology that takes into account sound reflection and how humans hear sound in a natural
environment, enabling the surround sound signal to be reproduced without needing five or six
speakers.

Audyssey DSX (or DSX 2)

Audyssey, a company that develops and markets automatic speaker room equalization and
correction software, has developed its own immersive surround sound technology: DSX
(Dynamic Surround Expansion).

DSX adds front vertical-height speakers, similar to Prologic IIz, but also incorporates the
addition of left/right wide speakers positioned between the front left and right and surround
left and right speakers. For a more detailed explanation and speaker setup illustrations, check
out the Official Audyssey DSX Page
DTS

DTS is also a well-known player in surround sound and has adapted its surround sound
process for home use. Basic DTS is a 5.1 system just like Dolby Digital 5.1, but since DTS
uses less compression in the encoding process, many feel that DTS has a better result on the
listening end. Also, while Dolby Digital is mainly intended for the Movie Soundtrack
experience, DTS is used in the mixing and reproduction of Musical performances.

DTS-ES

DTS has come up with its own 6.1 channel systems, in competition with Dolby Digital EX,
referred to as DTS-ES Matrix and DTS-ES 6.1 Discrete. Basically, DTS-ES Matrix can
create a center rear channel from existing DTS 5.1 encoded material, while DTS-ES Discrete
requires that the software being played already has a DTS-ES Discrete soundtrack. As with
Dolby Digital EX, DTS-ES and DTS-ES 6.1 Discrete formats are backward compatible with
5.1 channel DTS Receivers and DTS encoded DVDs.

DTS Neo:6

In addition to DTS 5.1 and DTS-ES Matrix and Discrete 6.1 channel formats, DTS also offers
DTS Neo:6. DTS Neo:6, functions in a similar fashion to Dolby Prologic II and IIx, in that,
with receivers and preamps that have DTS Neo:6 decoders, it will extract a 6.1 channel
surround field from existing analog two-channel material.

DTS Neo:X

The next step that DTS has taken is to introduce its 11.1 channel Neo:X format. DTS Neo:X
takes cues already present in either 5.1 or 7.1 channel soundtracks and creates height and
wide channels, enabling a more enveloping "3D" sound. To experience the maximum benefit
of DTS Neo:X processing, it is best to have 11 speakers, with 11 channels of amplification,
and a subwoofer. However, DTS Neo:X can be modified to work with a 9.1 or 9.2 channel
configuration.

DTS Surround Sensation

Surround Sensation creates a phantom center, left, right, and surround channels within a two-
speaker or stereo headphone setup. It is able to take any 5.1 channel input source and recreate
a surround sound experience with just two speakers. In addition, surround sensation can also
expand two-channel compressed audio signals (such as MP3) for a more surround-like
listening experience.

SRS/DTS Tru-Surround and Tru-Surround XT

SRS Labs is another company that also offers innovative technologies that can enhance the
home theater experience (Note: As of July 23th, 2012, SRS Labs is now officially a part of
DTS).

Tru-Surround has the ability to take multi-channel encoded sources, such as Dolby Digital,
and reproduce the surround effect by just using two speakers. The result is not as impressive
as true Dolby Digital 5.1 (the front and side surround effects are impressive, but the rear
surround effects fall a little short, with the sense they are coming from just to rear of your
head rather than from the back of the room). However, with many consumers reluctant to fill
their room with six or seven loudspeakers, Tru-Surround and Tru-SurroundXT do give the
ability to enjoy 5.1 channel sound within a normally limited two channel listening
environment.

SRS/DTS Circle Surround and Circle Surround II

Circle Surround, on the other hand, approaches surround sound in a unique way. While
Dolby Digital and DTS approach surround sound for a precise directional standpoint (specific
sounds emanating from specific speakers), Circle Surround emphasizes sound immersion. To
accomplish this, a normal 5.1 audio source is encoded down to two channels, then re-decoded
back into 5.1 channels and redistributed back to the 5 speakers (plus subwoofer) in such a
way as to create a more immersible sound without losing the directionality of the original 5.1
channel source material.

The results are more impressive than that of Tru-Surround or Tru-Surround XT.

First, panning sounds such as flying planes, speeding cars, or trains, sound even as they cross
the sound stage; often in DD and DTS, panning sounds will "dip" in intensity as they move
from one speaker to the next.

Also, rear-to-front and front-to-rear sounds flow smoother as well. Second, environmental
sounds, such as thunder, rain, wind, or waves full the sound field much better than in DD or
DTS. For example, instead of hearing the rain coming from several directions, the points in
the sound field between those directions are filled, thus placing you within the rain storm, not
just listening to it.

Circle Surround provides an enhancement of Dolby Digital and similar surround sound
source material without degrading the original intent of the surround sound mix.

Circle Surround II takes this concept further by adding an additional rear center channel, thus
providing an anchor for sounds emanating from directly behind the listener.

Headphone Surround: Dolby Headphone, CS Headphone, Yamaha Silent

Cinema, Smyth Research, and DTS Headphone:X.

Surround Sound is not limited to the large multi-channel system, but can also be applied to
headphone listening. SRS Labs, Dolby Labs, and Yamaha all have incorporated surround
sound technology with the headphone listening environment.

Normally, when listening to audio (either music or movies) the sound seems to originate from
within your head, which is unnatural. Dolby Headphone SRS Headphone, Yamaha Silent
Cinema, and Smyth Research employ technology that not only gives the listener an
enveloping sound but removes it from within listener's head and places the sound field in the
front and side space around the head, which is more like listening to a regular speaker-based
surround sound system.
In another development, DTS has developed DTS Headphone:X that can provide up to an
11.1 channel surround sound listening experience using any pair of headphones plugged into
a listening device, such as a smartphone, portable media player, or home theater receiver that
is equipped with DTS Headphone:X processing.

Higher Definition Surround Sound Technologies: Dolby Digital Plus, Dolby TrueHD,
and DTS-HD Master Audio

With the introduction of Blu-ray Disc and HD-DVD (HD-DVD has since been discontinued),
in conjunction with the HDMI interface connection, the development of high definition
surround sound formats in both DTS (in the form of both DTS-HD and DTS-HD Master
Audio) and Dolby Digital (in the form of Dolby Digital Plus and Dolby TrueHD) provides
extended accuracy and realism.

The increased storage capacity of Blu-ray and HD-DVD, and wider bandwidth transfer
capabilities of HDMI, which is required for accessing Dolby Digital Plus, Dolby TrueHD,
and DTS-HD, have allowed for true, discreet, audio reproduction for up to 7.1 Channels of
surround sound, while still being backwards compatible with older 5.1 channel surround
sound formats and audio/video components.

Note: HD-DVD has been discontinued but is referenced in this article for historical purposes.

Dolby Atmos and More

Beginning in 2014, another surround sound format has been in introduced for the home
theater environment, Dolby Atmos. Although building on the foundation established by
previous Dolby Surround Sound formats, Dolby Atmos actually frees sound mixers and
listeners from the limitations of speakers and channels by putting the emphasis on where
sound needs to placed within a 3-dimensional environment. For more details on Dolby Atmos
technology, applications, and products, refer to the following articles I have written:

Dolby Atmos - Are You Ready for 64-Channel Surround Sound?

Dolby Atmos - From The Cinema To Your Home Theater

More Surround Sound Technologies

Multi-Dimensional Audio - Rethinking Surround Sound

Overview of the DTS:X Surround Sound Format

Auro 3D Audio

Conclusion - For Now...

Today's surround sound experience is the result of decades of evolution. The surround sound
experience is now easily accessible, practical, and affordable for the consumer, with more to
come in the future. Go get surrounded!
Related Features:

Surround Sound Formats Guide

5.1 vs 7.1 Channel Home Theater Receivers - Which is Right For You?.

What the .1 Means in Surround Sound

Guide to Home Theater Receivers and Surround Sound (includes speaker setup information)

Headphone Surround Sound

Multi-Dimensional Audio - Rethinking

Surround Sound
Freeing Surround Sound from Channel and Speaker Limitations

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by Robert Silva
Updated October 19, 2016

Dateline: 06/08/2012
Updated: 5/23/2014
Over the past year or so, I have reported on efforts by SRS Labs (since purchased by DTS) to
establish a new way of approaching the surround sound experience by spearheading the
formation of the 3D Audio Alliance. As a result of these efforts, a new proposed open-source
audio ecosystem has been developed, dubbed Multi-Dimensional Audio. The first platform
specification 1.0 is now available for implementation for the entire audio
production/reproduction process, from Content Creation and Content Distribution, to Content
Consumption.

Audio in 3D Dimensional Space

The main breakthrough presented by the MDA standard is a re-conceptualization of audio as

sound objects located in three dimensional space, rather than sounds anchored to a specific
channel or speaker configuration, as it is in the traditional stereo and surround sound formats.

In other words, when a sound engineer is presented with the task of mixing the elements of a
movie soundtrack or music performance, instead of having to place each element with
deference to what channels and speakers are typically needed to reproduce the sound, or what
format needs to be used for eventual playback, whether it be MDA, any of the Dolby Digital
and DTS formats, SRS Circle Cinema 3D, etc... all the sound engineer needs to be concerned
with is where sounds need to be located in three dimensional space. In the MDA system, each
object (or group of objects) can be assigned its (their) own identity, allowing them to be
manipulated independently in the mixing process, regardless of the number of channels or
speakers associated with the playback format.

Channels and Speakers

With MDA, the channel structure used in recording and mixing is now just a foundation from
which to build a more natural audio experience. Traditional PCM channel structure is still
used to record, mix, and deliver the sound, but the sound engineer now adds metadata that
carries information where each designated sound object is located in three dimensional space,
beyond what is provided by the PCM foundation.

The combination of PCM and metadata information is referred to in the MDA structure as
PCM+.

On the listening end, the user simply accesses the content, and the playback device (referred
to as a renderer) reads the PCM+ information and places the encoded sound objects in three
dimensional space in accordance with their location assignment and the capabilities of the
playback device(s). No matter how many channels or speakers are used on the playback end,
each of the audio objects within the MDA mix will be placed in the proper three dimensional
location in relationship to each other and the listening position.

As a result, the number of speakers you have available to you work in a similar way as pixels
on a video display (such as a TV or video projector). The more channels or speakers available
in the playback system, the more accurately detailed the three dimensional spatial
representation of the sounds will be. However, no matter how few (2 or 5) or many (7, 9, 11,
14, 22, 64, etc...) speakers you have, you will experience a representation of what the sound
mixer intended, it is just preciseness and level of immersion provided is limited or augmented
by the number of speakers and any additional audio processing in the associated equipment
available to reproduce it.
In the MDA system, you don't need to mix for a specific number of channels or speakers.

Creative and Listening Freedom

Another element to the MDA system is not only does the original sound engineer have the
ability to mix the audio soundtrack of a specific piece of content, but the end listener can also
be given that capability. Using an interactive application interface (currently dubbed MDA
Director), the listener can reposition or accentuate any of the isolated object elements in a
soundtrack that have been designated as unlocked objects. This goes way beyond just
changing sound levels of what comes out of each speaker - but actually goes into changing
either sound levels or positioning of each object within the larger group of sounds that the
speaker is reproducing.

Think of it as volume or panning control for each designated unlocked sound object, not just
for an entire channel.

Interactive Listening Scenario

One possible scenario to illustrate the interactive capabilities of MDA is with a football game
broadcast. To set up MDA for a live broadcast the sound engineer would first assign which
objects to be isolated, such as both an English and Spanish sportscaster, fans on each end of
the stadium and in the middle, the cheerleaders, the band, and the players and referees.

With all these elements isolated, the fun begins (and I not talking just about the game).
During the course of viewing the game, you may want to choose either the English or
Spanish sportscaster, then you might want move the sportscaster's voice over to another part
of the room, or you want to hear what the players are saying on the field more clearly, or
perhaps you want to forgo the entire sportscaster voice over and just hear the crowd and the
cheerleaders, and while your at it you want to put those cheerleaders off to the left, or the
right, or behind you, or you can place yourself in the audience or outside the audience. Or,
how about placing your listening position on the 50 yard line, or in one of the end zones? Of
course, you also have the option of resetting the soundtrack back to what you had been
originally presented with (but choosing either the English or Spanish sportscaster).

As you can imagine, such an experience might be able to be provided on a Blu-ray Disc, or
other delivery format, where even more precision could be applied to the designation of
sound objects.

MDA and Current Audio Technologies

Now, you are probably wondering: "Oh no, not another surround sound format to worry
about! Ny home theater receiver already decodes Dolby, DTS, and even has THX post
processing - so does that mean that I now have to buy another receiver to be able to play
MDA-encoded content?"

The answer is Yes and No. Of course, if you want to get the entirety of the MDA listening or
interactive experience, you need to have a home theater receiver, or similar component that
can read the encoded spatial location metadata and distribute it in your listening environment
accordingly.
However, you are not totally out of luck as MDA is an open source specification. This means
that any sound engineer tasked with mixing the audio content for distribution can easily (at
the touch of a button), translate an MDA-created mix to the Dolby, DTS, or any other
surround sound format that is currently currently in use, just as standard Dolby Digital and/or
DTS soundtracks are also provided on current Blu-ray disc releases for those that do not have
Dolby TrueHD or DTS-HD Master Audio decoders in their home theater receivers.

With MDA, the sound engineer need not be concerned with having to redo the entire remix
for multiple surround sound formats - unless they want to. MDA is designed to be a "mix-
once multiple format delivery" system so a sound engineer can perform a master mix of a
soundtrack and then map it to any open-source or licensed audio decoding format for
distribution, if needed.

In this way, both MDA-compliant and traditional source and playback components can be
accommodated in an efficient and cost-effective manner.

Final Take - For Now

In the real world, we experience sound from all directions and from infinite points in space,
objects produce their own sounds and we hear them. Unfortunately, in order to hear those
sounds at the cinema, at home, or on a mobile device, we need to capture them, encode them,
and reproduce them using speakers or headphones (headphones are just small speakers), but,
unfortunately, this process is not perfect and is subject to the limitations of current sound
mixing and processing techniques.

What Multi-Dimensional Audio seeks to do is provide tools that enable a sound engineer to
emulate how we really experience sound either in either the real world, or in fantasy world
conjured up by a content creator, which can also include the added ability for the listener to
further manipulate that sound, providing a multitude of audio experience listening options.
Multi-Dimensional Audio is the closest thing I have had the opportunity to experience in a
home theater environment so far that captures the essence of how we naturally hear sound.

For updated details on Multi-Dimensional Audio implementation as of 2013-2014, check out

an Official Announcement from DTS, as well as a detailed report by Brent Butterworth,
About.com Stereos Expert.

RELATED ARTICLES

06/23/2014: Dolby Atmos - From The Cinema to Your Home Theater

08/12/2014: Dolby Gets More Specific On Dolby Atmos for Home Theater

10/17/2014: Denon and Marantz To Add Auro3D Audio In Select Home Theater Receivers

12/30/2014: DTS To Counter Dolby Atmos and Auro3D Sound With DTS:X
Dolby Digital, LPCM and DTS:X
- Blu-ray Audio Codecs Explained
Dolby AC-3, DTS-HD Master Audio and LPCM are just a few of the audio codecs that can
be present on a Blu-ray disc.

Some are mandatory, some are optional, some may play on your Blu-ray player and some
may not.

In discussions about home theater technology you might come across other terms like Dolby
TrueHD, DTSNeo:6, Dolby Pro-Logic II and DTS:X - but do you understand the differences
between them all and what they do exactly?

In this article we will look at the audio codecs we may find on a Blu-ray disc and try to
understand the different types.

Audio Encoding and Decoding

The first thing we need to understand is the difference between audio encoding and audio
decoding.

Much of the confusion people have with the audio formats relating to home theater is that
they don't understand the difference between the two...... or is that just me?

Audio encoding is the method used to store the audio onto the Blu-ray disc itself. There are a
number of formats which are used to encode (and sometimes compress) the audio onto the
disc, and these are the audio formats that we are talking about in this article.

These different types of audio encoding have to be supported by the Blu-ray player so that
they can be read from the disc, and these are the names we will see printed on the back of the
Blu-ray box.

On the other hand, audio decoding, or processing, is where the audio that is on the Blu-ray
disc is read so that it can be played through our amplifier and speakers. This process is often
done by the amplifier or receiver, but can also be done by the player. The
decoding/processing stage involves splitting the audio into multiple channels and sending it
to the speakers.

It is easy to believe that these two processes are essentially the same thing, but there are more
decoding/processing types than there are encoding formats - so there must be a difference
somewhere.

Therefore, it is useful to try and understand the difference between audio encoding and
decoding/processing because some of the terms we come across relate to encoding, and some
to the decoding process - and sometimes both.

Phew, my brain is hurting already.

Blu-ray Audio Formats

So what are the audio codecs that we may find encoded on a Blu-ray disc?

Until recently, there were seven audio formats supported by Blu-ray players. Of these, three
were mandatory and have to be supported by a Blu-ray player, and four were optional.

With the introduction of the Ultra HD Blu-ray specification, there is now optional support for
the new object-based codecs, Dolby Atmos and DTS:X. Most current players won't be able to
decode these on-board - but they will be able to bitstream them to an AV receiver.

This doesn't mean that all of these formats will be on the Blu-ray disc that you buy. The
studios have a choice as to which audio formats they put on a disc. The only rule they have to
follow is that the primary audio track has to be one of the mandatory formats (which all
players will support), and then any further audio tracks can then be either mandatory or
optional (so your player may support them or may not).

Therefore, when you are buying a Blu-ray player, you will have to pay attention to the audio
formats that your player supports if you have particular soundtracks that you need it to play.

These are the Blu-ray audio codecs with some details on each.

1. Linear PCM (Mandatory)

Also called LPCM or sometimes just PCM.

PCM audio is the standard for CD and DVD technology and has also been made a standard
for Blu-ray. It is an uncompressed audio format so there is no loss in quality on the disc, but
the big disadvantage is it takes up a lot of space.

It supports up to eight channels of audio, so can provide encoding for 7.1 soundtracks,
however it is more common to have stereo (2.0) or 5.1 surround sound in this format.
Although it can support 24-bit sample rates, often LPCM audio will be provided in 16-bit to
save disc space.
Just be clear, LPCM audio has no loss in quality as it is not compressed. Therefore, an LPCM
soundtrack will sound as good as a Dolby TrueHD and DTS HD-Master Audio version
providing they all derive from the same master soundtrack. However, the lossless HD
versions are more likely to come from higher resolution masters as they can be compressed to
use less space on the disc.

LPCM 5.1 surround audio can be passed through any version of HDMI (i.e. version 1.0 to
1.3), but will have to be downmixed to stereo for transfer over an optical/coaxial digital audio
connection.

If you need to know more about HDMI or any of the other connection types, you can check
out our guide the home cinema connections.

2. Dolby Digital (Mandatory)

Also commonly known as Dolby AC-3 or DD 5.1.

Dolby Digital supports up to six channels of audio and so is limited to 5.1 surround sound
and below. The maximum sample rate supported is 48 kHz.

It is a lossy format, or in other words it compresses the audio to save space on the disc, but
some of the original audio information is lost in the process. It is the most common form of
5.1 surround sound and is also found on DVD.

Like LPCM, Dolby AC-3 can be sent through HDMI or digital optical/coaxial connections.

Although commonly used to refer to 5.1 surround sound, the term 'Dolby Digital' is actually a
generic name for the encoding system as a whole, and on its own shouldn't really be used to
describe the number of channels used. For example, we can have stereo Dolby Digital - or
DD 2.0.

We may also see some Blu-ray discs with Dolby Digital 5.1 EX. This version of Dolby
surround sound has an extra rear channel encoded into the two surround left and right
channels to create a 6.1 mix. In a 6.1 surround sound setup there is one extra speaker behind
the viewing position between the left and right surrounds.

3. DTS (Mandatory)

Also known as DTS 5.1 or DTS Surround. This is effectively the DTS version of Dolby
Digital.

Like Dolby Digital, DTS encoding is limited to a maximum of six audio channels and it
compresses the audio to make the footprint on the disc smaller.

One difference is it supports a higher bitrate than Dolby Digital (1500 kbits/s compared to
640 kbits/s), although in reality the actual bitrate on disc is often lower than the maximum.

As with Dolby Digital 5.1 EX, there is also a version of DTS which is aimed at 6.1 surround
sound systems - DTS-ES. The extra rear channel is encoded as part of the DTS 5.1 surround
data, and will only be available on a system with an extra rear surround speaker.

There is much debate as to the difference between the audio quality of Dolby Digital vs DTS.
If they have a choice, some people will always use one rather than the other. However, you
will also find other people who say they can't tell the difference between the two.

In my view, there is a noticeable difference between DTS and Dolby Digital soundtracks, but
which one you prefer just comes down to personal taste. We will look into this issue in more
detail in another article.

4. Dolby Digital Plus (Optional)

Also known as DD+ or E-AC-3. This audio encoding format is an extension of standard
Dolby Digital.

Dolby Digital Plus supports 7.1 surround sound on Blu-ray discs, although the majority of
Blu-ray movies only come with a 5.1 soundtrack. The maximum bitrate of this format is also
greatly increased to about 6 Mbits/s, therefore allowing for better audio quality, although the
maximum bitrate will be nearer 1.7 Mbits/s on Blu-ray. Like Dolby Digital, the maximum
sample rate is 48 kHz and it is still a lossy compression format that loses some of the original
audio fidelity.

Dolby Digital Plus cannot be sent over coaxial or optical digital audio connections, and if
they are used, then the player will automatically use the standard Dolby Digital track instead.
Therefore, an HDMI connection is required to make use of this format (unless your player
has multichannel analog audio outputs). Also, unless the Blu-ray player decodes the DD+
signal on-board first, you will require an HDMI 1.3 connection with a decoder on the AV
receiver.

5. DTS-HD High Resolution Audio (Optional)

This codec is an extension of DTS 5.1 and increases surround sound support to 7.1 channels.

It has an increased bitrate on Blu-ray of 6 Mbits/s, which is much greater than DTS 5.1,
however it is still a lossy format which compresses the original audio to disc and loses some
of the resolution in the process.

As far as the connections you can use for DTS-HD High Resolution Audio, the same rules
apply as for Dolby Digital. Optical and coaxial connections aren't supported (and the player
will switch to DTS 5.1 for this type of connection) - or an HDMI 1.3 connection is required
unless the player decodes on-board and sends the decoded signal as LPCM.

6. Dolby TrueHD (Optional)

Dolby TrueHD is a lossless format which compresses the audio onto disc, but creates an
exact copy of the original studio master tapes.

Therefore, it provides the best possible audio reproduction of a movies soundtrack but also
enables the data to be compressed on to disc. Compared to DD 5.1 or DD+, the soundtrack
will have a greater dynamic range, better surround imaging and you should hear more high
and low frequencies - if your sound system is capable of doing justice to these improvements
of course!

TrueHD is capable of supporting up to 14 channels of audio, which means it can easily cope
with the 8 channels required for 7.1 surround sound playback on a Blu-ray disc. 7.1 channel
audio is supported at 24-bit/96 kHz resolution - and 5.1 channels are available at 24-bit/192
kHz.

In this format of Dolby surround sound the maximum bitrate is increased to 18 Mbits/s which
means that an HDMI connection is required to transport this type of audio. As with DD+, if
you want to bitstream this signal through HDMI to be decoded by your AV receiver, then you
will need an HDMI 1.3 connection and an AV receiver with Dolby TrueHD decoding.
However, if your Blu-ray player is capable of decoding this format on-board, then it can send
the decoded signal as LPCM over any version of HDMI.
7. DTS-HD Master Audio (Optional)

DTS-HD Master Audio is the DTS version of lossless audio.

If you have this on a Blu-ray disc then you have an exact bit-to-bit copy of the master tapes
from the movie studio.

A Blu-ray disc with a lossless soundtrack may have this DTS version, the Dolby TrueHD
version, or both. The annoying thing is some players may not support both types and so you
may not always be able to use these higher resolution versions.

Master Audio has the highest bitrate of all at 24.5 Mbits/s on a Blu-ray disc, with a resolution
for 8 channels the same as Dolby of 24-bit/96 kHz.

8. Dolby Atmos (Optional)

Dolby Atmos is a new codec that introduces object-based soundtracks for the first time. It is
slowly appearing as a soundtrack option on some Blu-ray releases, and this will increase if
the technology becomes popular.

Dolby Atmos allows the film-maker to have additional sound objects which can be added to
the channel-based audio. These objects can place a sound in a 3D environment - and this
sound can also be moved - up, down, left, right, forwards and backwards.

You will need to add a minimum of two height speakers to hear this format - and have an AV
receiver that can decode the bitstream from your Blu-ray player. The good news is that this
format is backwards-compatible with older Blu-ray players - although you will need a
minimum of HDMI 1.4.

The Dolby Atmos soundtrack on your Blu-ray will actually utilize the standard 5.1 or 7.1
soundtracks described above (so it doesn't need an specific Atmos mix for the movie) and it
will just add an extra track for the object-based sounds. If your system doesn't have height-
based speakers, then the standard multichannel audio soundtrack will play.

9. DTS:X (Optional)

DTS:X is the object-based audio standard from DTS.

Similar to Dolby Atmos, it may appear on your Blu-ray disc as a soundtrack option, and will
utilize the widely-supported DTS-HD Master Audio soundtrack as its base - to which DTS:X
will add the object audio information.

It requires an AV receiver that supports the decoding of DTS:X, which will then pass the
audio to your speaker system - which ideally will have height speakers for the best effect.

However, the main difference from Dolby Atmos is that this format will work on a existing
5.1 or 7.1 speaker system - unlike Dolby Atmos which requires at least two height speakers.

Dolby AC-3 and DTS 5.1 Summary

So now we understand the difference between Dolby AC-3 and DTS 5.1, Dolby TrueHD and
DTS-HD Master Audio, DTS:X and Dolby Atmos, we can begin to understand what support
to look for when we are looking to buy a Blu-ray player or AV receiver.

We need to think about what we want our Blu-ray player to be able to play as the support for
these audio formats isn't the same for all players.

Also, now that we understand the audio soundtracks which are encoded on the disc, it will
make it easier when we think about the different types of audio processing that we find on
our AV receivers. You can find out more in the guide to AV receiver listening modes.

AV Receiver Listening Modes Explained:

Onkyo, Denon & More.
No matter which AV receiver you have - Onkyo, Yamaha, Denon, Sony - each will have a
number of audio processing modes for you to choose from.

DTS Neural:X, Dolby Atmos - maybe Dolby TrueHD? If you've just bought yourself a shiny
new receiver and are flicking through the manual, it won't be long before you come across
these terms.
Unless you have taken some time to study home theater surround audio formats, you might
be somewhat confused by all these audio types. Don't be too downhearted, it's not too bad
once you give it some thought.

In this article, I will look at the various AV audio formats and audio modes you get on your
equipment. Let us try to understand the difference between them all.

Audio Encoding vs Audio Decoding

The first issue to be clear about when I talk about home theater audio types is the difference
between audio encoding and decoding. Once you get this straight the subject becomes much
clearer.

Audio encoding is the method that stores the audio on a DVD or Blu-ray disc. For Blu-ray
discs, there are seven supported codecs:

 LPCM
 Dolby Digital
 DTS 5.1
 Dolby Digital Plus
 DTS-HD High Resolution Audio
 Dolby TrueHD
 DTS-HD Master Audio

With the new Ultra HD Blu-ray specification, there have been two new optional audio codecs
added:

 Dolby Atmos
 DTS:X

You won't find all these formats on every Blu-ray disc. But if you look on the back of the box
you will see which soundtracks are available for that disc.
The important thing to understand is that these are the encoded formats. Something needs to
decode this audio before you can hear it.

Very simply, audio decoding is the process of reading the digital data and turning it into
audio that you can hear. If your hardware doesn't support the decoding of a particular audio
format, then you won't be able to play that version of the soundtrack.

The main soundtrack on a DVD or Blu-ray disc will always be a mandatory audio type that
all hardware will support. So, you will never be in the situation where you cannot hear the
sound from a disc that you buy.

For more detailed information on all these codecs, go to the article on understanding Blu-ray
audio codecs.

Audio Decoding on the AV Receiver

The decoding process is usually done by the AV receiver, which will have audio decoders
built-in.

The specifications of the AV receiver should include details of the AV audio decoders it has.
This will allow you to know which Blu-ray soundtracks it will support.

Decoders for the Yamaha

RX-V365 AV Receiver

If it has a DTS decoder, then it will accept a DTS 5.1 soundtrack and play it in 5.1 surround
sound. The front panel display should show 'DTS 5.1' (or similar) when it detects the
incoming signal.

Likewise, if a receiver has onboard decoding for Dolby TrueHD audio, then it will be able to
receive this signal type directly from a Blu-ray player. It will decode it and then send the
audio to the speakers.
The settings of the player will have an option to set the audio output to bitstream. This means
it sends the encoded data to the AV receiver for it to decode.

Decoding on the Player - Bitstream vs LPCM

The alternative is that the DVD/Blu-ray player decodes the soundtrack. Rather than the AV
receiver.

This is an important point. If your AV receiver doesn't support the decoding of a particular
format on the disc, it may be that your Blu-ray player does.

The player can decode the soundtrack, and then send the audio to the AV receiver as LPCM
(also known as PCM). All AV receivers will be able to play this back. It will sound exactly
the same as when the AV receiver does the decoding.

In this case, the audio output settings of the player should be set to PCM. Some brands may
use a different term.

Before you buy an AV receiver or Blu-ray player, you can check which audio decoding it
supports. Then you can be sure of the Blu-ray soundtracks you will be able to play.

By the way, if you are looking for a new AV receiver at the moment, you might be interested
in my article on 'the best AV receivers in 2017'. Or you might not!

Audio Processing, Sound and Listening Modes

So, what has all this got to do with audio sound modes? Well, your AV receiver will support
many listening modes. Some manufacturers call them different things. Denon, for example,
uses the term sound mode.

Some of these listening modes will involve the direct decoding and playback of the encoded
audio from the disc. For example, there might be a Dolby Atmos mode. The AV receiver will
often automatically select this when it receives a Dolby Atmos bitstream from the player. If
not, you can manually select the Dolby Atmos sound mode.

As well as onboard decoders, AV receivers will also come with further audio processing
options. Often called DSP, or Digital Signal Processing. These extra audio processing
features add extra playback options.

You may not notice a difference between these. There is a fine line between an AV receiver
decoding a signal and processing a signal. This is because AV receivers make the process
transparent, with as little intervention from the user as possible.

So, when you play a soundtrack that is directly decoded by the AV receiver, the receiver will
detect and playback that audio stream.

For example, the AV receiver detects an incoming DTS:X signal. The front panel display will
show as ‘DTS:X’, and the audio is sent to the surround speakers using this format. It will
usually default to the listening mode for the audio type.
However, on your AV receiver, there will also be other forms of audio processing - or
listening modes. You can use these to tell the receiver how to play back the audio. Therefore,
the audio is processed after decoding. In the example of DTS:X above, I can change the
‘DTS:X’ listening mode to a different one. To ‘All Channel Stereo’ for instance. This would
play the DTS:X soundtrack in stereo around all the speakers in your system.

I’m not sure why you would want to do that, but, you could!

Many AV receivers also allow you to set a default sound mode for a particular input. You
would set this to how you would like to play the audio from this input. You might set the
receiver to always play stereo TV audio using DTS Neural:X. This will use all your surround
sound speakers even though the incoming audio is only stereo.

However, you can change these listening modes at any time to suit the type of audio. To
make sure you hear music through the traditional 2 front left/right speakers, you might switch
to a stereo listening mode. Or, you may feel adventurous and select Dolby Surround to hear
this stereo music track as 5.1 surround sound.

You will only be able to select some listening modes for certain types of audio. The manual
will tell you which audio input formats work with which listening modes.

Examples of AV Receiver Sound Modes and DSP Programs

I thought it might be useful to take a closer look at a couple of AV receivers to see which
audio modes they have. It’s easier to understand how it all fits together this way.

Look out for the sound modes which are decoders for a specific audio format, and the DSP
modes which allow you to alter what you hear in the room. Bear in mind, different makes and
models may have different processing modes. Also, some DSP modes will only be available
for certain sources and sound types.
Onkyo AV Receiver Listening Modes

The following is a list of the listening modes on the Onkyo TX-RZ820 AV Receiver. This is
a fairly high-end AV receiver which is THX certified. This means it comes with some THX
listening modes which aren’t available on all models:

Decoders/Listening Modes:

 Dolby Digital: used when receiving Dolby Digital audio via bitstream (HDMI/Optical/Coaxial).
 Dolby Digital Plus: used when receiving Dolby Digital Plus audio via bitstream (HDMI only).
 Dolby TrueHD: used when receiving Dolby TrueHD audio via bitstream (HDMI only).
 Dolby Atmos: used when receiving Dolby Atmos audio via bitstream (HDMI only).
 DTS: used when receiving DTS audio via bitstream (HDMI/Optical/Coaxial).
 DTS Express: used when receiving DTS Express audio via bitstream (HDMI only).
 ES Discrete: used when receiving DTS-ES Discrete audio via bitstream
(HDMI/Optical/Coaxial).
 ES Matrix: used when receiving DTS-ES Matrix audio via bitstream (HDMI/Optical/Coaxial).
 DTS 96/24: used when receiving DTS 96/24 audio via bitstream (HDMI/Optical/Coaxial).
 DTS-HD HR: used when receiving DTS-HD High Resolution Audio via bitstream (HDMI only).
 DTS-HD MSTR: used when receiving DTS-HD Master Audio via bitstream (HDMI only).
 DTS:X: used when receiving DTS:X audio via bitstream (HDMI only).
 DSD: used when receiving DSD audio via HDMI.

Post Decoding Formats:

 Dolby Surround: expands 2-channel or 5.1 audio to playback over 5.1 or 7.1 speaker
systems.
 DTS Neural:X: expands 2-channel or 5.1 audio to playback over 5.1 or 7.1 speaker systems.

General Listening Modes:

 Multich: for audio recorded in multichannel PCM.

 AllCh Stereo: for background music. Creates a stereo image across the surround speakers.
  Direct: shuts down some processing in the unit for a cleaner audio signal.
 Pure Audio: similar to Direct but goes further. Switches off the display and analog video
circuitry. Only HDMI video can be displayed on the screen when this is enabled.
 Stereo: outputs audio from the front left and right speakers plus the subwoofer.
 Mono: the left and right front speakers output the sound in mono (analog or PCM audio
only).
 Full Mono: all speakers output the same sound in mono.
 Game-Action: for games with a lot of action.
 Game-Rock: for games with rock content.
 Game-RPG: for role-playing games.
 Game-Sports: for games involving sports.
 Orchestra: for classical or operatic music. Uses the surround speakers to simulate the
natural reverberation of a hall.
 Studio-Mix: for pop or rock music. Creates a soundstage like being in a club.
 TV Logic: for TV shows produced in a TV studio. Uses surround effects to brings clarity to
voices.
 Unplugged: for acoustic instruments, vocals and jazz. Highlights the front stereo image.
 T-D: this theater-dimensional mode creates the effect of surround sound even if there are
only 2 or 3 speakers.
 THX Cinema: for playing a soundtrack intended for a movie theater.
 THX Games: for playing back game audio in a surround sound environment.
 THX Music: for music sources with a higher recording quality than movies.
 THX Select Cinema: expands movie soundtracks recorded in 5.1 or 7.1. Uses THX Advanced
Speaker Array (ASA) technology to optimize the surround sound environment.
 THX Select Games: uses THX ASA technology to create a 360-degree sound field for game
audio recorded in a multichannel format.
 THX Select Music: uses THX ASA technology to create a broad sound field for music recorded
in 5.1.

Denon AV Receiver Sound Modes

Denon uses the term 'sound modes' in their documentation. Although they mean the same
thing as listening modes with the Onkyo receivers.
If you look at what the Denon AVR-X4300H AV Receiver offers, you can see that it has
many of the same options regarding decoders. One major difference is it will support Auro-
3D if you perform an upgrade. There are fewer DSP modes than the Onkyo, but enough
choice if you enjoy experimenting with these settings.

Decoders/Listening Modes:

 Dolby Digital
 Dolby TrueHD
 Dolby Digital Plus
 Dolby Atmos
 DTS Surround
 DTS-ES Matrix 6.1
 DTS-ES Discrete 6.1
 DTS 96/24
 DTS-HD
 DTS Express
 DTS:X
 Auro-3D (available via an upgrade)
 Auro-2D Surround (available via an upgrade)

Post Decoding Formats:

 Dolby Surround
 DTS Neural:X

Sound Modes:

 Multi-Channel In: for playing multi-channel PCM/DSD sources

 Multi-Channel Stereo: for stereo sound using all speakers
 Rock Arena: simulates a live concert in an arena
 Jazz Club: simulates an intimate jazz club
 Mono Movie: creates a surround effect from a mono source
 Video Game: creates a dynamic surround effect for gaming
 Matrix: adds a surround sound effect to stereo music
 Virtual: creates a surround effect for stereo speaker systems and headphones
 Auto: switches automatically to the correct mode depending on the input
 Stereo: plays 2-channel stereo (with subwoofer if available)
 Direct: plays audio as recorded in the source
 Pure Direct: higher quality than ‘Direct’. Disables display and analog video.
Yamaha AV Receiver Sound Programs

Yamaha has their own angle when it comes to decoders and DSP. The list of decoders is
similar, but they have quite a few DSP programs under the banner of Cinema DSP. The idea
is you apply a Cinema DSP program to the audio you are listening to, and it will try to
recreate that audio as if you were in a particular hall, room or space.

The higher-end models also have Cinema DSP HD³, which uses more reflection data for an
even more realistic effect.

These are the sound decoders and programs that come with the Yamaha RX-A3070 AV
receiver:

Decoders

 Dolby Atmos
 Dolby TrueHD
 Dolby Digital Plus
 Dolby Digital
 DTS:X
 DTS-HD Master Audio
 DTS-HD High Resolution Audio
 DTS Express
 DTS 96/24
 DTS-ES Matrix 6.1
 DTS-ES Discrete 6.1
 DTS Digital Surround

Post Decoding Formats:

 Dolby Surround
 DTS Neural:X
 DTS Neo:6 Music
  DTS Neo:6 Cinema

Stereo Sound Programs:

 2ch Stereo: for mixing down multichannel sources to stereo.

 9ch Stereo: for sending sound to all speakers. Ideal for background music.

Movie Sound Programs:

 Standard: emphasizes the surround sound without disturbing the original positioning
 Spectacle: delivers a wide dynamic range and expansive soundscape
 Sci-Fi: for Sci-Fi and SFX movies. Clear separation between voice, effects and music.
 Adventure: for action and adventure movies. Less reverberation and an expanded sound
field left and right.
 Drama: for drama, musicals and comedies. Provides a gentle echo for a wide stereophonic
sound.
 Mono Movie: creates a surround sound experience for old mono movies.
 Enhanced: creates a sound field that emphasizes 3D object-audio.

Entertainment Sound Programs:

 Sports: for sports and light entertainment TV. Centers the voice and highlights the
atmosphere.
 Action Game: for action gaming audio. Emphasizes effects to make the player feel right at
the center of the action.
 Roleplaying Game: for roleplaying and adventure games. Adds depth to the sound field to
emphasize background music and special effects.
 Music Video: for pop, rock and jazz concerts. Reproduces the feel of a hall and emphasizes
the rhythm.
 Recital/Opera: reproduces the feel of a concert hall with emphasis on the depth and clarity
of the human voice.

Music Sound Programs:

 Hall in Munich: reproduces a Munich concert hall with 2,500 seats and a wooden interior.
 Hall in Vienna: creates a Vienna concert hall with 1,700 seats and a shoebox shape.
 Hall in Amsterdam: simulates a large Amsterdam concert hall with 2,200 seats and a shoe
box shape.
 Church in Freiburg: reproduces a stone church with a long and narrow shape.
 Church in Royaumont: simulates the dining hall of a Gothic monastery.
 Chamber: reproduces a wide space with a high ceiling.
 Village Vanguard: simulates a small jazz club in New York.
 Warehouse Loft: simulates a concrete warehouse.
 Cellar Club: reproduces an intimate concert venue with a low ceiling.
 The Roxy Theater: creates a 460-seat rock music venue.
 The Bottom Line: simulates a 300-seat jazz venue in New York.

Conclusion

There are many audio listening modes available on an AV receiver.

Some of these are the result of decoding the audio directly from the disc, and some are there
to process the audio to suit your speaker setup. If you take a little time to understand the
various options you have, then you will be able to get the best out of our receiver and speaker
system.

If you want some more information on the different types of audio formats, go to the guide to
surround sound formats for more details.

Dolby vs. DTS - Which is Better?

Which surround sound format delivers
better home theater sound?

This Dolby vs. DTS surround sound is a rather hotly

debated issue. Many argue that DTS Digital Surround is capable of delivering better sound
quality than its Dolby Digital counterpart. But is this really so?

In this article, we discuss the main differences between these formats; this should lead to
better understand why this Dolby versus DTS controversy prevails among home theater
enthusiasts and professionals alike.

Onkyo TX-NR747 7.2 Network AV Receiver

THX Select 2 Plus certified
AV receiver 125W/ch
A great AV receiver capable of superb sound
clarity and numerous features, including Internet
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connections.
The Dolby vs. DTS Debate
Identifying the main differences between
these two multi-channel sound formats
Many audiophiles and home theater
enthusiasts argue that DTS surround
sound formats can deliver higher quality
sound than corresponding Dolby formats,
with improved dynamic range, better
subtle detail in audio content, and
improved signal-to-noise ratio.

Partly, this reasoning arises as DTS

surround sound is usually encoded at a
higher data rate than Dolby Digital and its
lineup of associated formats.

This reasoning is more than

understandable. We are dealing with
lossy compression techniques. Higher bit-
rate for the same format should normally
implies superior sound during playback,
as less compression in the encoding
should result in a better representation of the original sound source. In this Dolby vs. DTS
debate, DTS people argue that they are after 'sonic perfection, not space consumption' -
hence the use of a higher bit rate and lower compression. Instead, Dolby counteract that their
codec is more efficient and therefore, it can operate at a lower bit rate. In other words,
Dolby's argument in this Dolby vs. DTS debate is that they have managed to come with a
codec that can achieve higher compression levels for the same sound quality.

Article continues after this advertisement.

Dolby vs. DTS: Is it really all codec efficiency versus sound quality?

The truth is that one cannot simply draw conclusion on sound quality based on raw bit rates
and compression figures alone; it also depends on how well designed are the
encoding/decoding algorithms. But then...

There are relatively big differences in raw bit rates and compression levels when comparing
Dolby vs. DTS sound formats, implying a too wide a difference in codec efficiency - circa 3
times as much - in favor of Dolby. Is it possible that Dolby sound formats achieve this level
of codec efficiency?

The reality is that when dealing with different sound formats, the whole equation starts to get
extremely complicated - especially as it is not easy to define what constitutes better sound.

This Dolby vs. DTS is a rather hotly debated issue, but in reality is it true that one is better
than the other?
To understand why this Dolby vs. DTS surround sound controversy prevails, it is necessary
to have an understanding of the main differences between these formats - in particular, the
differences in bit-rate and compression levels as applicable to Dolby Digital and DTS Digital
Surround.

And as if to further complicate this whole issue, there are also significant differences in the
way these formats are implemented in moviehouse applications and in home entertainment.

Dolby vs. DTS: Bit Rate & Data Reduction

Dolby Digital and DTS Digital Surround are both 5.1 surround sound systems that encode six
discrete audio channels into blocks of data in their respective Dolby or DTS bit streams.

Sound on audio CDs uses 16-bit linear PCM-encoded samples at a sampling rate of 44.1 kHz
for each audio channel; this yields a data bit rate of 705 kbits/s for each channel, and a
dynamic range of 96dB from the loudest sound that can be handled by the system to noise
floor. Encoding 5.1 sound at CD-audio sampling rate and resolution yields a bit rate in excess
of 3.5 Mbit/s.

Now, both Dolby Digital and DTS Digital Surround encoding schemes allow for an even
higher sampling rate of 48 kHz at 20-bits per sample - thus yielding an even wider dynamic
range between sound level extremes of approximately 120dB.

Compression - a necessary Evil!

This means that these surround sound formats would yield too much data to store, and
equally important, to process in an efficient and economical manner in real time during
playback. In other words, under a multi-channel scenario, compression becomes a necessary
evil.

It is here that the real difference between these sound formats emerges crisp and clear. And
ultimately, it is the significant difference in compression ratios and bit rates adopted by these
two formats that has led to so much controversy in this Dolby vs. DTS surround sound
debate.

Other Significant Differences

Compression and bit-rate are not the only differences when comparing Dolby vs. DTS
formats. For example, the added rear surround channel in Dolby's extended surround format
'Dolby Digital EX', is matrixed over the two left and right surrounds, rather than discrete;
instead the DTS counterpart uses a discrete channel. This also explains why DTS ES
(Extended Surround) can provide a more precise location for the rear-effects soundstage than
the Dolby EX format.

However, this difference is not one of the main issues that are fuelling this Dolby vs. DTS
debate. It is a fact that multi-channel matrixed sound cannot produce the same level of precise
localization of sound effects in the surrounding soundstage - so basically there is nothing to
argue about!
The real Dolby vs. DTS controversy arises because when dealing with different formats that
use different coding techniques to deliver practically the same end result, it is not easy to
define what constitutes better quality sound.

Data Reduction Techniques

Both Dolby Digital and DTS Digital Surround systems make use of data reduction techniques
to remove redundant data in the original PCM signal, and to eliminate audio data that would
result inaudible to the human ear - thus reducing the space required to store multi-channel
sound.

The fundamental idea is to reduce the data size by re-coding the signal with sophisticated
data reduction techniques, while allowing for more accurate audio (20-bits samples instead of
16-bits) than that supported by linear PCM used in CD-audio, without increasing the required
bit rates.

The reduction in data represents the removal of objective and perceptual redundancies that
are in the original PCM audio signal. The re-coding algorithms consist of a lossless coding
part to remove the objective redundancies, and a lossy coding part to remove the perceptual
redundancies by using psychoacoustic models. The latter are used to remove data that do not
reduce the quality of acoustic perception, and therefore inaudible to the human ear.

Psychoacoustic analyses exploit an effect called 'auditory masking'; in addition the whole
process adapts the input signal to the spectral sensitivity curve of the human ear.

The effect of auditory masking describes a phenomenon in which a frequency with higher
amplitude covers a frequency in a short spectral distance with lower amplitude. Thus the
frequency with the lower amplitude is masked and cannot be heard; thus coding of these
masked frequencies is redundant. It can be seen that frequencies above a masking frequency
are easier to mask than frequencies below.

This is mainly due to the human ear frequency response. At the higher frequencies, the
sensitivity of the ear is reduced. Thus higher frequencies must produce stronger amplitude to
be recognized. If the amplitude of a frequency is below the perception threshold, that
frequency is redundant and does not need to be encoded.

This data reduction process uses a filterbank to split the signal into a number of frequency
sub-bands, while sophisticated global bit management techniques are used to calculate the
ideal bit rate for each channel and sub-band while maintaining a constant global bit rate.

The above implies that when it comes to comparing Dolby vs. DTS, both make use of lossy
compression techniques since the final decoded audio data can never represent a perfect
image of the original source content.

Dolby vs. DTS - Bit Rates and Compression Levels

Dolby Digital compresses the resultant data for the discrete 5.1 channels of digital audio
down to a maximum raw bit-rate of 640 kbits/s. Yet the 640 kbits/s limit is only supported on
Blu-ray discs; HD DVD, DVD-video and DVD-Audio limits the Dolby Digital maximum bit
rate to 448kbit/s, while the optical implementation of this format in theatrical applications
limits the maximum bit rate even further.

In order to be able to squeeze in all relevant data, Dolby Digital applies variable compression
of approximately 10 to 12:1.

DTS Digital Surround uses a maximum raw bit-rate of 1.5 Mbits/sec even though on DVD-
video, this is limited to around 768 kbits/sec. At this higher bit-rate supported by the format,
DTS requires substantially less compression - approx. 4:1 - than its Dolby counterpart. This
means that theoretically, DTS Digital Surround has the potential to produce higher quality
sound. But as stated earlier on...

In this Dolby vs. DTS comparative analysis, raw bit rates and compression levels alone
cannot be taken as a direct measure of sound quality since there are other factors that come
into play here - in particular, the efficiency of the coding/decoding algorithms, as well as the
overheads in terms of bits required to manage the raw bit stream itself.

Difference in Moviehouse and Consumer Applications

Dolby vs. DTS: Moviehouse Applications

The real major technical difference when comparing Dolby vs. DTS sound formats arises in
the way these are implemented in movie theater applications.

Dolby Digital soundtracks are optically recorded on the 35mm film strip itself using
sequential data blocks placed between sprocket holes as shown in the diagram below, at a
fixed reduced raw bit rate of 320kbit/s.

Note that:

In addition to the optically encoded

audio data, the space between the
sprockets also includes the Dolby
Logo.

Dolby Digital is at times referred to as

Dolby SR-Digital in moviehouse
applications in view that a movie with
Dolby Digital soundtrack would
normally still come with a
conventional SR (Spectral Recording)
Dolby analog soundtrack as shown in
the diagram.
35mm film strip with multiple encoded
soundtracks
With four squares of digital information per frame and 24 frames passing through the
projector each second, each space between individual sprockets has to hold about 3330 bits of
data; this data is read by a CCD scanner during playback, and then processed to extract the
Dolby Digital (AC-3) bitstream.

The main reason for implementing both digital and analog versions on the filmstrip is twofold
- as a backup in case the digital soundtrack fails, and also so that only one set of film prints
would be required for cinemas with or without the ability to reproduce the digital soundtrack.

Placing audio content on the filmstrip itself has got its pros and cons. Having the Dolby
Digital soundtrack direct on the film means that audio content is susceptible to physical
damage due to film aging and mishandling. However, that there is no need for delivery of
separate audio CD discs to theaters, thus simplifying distribution.

In the case of a DTS soundtrack, audio information is not stored direct on the film strip
itself, instead it is recorded in compressed form on a standard CD-ROM media at a bit rate of
1103 kbits/s. The DTS track on the film strip consists of a modified time-code that is
optically imaged on the film strip (see film strip diagram above); this is used to synchronize
the projected image with the DTS surround sound audio track on the CD.

Additional information in the imprinted time-code includes identifying data to ensure that a
certain film soundtrack will only run with that film.

Because of the increased storage capacity available on CD-ROM, DTS digital soundtracks
need only about 4:1 adaptive compression. Though this is a lossy scheme, yet at this
relatively high bit rate, there is hardly any discernible difference between the original
soundtrack and the reproduced sound after decompression.

In other words, in moviehouse applications, the higher data rate afforded by the CD-ROM
media means that theoretically, DTS surround sound technology is in a position to deliver
better audio fidelity than that afforded by Dolby Digital movie soundtracks.

The use of separate CD-ROM media in DTS movie sound - while complicating somewhat the
distribution process itself, carries a number of advantageous; these include the use of multi-
lingual soundtracks without changing the film print, and equally important, CD-ROM media
is less subject to damage by repeated screenings, and as such rarely requires replacement.

Dolby Digital and DTS Surround Sound in the Home Theater

Comparing Dolby vs. DTS sound in consumer applications reveals that Dolby Digital and
DTS Digital Surround are closer in terms of audio performance.

When the DTS soundtrack is encoded at the highest bit-rate of 1.5 Mbits/s defined by this
DTS standard, DTS claims that it is capable of achieving indistinguishable audio fidelity
from its original un-coded source content.

Similar claims come from Dolby Labs, namely that when Dolby Digital is encoded at the
maximum 640 kbits/s defined by this standard, it is capable of achieving similar audio
perceptual transparency results, in that the listener would not be able to distinguish between
the original un-coded source and the output from a coded soundtrack. Yet, in real life
implementation, things are somewhat different...

The maximum raw-bit rate supported by the either format is not always supported by the
respective media used in the home theater.

DVD-video format limits Dolby Digital sound tracks to a bit rate of 448 kbits/s. At this
reduced bit rate, perceptual audio transparency is lost. On some DVD releases, this is even
further limited to a bit rate of 384 kbits/s. In either case however, these bit rates are higher
than that used in moviehouse applications.

Similarly, DVD-video limits DTS-audio to a reduced bit rate of 768 kbits/s, which is
substantially lower than that used in a movie theater DTS sound installation. At these
reduced bit rates, one cannot speak of perceptual audio transparency for either format, yet
these represent distinct differences when comparing Dolby vs. DTS in the home theater
versus the respective moviehouse application for the same format.

Thus...

For a Dolby Digital sound track, a properly equipped home theater installation is capable of
achieving better surround sound than its corresponding Dolby Digital audio playback in the
movie theater. On the contrary, DTS sound in the home cannot achieve the same level of
sound quality achievable through a DTS moviehouse installation due to the relatively reduced
bit rate of the former.

So where does this Dolby vs. DTS debate leads?

Sound quality is an extremely subjective issue and therefore it is not easy to define what
constitutes better sound. Opinions vary considerably when comparing Dolby vs. DTS and
range from 'DTS is better' to 'Dolby and DTS surround sound are pretty much the same'.

...and what do we say about this Dolby vs. DTS debate?

Both Dolby Digital and DTS audio are capable of achieving similar end results in delivering
surround sound, even though the lower compression/higher bit-rate of DTS Digital Surround
should theoretically yields apparent benefits in sound quality. At the same time, one cannot
ignore the fact that these two formats make use of different coding schemes and syntax to
perceptually compress audio.

This means that efficiency in terms of data utilization between these two formats is different.
Therefore, a Dolby vs. DTS direct comparison based solely on these formats raw bit rates
cannot be taken as a measure of sound-quality.

Thus, while it is objectively possible to compare the resultant sound quality for the same
audio format encoded at different bit rates, and therefore, to determine whether the same
format in a moviehouse application sounds better or worse than in a consumer
implementation in home entertainment, it is not so straightforward when dealing with
different formats.
Rather, the reality is that for identically sourced audio content, it would be much easier for
the listener during a Dolby vs. DTS 'blind' listening test to notice a change in sound quality
when changing the playback equipment say between different brands, than when changing
from a Dolby Digital to the DTS surround audio track.

In other words, you need a thoroughly refined home theater audio playback setup to bring
out the subtle difference in sound quality between these two formats.