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One of the key selling points for Blu-ray Disc is its support for discrete multichannel audio BD players paired with A/V receivers are able to deliver a compelling experience 51 and 71 channel surround sound with a quality equivalent to (or better than) CD audio Interestingly, while a higher quality of video has usually been assumed to be the most compelling feature by the creators of DVD and BD, it seems that a higher quality audio experience may be an even more significant motivating factor Most consumers, it seems, are familiar with the common 51 channel speaker setup, with left (L), center (C), right (R), left surround (LS), and right surround (RS) speakers and lowfrequency effects subwoofer (LFE) arranged around the room Now, with Blu-ray Disc, new speaker configurations are appearing For example, the 71-channel audio codecs allow for multiple different speaker arrangements, including the standard 51 plus either two additional center surround speakers, or two additional surround side speakers, or two additional surround rear speakers, or height speakers to provide altitude to the exprience In the meantime, releases to the theaters rarely use a 71-channel mix, and many more standard practices must be defined before these channel configurations take on greater significance
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Jitter is one of the most confusing aspects of digital video and audio, and this confusion carries over to Blu-ray Disc Even the experts disagree about its effects Part of the problem is that jitter means many things, most of them quite technical Modern episodes of Star Trek come closest to providing a comprehensive definition Since it s not very dramatic to say, Captain, we have detected jitter! crew members instead say, We have encountered a temporal anomaly! In general terms, jitter is inconsistency over time
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When most people speak of jitter, they mean time jitter, also called phase noise, which is a time-base error in a clock signal deviation from the perfectly spaced intervals of a reference signal Figure 210 compares the simplified square wave of a perfect digital signal to the same signal after being affected by factors such as poor-quality components or poorly designed components, mismatched impedance in cables, logic-level mismatches between integrated circuits (ICs), interference and fluctuations in power supply voltage, radiofrequency (RF) interference, and reflections in the signal path The resulting signal contains aberrations such as phase shift, high-frequency noise, triangle waves, clipping, rounding, slow rise/fall, and ringing The binary values of the signal are encoded in the transition from positive voltage to negative voltage, and vice versa In the distorted signal, the transitions no longer occur at regularly spaced intervals Figure 210 Effects of Interface Jitter
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However, looking closely at Figure 210 reveals something interesting Even though the second signal is misshapen to the point of displacing the transition points, the sequence of ones and zeros is still reconstructed correctly, since each transition is within the interval timing window In other words, there is no data loss, and there is no error The timing information is distorted, but it can be fixed This is the key to understanding the difference between correctable and uncorrectable jitter In the digital domain, jitter is almost always inconsequential Minor phase errors are easily corrected by resynchronizing the data Of course, large amounts of jitter can cause data errors, but most systems specify jitter tolerances at levels far below the error threshold19 Jitter is an interface phenomenon it only becomes a problem when moving from the analog to the digital world or from the digital world to the analog world For example, jitter in the sampling clock of an analog-to-digital converter causes uneven spacing of the samples, which results in a distorted measurement of the waveform (Figure 211) On the other end of the chain, jitter in a digital-to-analog converter causes voltage levels to be generated at
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19The AES/EBU standard for serial digital audio specifies a 163 ns clock rate with 20 ns of jitter The full 40 ns range is 24 percent of the unit interval Testing has shown that correct data values are received with bandwidths as low as 400 kHz Jitter in the recovered clock is reduced with wider bandwidths up to 5 MHz The CD Orange Book specifies a maximum of 35 ns of jitter, but also recommends that total jitter in the readout system be less then 10 percent of the unit interval (that is, 23 ns out of 230 ns) The DVD-ROM specification states that jitter must be less than 8 percent of the channel bit clock period (8 percent of 38 ns comes to approximately 3 ns of jitter) In BD, layer 0 jitter must be less than 098 ns (65 percent of the 15 ns channel clock period) and layer 1 jitter must be less than 128 ns (85 percent)
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