Mixing Consoles for Dolby Digital

A console with film-style panning will allow the greatest flexibility in placing sounds. Console automation will help create complex mixes and precise pans.

Older traditional mixing consoles with a stereo 2-channel mix-down bus and 4 auxiliary busses can also be used. The first 6 outputs of the mixer will be Left, Right, Center, LFE, Left Surround, and Right Surround, respectively. Assign input track 1 to bus 1-2. Assign bus 1 and 2 to outputs 1 and 3. The panner on input track 1 will now pan between Left and Center. Repeat this process until all outputs are configured. This is a functional, yet clumsy solution that we don't recommend.

Below are some popular examples of consoles with film-style panning. The mixing consoles marked with a (*) have been donated to the Dolby Game Developer Support Team and have been used extensively by our labs.

* Mackie Digital 8-Bus
http://www.mackie.com/

Panasonic DA-7mkII
http://www.panasonic.com/

Roland VM-7000
http://www.rolandus.com

Sony DMXR100
http://www.sony.com

Tascam TM-D4000
http://www.tascam.com/

* Yamaha 02RV2
http://www.yamaha.com/

Yamaha O3D
http://www.yamaha.com/

Dolby Digital Encoder

These products will allow users to encode audio into Dolby Digital (AC-3) files. Much like other audio-compression sound formats, Dolby Digital files may not be mixed with real-time sound effects unless they are first decoded by the game platform. Most platforms, such as the Playstation 2, simply pass the Dolby Digital data directly to a console's digital output and are decoded by a gamer's A/V receiver with Dolby Digital decoding.

Dolby Digital files can be decoded during gameplay and mixed with real-time sound effects in PC games that support either the Sound Blaster Live! 5.1 series or the Sound Blaster Audigy series of soundcards. Dolby Digital files are used only in cutscenes on the Playstation 2, and cannot be decoded and mixed with real-time sound effects.

Please refer to the Dolby Digital Interactive Solutions section for more details on the various platforms.

Dolby Laboratories DP569
The Dolby DP569 is a professional reference Dolby Digital encoder. Its inputs are all BNC, so you'll need some 75-110 ohm transformers if you are connecting your balanced inputs to it in order to hook it up! For more information check out:
http://www.dolby.com/pro/digaudio/569.pdf

Dolby Digital Capture PC

A PC is needed to capture the Dolby Digital data generated by the DP569 and save it to disc. You will need both of the below products:

Dolby Laboratories Dolby Digital Recorder (Cat. No. 542)
Dolby Digital Recorder is a software application that captures, saves, and plays Dolby Digital files through a sound card. You can get the Dolby Digital Recorder for free with the purchase of a DP569. Don't forget to ask for it when ordering your DP569!

Digital Audio Labs Card Deluxe
This digital audio card will allow you to accept and produce a Dolby Digital file from your PC in conjunction with the Dolby Digital Recorder.
http://www.digitalaudio.com/

Dolby Digital Encoder

These products will allow users to encode audio into Dolby Digital (AC-3) files.  Much like other audio-compression sound formats, Dolby Digital files may not be mixed with real-time sound effects unless they are first decoded by the game platform.  Most platforms, such as the Playstation 2, simply pass the Dolby Digital data directly to a console's digital output and are decoded by a gamer's A/V receiver with Dolby Digital decoding.

Dolby Digital files can be decoded during gameplay and mixed with real-time sound effects in PC games that support either the Sound Blaster Live! 5.1 series or the Sound Blaster Audigy series of soundcards.  Dolby Digital files are used only in cutscenes on the Playstation 2, and cannot be decoded and mixed with real-time sound effects.

Please refer to the Dolby Digital Interactive Solutions section for more details on the various platforms.

Dolby Laboratories DP569
The Dolby DP569 is a professional reference Dolby Digital encoder. Its inputs are all BNC, so you'll need some 75-110 ohm transformers if you are connecting your balanced inputs to it in order to hook it up! For more information check out:
http://www.dolby.com/pro/digaudio/569.pdf

Steinberg Nuendo Dolby Digital Encoder
The Nuendo Dolby Digital Encoder is a plug-in that allows Steinberg Nuendo projects to be coded into Dolby Digital. Licensed by Dolby Laboratories, the encoder offers the same full functionality as the original Dolby hardware, supporting encoded bit rates from 56 to 640 kbps and channel configurations from mono to 5.1. Dolby 's Bitstream mode, Dialog Normalization, Surround and Center Downmixing Level settings are all included; up to six files from the export dialog or the entire Nuendo project can easily be selected and sent to the plug-in for immediate encoding.
http://www.nuendo.com/

Bass Management Systems

Bass management redirects bass intended for the five main speakers and routs this bass along with the LFE to the subwoofer.  By concentrating all of the bass information in the subwoofer, bass redirection improves the evenness and clarity of the bass response in your studio.  

Bass management systems in consumer Dolby Digital receivers add 10dB to the signal coming from the LFE channel of the decoder.  This arrangement is designed to ensure that there is plenty of headroom for those special subsonic occasions.  Bass management systems, in addition to providing bass redirection, also supply 10 dB boost to the LFE signal, so that the LFE response in your studio will mirror the response of a consumer decoder.

Miller & Kreisel LFE-4 Bass Management Controller
The LFE-4 Bass Management Controller by M&K has balanced ins and outs, which interfaces nicely with self-powered monitors.
http://www.mkprofessional.com/bass_mgmt.html

Studio Technologies Model 65 Bass Manager
The Model 65 also comes equipped with balanced XLR inputs and outputs.

http://www.studio-tech.com/SCforSurround.htm#M65

TMH Labs  MAPS – Multichannel Audio Processing System

Developed by Tomlinson Holman, this bass management system supports ring-tip-sleeve (RTS) balanced inputs.

http://www.tmhlabs.com/home.htm

Kind of Loud Woofie (Mac/Win)
If you are a ProTools user, check out the Woofie bass management tool from Kind of Loud.
http://www.kindofloud.com/products/woofie.html

Martinsound MultiMAX EX

MultiMAX EX is an all in one surround monitoring solution that handles multiple monitor setups as well as bass management.  MultiMAX EX has 16 speaker outputs with individual trims as well as a master level control.

http://www.martinsound.com

5-Channel Speaker Systems and Subwoofers

Main speakers should be able to play at the same maximum level and have the same frequency response. The simplest way to ensure that the speakers are matched is to make sure they’re all the same model!

The Left and Right should be 30 degrees from Center. The Surrounds should be 110 degrees from Center. All three front high frequency drivers, or tweeters, should be in a straight horizontal line.

The LFE channel, which accounts for the "0.1" in "5.1", is a monaural channel that operates below a frequency between 80 and 120 Hz. The LFE has 10 dB greater headroom that any main channel. Therefore, a bass management system will most likely boost the LFE 10dB. Remember, the Subwoofer and the LFE are not the same. The LFE is the 0.1 channel, the Subwoofer is the speaker. The LFE, as well as bass from other channels, may appear in the Subwoofer.

Calibration:

All main channels should be calibrated to the same level using an SPL meter set to "C-weighted slow", and either pink noise or the noise generator in your Dolby Digital decoder.  The SPL meter should be positioned at arm's length from the listening station, pointing up at an angle of 45 degrees to the center speaker. 

Remain in this position to take readings from the three front speakers (Left, Center, Right).  When taking the SPL readings for the left surround and right surround speakers, keep the meter at the same angle and position as you did for the front speakers.  Turn your body 90 degrees from the center speaker towards the wall closest to the surround speaker you are measuring.  Remember, for each individual reading, play pink noise only through that speaker.

The reference mixing level for small rooms is 79 to 85 dB SPL per channel.

The Subwoofer should be calibrated, with the 10dB LFE boost active in your bass management system, so that it is 4-6 dB hotter than the mains. The test noise used for subwoofer calibration should be pink noise low-pass filtered at 120 Hz.  It is best to use an RTA for subwoofer calibration, though an SPL meter can give you an approximate reading.  Subwoofer calibration is an area of controversy. Make sure to verify Subwoofer calibration by listening to a familiar movie in Dolby Digital.

We are available to answer questions about studio calibration and set-up.  Please contact us!

Radio Shack Sound Level Meter
This is a great, inexpensive SPL meter. Analog and digital display models are available. We like the analog one – it’s easy to use and it’s cheaper!
http://www.radioshack.com/

Kind of Loud Tweetie (Mac/Win)
If you are a ProTools user, check out the Tweetie calibration plug-in.
http://www.kindofloud.com/products/tweetie.html

Terrasonde Audio Toolbox
Contains a very precise SPL meter, an RTA, a pink noise generator, as well as other useful audio features.
http://www.terrasonde.com/