Dolby pro logic ii decoder software mac


  1. VST version of SurCode™ for Dolby® Pro Logic II - EMusician
  2. Mac Version of Minnetonka's ProLogic II Encoder Ships
  3. Parametric Specifications

Fortunately, the plug-in has integrated help right , which can be accessed by clicking on a text description. An inspired feature of this plug-in is the ability to drop in and patch a short section of the encoded file. This will save you loads of time if, for example, you have already encoded a two-hour film soundtrack for a DVD, but a last-minute change is made to replace one line of dialogue.

Obviously, you have to match the encoder settings when dropping in, and drop-ins can only be done at 48kHz sample rate, not The decoder plug-in operates as a real-time RTAS plug-in in stereo-to-mono, stereo-to-stereo or stereo-to-surround versions or as a non-real-time Audiosuite plug-in. The decoder has integrated help, just like the encoder, and again, you would be very wise to read the documentation before using it in anger, in order to understand the implications of all the different settings. It is possible to use the decoder to decode a digital stream from a DVD player straight into the Pro Tools environment, which is useful when you want to compare your mix against a commercial DVD without leaving Pro Tools.

Conversely, the decoder can also be used to output a Dolby Digital AC3 file as a bitstream from a Pro Tools interface digital output, so you can make a reference CD or DVD disc to check your mix and the encoding on various consumer playback systems, assuming you have a suitable authoring package.

This is very definitely a professional's tool and not something the beginner should tackle. You need to read up and understand what all the different metadata settings are for. That said, the ability to create reference DVDs and CDs and then play them on various consumer systems to check out how your mixes hold out through the AC3 encoding and encoding processes, before commiting your project to manufacture, is great.

Neyrinck include a comprehensive set of documentation to help you to get your head round the AC3 process and its settings. The Circle Surround encoder takes up to a maximum of six discrete inputs and a subwoofer channel, and produces a two-channel LtRt mix. The input-level indicators are much more basic than those of the Dolby Surround Tools encoder.

This makes them OK for checking that the encoder is receiving signal, but that is all. The encoder output, on the other hand, does have a more conventional bar-graph level meter. SRS have also included optional bass management in the encoder process. When Bass Management is on, any information that enters the satellite channels L, R, C, Ls, Rs, Cs will go through an 80Hz high-pass filter, and any information that goes through the LFE will go through a corresponding low-pass filter.

Using Bass Management allows you to roll off frequencies below 80Hz on all non-sub channels, thereby reducing the amount of low-end build up, but this feature flies in the face of conventional practice. Best practice is to leave bass management to be handled by the playback system, where it can be correctly designed for that particular system. SRS include a matching decoder in their package, so you can check for compatibility through the encoding and decoding process, with input-level and output-level indicators that work in the same way as those on the encoder.

VST version of SurCode™ for Dolby® Pro Logic II - EMusician

The decoder operates in two modes: Monitor mode is for monitoring a Circle Surround-encoded two-channel mix and Xtract mode is for extracting dual-mono and stereo signals into surround sound. We will take a closer look at how well this works in a future survey of 'unwrapping' or 'upmixing' plug-ins. Within Monitor mode, there are five different options available for monitoring a Circle Surround-encoded two-channel mix.

This is useful for monitoring in a way that emulates older decoders such as those found in early AV receivers.

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You can also monitor in stereo and mono, and there are options for monitoring with or without front and rear centre speakers. Two post-processing options emulate features on SRS consumer products. SRS TruBass is a bass-enhancement algorithm using proprietary psychoacoustic techniques, which can be directed either to the LFE or the front L and R channels, while SRS Dialog Clarity is designed to improve dialogue intelligibility from all source material. As in the Dolby Surround Tools decoder plug-in, a pink-noise test signal is available to identify channels and enable you to balance up your monitoring system using the Output Trim controls.

It is cross-platform, but again there's no Intel Mac version yet. Unlike the others, Surcode is a single plug-in rather than a suite of tools. This makes it the most compact of the three 'matrix type' plug-ins; the encoding, decoding and monitoring are all handled in one plug-in, making comparison and compatibility checks as easy as one mouse click. The graphical interface won't win any awards for prettiness, but it is simple and clean, and one very useful feature of the display is the help that pops up in the bottom left-hand corner of the plug-in window as you roll over each control.

The instructions are basic, and I suspect they have been written for the experienced professional rather than being aimed at the beginner, as is the case with the other two plug-in manufacturers.

This has its advantages, as there is less info to wade through to get to the important bits, but it does sometimes mean that useful stuff is missing, such as the best place to insert the plug-in in the signal chain. Three buttons in the upper-left corner set the modes for encoding and for monitoring.

When the Source button is selected, the Pro Logic II encoder is turned off and the inputs are connected directly to the outputs. When the Encode button is selected, the Pro Logic II encoder is activated, the encoded stereo signal is sent to the first two channels of your Pro Tools output bus, and the other four outputs are muted. This enables you to monitor the LtRt signal to check compatibility for listeners who don't have the appropriate decoders.

When the Encode and Decode buttons are both selected, the Pro Logic II encoder and decoder are both activated, enabling you to monitor through the encode and decode process and check the six channels of decoded audio that the end listener will hear in their home through their decoder.


Mac Version of Minnetonka's ProLogic II Encoder Ships

When you are mixing for delivery in Pro Logic, you should always monitor through the encode and decode loop rather than listening to the 'raw' 5. There is an overload indicator to show when the matrix encoder is overloaded.

There is also a Limiter option to take care of the occasional overload, but it only has a range of 4dB, and Minnetonka recommend that if the overload shows more than three or four times on a track you should reduce input levels accordingly. They can all be ganged together or reset, but when I Alt-clicked the faders the normal default keyboard shortcut to reset a control to its default setting the input trims went to Pro Logic is the original Pro Logic decoding system, which is helpful to make sure your mixes will work when decoded through the original Pro Logic decoders.

Movie represents the standard setting for content with video, and is based on the original Pro Logic decoding scheme, but with the single surround channel separated into left and right surround channels. Matrix is basically the same as the original passive Dolby Surround decoder, without the directional steering provided by Pro Logic. Finally, the Music mode is the most versatile, and unlike the other modes, offers control over Panorama, Dimension and Centre Width options though, like all decoder settings, these affect only the decoder part of the plug-in path and so will have no affect on the encoded signal.

It would be helpful to have more guidance for less experienced users. All three of the matrix systems I tried work well, and they seem very compatible with each other: material encoded with each decoded well with all the others. Then I got the sense of extra space, both in terms of image width and 'air' — almost as though the walls of the room expanded. All three of the plug-ins have their own virtues and limitations. Dolby Surround Tools has an excellent manual, with comprehensive guidance on mixing in surround and working with the restrictions of a matrix-based system.

Parametric Specifications

The plug-in has comprehensive metering and a full professional decoder section. It is easy to use if you're mixing in LCRS but all the additional routing is a pain if you are mixing in 5. It is easy to use, although I preferred the more detailed level-metering in Dolby Surround Tools. The claims of backward compatibility with other matrix-based systems seem to hold up well. At first I thought it would be a problem that there is no way to monitor in surround when bouncing the LtRt signal, but on reflection it's useful to hear the complete track in LtRt and know there no problems for those listening without a decoder.

The manual could be more comprehensive, but if I had to choose one of the three packages, it would be Surcode For Pro Logic II , for both simplicity and sonic quality. Buy PDF version. Previous article Next article. Received a mastered audio track of my origina Login You may login with either your assigned username or your e-mail address.

SurCode for Dolby Pro Logic II v3 Tutorial

Spanning more than two decades of operation, the Minnetonka, Minnesota-based company has a subsidiary in Germany and an international network of distributors and channel partners who share its commitment to quality and service. More information is available at www. Minnetonka Audio Software, Inc. The latest version of the Dolby-certified codec is the first in the industry to integrate Minnetonka Audio's loudness measurement technology as seen in its benchmark AudioTools TM Server family.

Minnetonka Audio Software Inc. MASI , a leader in production software for motion picture, broadcast surround sound, and consumer electronics applications, today announced that it is now providing worldwide distribution and resales of the Dolby R Media Emulator toolkit from California-based Dolby Laboratories Incorporated. This fortifies Minnetonka Audio's already comprehensive offering of production problem solvers.

Lakeshore Records has used the SurCode software to encode full surround sound in a stereo-friendly, two-channel format. Regulatory and Standards. Need to Know. NAB Show. Resource Center. All Digital Editions.