Originally Posted by MACCA350
That is how I would perform a comparison of the encodes themselves(that's how I did the DVE and AVIA tests as that was the intention)
This testings was not particularly for that kind of a comparison, it was originally to find out why there are audible differences between lossless tracks when played through connected equipment. In other words, is it Dialog norm offsets, mastering levels, different masters, modifications, etc. Some of this can be tested straight from the disc, but I am looking at the end result.
I am yet to use a disc that contains both TrueHD and DTS-HDMA for this comparison........Top Gun BD is on the list to test though.
LFE has always been handled differently between DTS and Dolby... it is why you usually have seperate gain settings for each format on most processors/receivers... granted it's usually -10db for DTS Music sources, but I don't honestly know how they are dealing with gain on DTS-HD decoders.
Also, and I need to confirm this from a conversation that I had with about lossless encoding on both formats, but Dolby filters the LFE while DTS doesn't, hence the different looking waveforms.... and the proper way to do it is to filter the LFE.
The DTS waveform seems to support this, as it looks like it contains frequencies twice that of the Dolby encode... it's almost impossible to tell with a certainty with the Cubase waveform display, but it's easy to hear if you play the LFE through a main channel without crossover or rolloff.
As a side note, this is one of the main differnces in the theatrical presentations of Dolby and DTS (Dolby filters at 120; DTS filters the LFE at 80, and anything in the surrounds below 80 goes to the sub (DTS theatrical is actually 5.0, with the sub matrixed in with the surrounds on the encode.))
I will be doing the same thing as you in a couple of weeks.. except I will have the original masters and the ability to level match using meters designed for the task.