Denon AVR-4806CI - Manual (Page 150)

150
Additional Information
[3] DTS-ES™
DTS-ES is a new multi-channel digital signal format
developed by Digital Theater Systems, Inc. While offering
high compatibility with the conventional DTS Digital
Surround format, DTS-ES greatly improves the 360-degree
surround impression and space expression thanks to
further expanded surround signals. This format has been
used professionally in movie theaters since 1999.
In addition to the 5.1 surround channels (FL, FR, C, SL, SR
and LFE), DTS-ES also offers the SB (Surround Back,
sometimes also referred to as “surround center”) channel
for surround playback with a total of 6.1 channels. DTS-ES
includes two signal formats with different surround signal
recording methods, as described below.
¢ DTS-ES™ Discrete 6.1
DTS-ES Discrete 6.1 is the newest recording format. With
it, all 6.1 channels (including the SB channel) are recorded
independently using a digital discrete system. The main
feature of this format is that because the SL, SR and SB
channels are fully independent, the sound can be designed
with total freedom and it is possible to achieve a sense
that the acoustic images are moving about freely among
the background sounds surrounding the listener from 360
degrees.
Though maximum performance is achieved when sound
tracks recorded with this system are played using a DTS-
ES decoder, when played with a conventional DTS decoder
the SB channel signals are automatically down-mixed to
the SL and SR channels, so none of the signal components
are lost.
¢ DTS-ES™ Matrix 6.1
With this format, the additional SB channel signals
undergo matrix encoding and are input to the SL and SR
channels beforehand. Upon playback they are decoded to
the SL, SR and SB channels. The performance of the
encoder used at the time of recording can be fully matched
using a high precision digital matrix decoder developed by
DTS, thereby achieving surround sound more faithful to
the producer’s sound design aims than with conventional
5.1- or 6.1-channel systems.
In addition, the bit stream format is 100% compatible with
conventional DTS signals, so the effect of the Matrix 6.1
format can be achieved even with 5.1-channel signal
sources. Of course it is also possible to play DTS-ES Matrix
6.1 encoded sources with a DTS 5.1-channel decoder.
When DTS-ES Discrete 6.1 or Matrix 6.1 encoded sources
are decoded with a DTS-ES decoder, the format is
automatically detected upon decoding and the optimum
playing mode is selected. However, some Matrix 6.1
sources may be detected as having a 5.1-channel format,
so the DTS-ES Matrix 6.1 mode must be set manually to
play these sources. (For instructions on selecting the
surround mode (
page 53).)
The DTS-ES decoder includes another function, the DTS
Neo:6 surround mode for 6.1-channel playback of digital
PCM and analog signal sources.
¢ DTS Neo:6™ surround
This mode applies conventional 2-channel signals to the
high precision digital matrix decoder used for DTS-ES
Matrix 6.1 to achieve 6.1-channel surround playback. High
precision input signal detection and matrix processing
enable full band reproduction (frequency response of 20
Hz to 20 kHz or greater) for all 6.1 channels, and separation
between the different channels is improved to the same
level as that of a digital discrete system.
DTS Neo:6 surround includes two modes for selecting the
optimum decoding for the signal source.
• DTS Neo:6 Cinema
This mode is optimum for playing movies. Decoding is
performed with emphasis on separation performance to
achieve the same atmosphere with 2-channel sources as
with 6.1-channel sources.
This mode is effective for playing sources recorded in
conventional surround formats as well, because the in-
phase component is assigned mainly to the center channel
(C) and the reversed phase component to the surround
(SL, SR and SB channels).
• DTS Neo:6 Music
This mode is suited mainly for playing music. The front
channel (FL and FR) signals bypass the decoder and are
played directly so there is no loss of sound quality, and the
effect of the surround signals output from the center (C)
and surround (SL, SR and SB) channels add a natural sense
of expansion to the sound field.