Dts Hd Vs Dts Hd Master Audio

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Imke

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Aug 5, 2024, 11:18:27 AM8/5/24

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Can infuse pro play my rips with DTS-HD Master Audio and Dolby TrueHD sound tracks through my newly purchased AV receiver?

I read somewhere on this forum before that there was a bug with tvOS which broke the passthrough - and if so, has this been fixed already?

I know infuse Pro is supposed to be able to send lossless DTS-HD Master Audio and Dolby TrueHD sound tracks via LPCM (software decode) to a receiver, is the software decoding any inferior in performance compared to the same soundtrack being transmitted via a standalone media player which then is decoded via the receivers hardware?

A friend of mine has said to me he is not a fan of the infuse pro because the player should only decode the video and the receiver should decode the audio. Does it matter who is doing the decoding and why?

Which is best, sending PCM or bitstream from the player to the A/V receiver? I have reviewed many posts in the A/V forums and other areas that don't seem to give a definitive answer. I have an Onkyo TX-SR608 AVR and an LG Blu-ray player capable of...

The only real caveat is Infuse is not able to support Atmos or DTS:X due to limitations in tvOS, but this is something we are encouraging Apple to change. A few more details can be found here. Help get (more) Dolby Atmos on Apple TV

So if Infuse can send DTS-HD MA and Dolby TrueHD via Apple TV to AV Receiver, how do I know it is actually doing that and PCM (in my case a Yamaha AV) is playing actually lossless and not something else? Is there a way to proof?

This is a MUST feature and is available on Avid. I use submix tracks to route audio to different outputs all the time, to create stems of the edit. These tracks are often used to send audio to outputs 7&8 and then pan left so it is only on output 7. Editors do not need to control or change this, but it is required for functionality. It would make the timeline much neater if I can hide these tracks.

An upcoming large project I am working on requires the creation of an international audio mix, English audio mix, and full Dolby Atmos discreet audio (10 channels) all happening simultaenously, and to do this I am going to require up to 10 submix tracks. Long with the mix track, even at their smallest size this takes up a huge amount of screen real estate. If I coudl hide them this would make a huge difference.

I have over a hundred audio clips in my project, and I want them all to be the perfect volume, isnt there some kind of tool for that? And they should be like -1, right before the red bars am I right?

- Open the Audio Track Mixer from the Window menu

- Unfold the little arrow to be able to insert the effects.

- Apply a Tube-modeled Compressor

- With double click on the name of the applied effect you open it and in the Track Fx Editor window you apply a Pancake Batter effect to it.

- Play around with the settings especially with the Ratio.

I kinda have a different perspective. Balancing audio and sweetening audio is what editing is all about. Alternatively, you can pay an audio engineer to mix your audio, but I consider it an essential editing skill. I normally have my essential sound window open next to my audio meters and adjust audio as I go. I have saved an essential sound base preset which works for most dialogue clips, with some medium compression and eq on it. I adjust volume there and use the repair option to clean up anyt

I'm not sure what you mean by "offensively loud". Loudness is more about the volume of your speakers. For social I generally try and mix as loud as I can without introducing distortion (meters peaking into the red). For a drama, you would expect much more dynamic range - so you mix dialogue at a lower level than say a fight sequence or a car crash or loud music. For a TV commercial I would use something like loudness radar (Audition) and mix to whatever the regs are for the platform (say - 18dB

Regarding the levels there are some references such as that the voices can be more or less between -12 dB, the sound effects between -10 dB and -30 dB, the musical tracks could be between -20 dB and -30 dB. These values are not set in stone so it is your ear that should really define the best volume level for your audio clips.

Can I do something like nest the entire audio and apply one compressor, or reimport a lossless render and do it that way? I checked out the pancake batter approach- probably the best but above my pay grade!

I'm experimenting with the seesential sound tab now, but the video volume is offensivly loud to me, and when I adjust the volume down using this feature, it is still loud but the decibal meter says its at -18 decibals. I don't know how to measure the loudness or how loud the audio should be, so I'm just comparing it to youtube videos and trying to get it to sound right.

I feel like i should be paying for this prompt and professional consultation, but instead, perhaps I can ask one more favor of you; could you tell me if that first sequence is way too loud? Thank you! =pt1Br8Sp-PI&t=164s

in my motorcycle helmet, I have a Bluetooth headset. (Cardo Scala Rider G9x) it functions like a regular Bluetooth headset, plus a few other features. but anyway, I have a CB radio that I would like to run through Bluetooth to my headset. I already have a push-to-talk switch on the handlebar, so really I just have to figure out how to route the audio to and from the CB via Bluetooth. a side option would be to route FM radio to the headset when the CB is not in use.

Most of what I want to do is easy to figure out, but I just can't seem to find the Bluetooth module. I have found audio modules that function as the headset side, but not the master side. has anybody run across a module such as that?

Bluetooth is for digital data transmission. An analog signal has to be digitized, into a data stream that is understood by the headset. You can try to send various audio files, e.g. MP3, WAV, to find out what's understood by the headset.

Just registered to ask if you had any luck with BC127? I'm facing the exact same problem (I want to use a walkietalkie with HFP as a master), and I'm finding it difficult to figure out which module can definitely do it.

Hi, I am also interested in making exactly same thing, since we are preparing for long trip with group of motorcyclists, and we already have simple motorola radios and bluetooth headsets. Now we have to hook it up somehow

Looks like those modules are not capable to run as masters, also looking through specification of RN52 and BC127, I was not able to find any way to enable it as a master. This is needed becaue headset runs as a slave only.

Regards to all,

And I want to make one project where I need a Bluetooth audio module that I can work in master mode. In search of the team, I found two models that are able to do this: Adeunis ARF32 and Microchip RN52SRC.

Unfortunately, ARF32 can not be purchased anywhere.

RN52SRC costs about $ 20. To be sure, the RN52SRC is a module that works in MASTER mode. A plain RN52 is a module that works in SLAVE mode. It is possible to have the RN52 firmware upgrade in the RN52SRC.

I noticed that I have not worked with the RN52SRC yet, but as far as I understand what I read about it, it should be what it is for me, and I hope you need it too.

DTS-HD Master Audio (DTS-HD MA; known as DTS++ before 2004[1]) is a multi-channel, lossless audio codec developed by DTS as an extension of the lossy DTS Coherent Acoustics codec (DTS CA; usually itself referred to as just DTS). Rather than being an entirely new coding mechanism, DTS-HD MA encodes an audio master in lossy DTS first, then stores a concurrent stream of supplementary data representing whatever the DTS encoder discarded. This gives DTS-HD MA a lossy "core" able to be played back by devices that cannot decode the more complex lossless audio. DTS-HD MA's primary application is audio storage and playback for Blu-ray Disc media; it competes in this respect with Dolby TrueHD, another lossless surround format.