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Ever wondered where some of the end credits music and lyrics is coming from or even a few sound effects and the odd rare dialogue that has been sent to left and right with equal phase and frequency response, no?
Well here's your chance of rather basic and simple improvement thou not really an improvement merely an extension of blending the common centre phantom signal from left and right and blending it into the centre channel. The diagram is so basic its more or less on the same principles of the Dolby EX process that evolved from the Dolby CP45 cinema processor and was later modified into the Dolby SA10 for Star Wars episode 1: The Phantom Menace and Fight Club (1999).
If you use matching fronts and if you where to add a fourth into the front thou placed above the centre channel and select stereo mode to preamplifier you'll end up with pre Voice of God IMAX approach, thou the IMAX is six-track discrete left centre upper centre right with independent left and right surrounds. The sub bass is diverted from all channels to the 8 subs placed below the centre channel.
If Dolby where to get there act together it would be feasible to encode the original mix onto DVD only a new type of process or approach is needed to or the same principles of bass management to send the six channels to the sub bass. The upper centre would have to be sent to the LFE.1 channel as full spectrum channel and bingo you've got true IMAX six-track in the home, or IMAX 6.0.
Anyway follow the simple diagram along with calibration disc. Use the disc to set-up the LCR fronts or L/C/UC/R (UC = upper centre) depending on set-up and readily available loudspeakers amplifiers.
Once all is connected in the diagram turn off or mute surrounds and LFE.1 sub bass, play (wideband full spectrum pink noise all channels) and re calibrate levels of the main LCR as the Dolby stereo pro-logic decoder will be acting like preamplifier set the levels to match the centre channel that is, you set the levels to the same level as before 75db LCR or what ever you prefer.
Now mute left and right fronts along with the centre channel that is outputting from the main Dolby dts decoder AVR. You can now turn on the Dolby stereo pro-logic decoder while playing (wideband full spectrum pink noise all channels) and monitor the centre phantom signal on the centre channel in the room, and set the level on the Dolby stereo pro-logic decoder via its own level to equal SPL db 75db or what you prefer, just as long as the levels are set to the same SPL db.
Now play some movie program. You can bypass the Dolby stereo pro-logic mode anytime you wish; this will not degrade the soundtrack unless you follow the diagram and instructions.
If you wish you can install EQ between the outputs from Dolby stereo pro-logic decoder and the main centre channel output if you have tone frequency differences and chances are each and everyone of us have few db more on the HF left centre or right and little trim will bring it all into focus, providing the LCR are at the same height level and aiming downwards to the sweet spot.
I'll add the next chapter to this later on.
Well here's your chance of rather basic and simple improvement thou not really an improvement merely an extension of blending the common centre phantom signal from left and right and blending it into the centre channel. The diagram is so basic its more or less on the same principles of the Dolby EX process that evolved from the Dolby CP45 cinema processor and was later modified into the Dolby SA10 for Star Wars episode 1: The Phantom Menace and Fight Club (1999).
If you use matching fronts and if you where to add a fourth into the front thou placed above the centre channel and select stereo mode to preamplifier you'll end up with pre Voice of God IMAX approach, thou the IMAX is six-track discrete left centre upper centre right with independent left and right surrounds. The sub bass is diverted from all channels to the 8 subs placed below the centre channel.
If Dolby where to get there act together it would be feasible to encode the original mix onto DVD only a new type of process or approach is needed to or the same principles of bass management to send the six channels to the sub bass. The upper centre would have to be sent to the LFE.1 channel as full spectrum channel and bingo you've got true IMAX six-track in the home, or IMAX 6.0.
Anyway follow the simple diagram along with calibration disc. Use the disc to set-up the LCR fronts or L/C/UC/R (UC = upper centre) depending on set-up and readily available loudspeakers amplifiers.

Once all is connected in the diagram turn off or mute surrounds and LFE.1 sub bass, play (wideband full spectrum pink noise all channels) and re calibrate levels of the main LCR as the Dolby stereo pro-logic decoder will be acting like preamplifier set the levels to match the centre channel that is, you set the levels to the same level as before 75db LCR or what ever you prefer.
Now mute left and right fronts along with the centre channel that is outputting from the main Dolby dts decoder AVR. You can now turn on the Dolby stereo pro-logic decoder while playing (wideband full spectrum pink noise all channels) and monitor the centre phantom signal on the centre channel in the room, and set the level on the Dolby stereo pro-logic decoder via its own level to equal SPL db 75db or what you prefer, just as long as the levels are set to the same SPL db.
Now play some movie program. You can bypass the Dolby stereo pro-logic mode anytime you wish; this will not degrade the soundtrack unless you follow the diagram and instructions.
If you wish you can install EQ between the outputs from Dolby stereo pro-logic decoder and the main centre channel output if you have tone frequency differences and chances are each and everyone of us have few db more on the HF left centre or right and little trim will bring it all into focus, providing the LCR are at the same height level and aiming downwards to the sweet spot.
I'll add the next chapter to this later on.