qr code windows phone 8 c# Multichannel Analog Audio in Software

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Multichannel Analog Audio
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A component multichannel audio connection can potentially be as good as a digital audio connection However, such outputs use the digital-to-analog converters that are built into a player, and they may not always be of the highest quality, especially on a low-cost player The
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Blu-ray Disc Demystified
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analog signal must be converted back to digital when connected to a digital receiver If you have an amplifier with six, seven, or eight multichannel inputs, individual analog audio connections are an appropriate choice, because a Dolby Digital decoder will not be required All BD players include a built-in two-channel Dolby Digital audio decoder Only some players include a full six-channel decoder along with the multichannel digital-to-analog converters and external connectors necessary to make the decoded audio available Some players support the Dolby EX or DTS ES formats, which add a rear center channel A few players support eight channels out, decoding DTS Master Audio and Dolby TrueHD, with either two, six, or eight output connections Connecting Multichannel Analog Audio A multichannel capable player typically has six, seven, or eight RCA or BNC jacks, one for each channel Hence, a receiver/amplifier with six to eight audio inputs or more than one amplifier is needed Hook individual audio cables to the connectors on the player and to the matching connectors on the audio system The connectors typically are labeled for each speaker position: L, LT, or Left; R, RT, or Right; C or Center; LR, Left Rear, LS, or Left Surround; RR, Right Rear, RS, or Right Surround; Subwoofer or LFE; and sometimes, CR, Center Rear, CS, or Center Surround Some receivers use a single DB-25 connector instead of separate connectors An adapter cable would be required to convert from DB-25 on one end to multiple RCA connectors on the other
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Stereo/Surround Analog Audio
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A two-channel audio connection is the most widely used option, but it does not have the quality and discrete channel separation of a digital or multichannel audio connection All players include at least one pair of RCA (or sometimes BNC) connectors for stereo output Any disc with multichannel audio will be downmixed automatically by the player to Dolby Surround output for connection to a regular stereo system or a Dolby Surround/Pro Logic system When making connections for a stereo/surround analog audio environment, connect two audio cables with RCA or BNC connectors to the player Connect the other ends to a receiver, an amplifier, a TV, or other audio amplification system In some cases, the audio input on the stereo system (such as a boom box, if it can be rightly called a stereo system) will be a phono or miniphono jack instead of two RCA jacks, thus an adapter cable becomes necessary If the player is a portable player with a miniphono connector, a phono-to-RCA adapter cable is usually required to connect the player to the audio system If the player includes a phono or miniphono connector for headphones, it generally is not recommended that the headphone output be used to connect the player to a stereo system because the line levels are not appropriate
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Bass and Low-Frequency-Effects
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The heart-thumping, seat-shaking excitement of action movies relies heavily on deep, powerful low-frequency audio effects BD provides audio quality that is actually superior to
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what comes on film for theaters It is up to the home theater owner (subject to spousal approval and neighbor tolerance) how close he or she wants to get to a theater sound system All the 1 sound encoding formats provide special channels for low-frequency effects (LFE) Despite becoming a standard feature, the LFE channel is frequently misunderstood by producers and listeners Part of the problem is the LFE channel s overuse by audio engineers It is possible, and quite normal, for all of the bass in a movie to be mixed in the five main channels, because all are full frequency channels The LFE channel should be reserved for extraordinary bass effects, the type that only work well in a full discrete surround system with at least one subwoofer Again, though, the same bass effects could be mixed in a 50 configuration with no loss or compromise, because modern receivers, particularly those with Dolby Digital and DTS decoders and a separate subwoofer output, have integrated bass management Depending on the speaker configuration, the receiver automatically filters and routes bass below a certain frequency to the speakers that can reproduce it For example, if an audio system has five small bookshelf speakers and a subwoofer, the receiver should send all the bass below 80 Hz or so to the subwoofer In an audio system with a few large speakers, some smaller speakers, and a subwoofer or two, the receiver will route low-frequency audio from all channels to the large speakers and the subwoofers It does not matter what channel the bass comes from; all low frequencies from the main channels and the LFE channel will be sent to every speaker that can handle them This is the key to understanding why certain complaints about bass and LFE are groundless A 50 mix does not compromise the audio or cheat owners of high-end audio systems, because all the necessary bass is still in the mix Omitting the LFE channel when downmixing to two channels is not a terrible thing, because nothing vital rests in the LFE channel only, extra oomph effects that few two-channel systems can do justice to This does assume that the engineer creating the audio mix understands the purpose of the LFE channel and does not blindly move all low frequencies into it
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