OWNER S MANUAL. 1 Overview

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1 OWNER S MANUAL 1 Overview SurCode for Dolby Pro Logic II converts your 5.1 surround soundfiles to the Dolby Pro Logic II format by matrix-encoding the Center, Surround, and LFE tracks into the Left and Right tracks. The L and R tracks then become Lt/Rt, which stands for Left total/right total - meaning that Lt/Rt tracks contain the matrix-encoded Center, Surround and LFE tracks. These Lt/Rt tracks can be distributed and played in stereo, and also decoded by a Dolby Surround/Pro Logic/Pro Logic II decoder and played back in surround. SurCode can accept up to 6 master surround soundfiles in either.wav or.aiff format. SurCode outputs an Lt/Rt.wav file that can be used in any stereo transmission medium. Audio files encoded by Surcode for Dolby Pro Logic II are fully compatible with all branded Dolby Surround, Pro Logic, and Pro Logic II decoders, either in software or hardware format. SurCode for Dolby Pro Logic II contains a decoder, which is essential for properly setting the encode parameters. Also, the encoder/decoder in SurCode can work in real-time, enabling you to monitor the results of encoder option changes while making them. Note: Dolby Pro Logic II matrix encoding is a creative process, unlike Dolby Digital (AC-3) or other discrete-channel digital data compression (lossy) encoding. Because the matrix encoder combines the center, LFE, and surround elements into the Lt/Rt channels by changing level, phase, and other parameters, the channel gain trim settings are quite important in assuring proper stereo and surround compatibility. When compared to AC-3-encoded soundfiles, matrix-encoded soundfiles are not as discrete in their surround decoding capability; however, Dolby Pro Logic II is the best way to distribute encoded surround mixes or elements within an existing stereo transmission medium, whether broadcast, cable, games, CDs, DVDs, or videotapes. Matrix-encoded soundfiles take up no extra space, and use no extra computer CPU resources. 1

2 The Main Screen Figure 2-1 shows the SurCode for Dolby Pro Logic II Main Screen. 2.1 Menu Bar Figure 2-1 This standard Windows menu bar features the Setup menu (see section 3.

2 2 The Main Screen Figure 2-1 shows the SurCode for Dolby Pro Logic II Main Screen. 2.1 Menu Bar Figure 2-1 This standard Windows menu bar features the Setup menu (see section 3.1, The Setup Menu), the Options menu (see section 7, Device Options, and section 9, Decoder Options), and the Help menu (see section 10, The Help Menu). 2

2.2 Destination Button The Destination Button opens a Browse window for folder or drive selection, and the destination name can be manually entered. 2.

3 2.2 Destination Button The Destination Button opens a Browse window for folder or drive selection, and the destination name can be manually entered. 2.3 Sample Rate Window This window indicates/sets the soundfile sample rate (see Figure 2-2). 2.4 Encode Panel Figure 2-2 This area contains the Encode location parameters and controls. 2.5 Soundfile Browse Buttons This set of soundfile windows shows which soundfiles are assigned to the (up to) 6 channels. The Channel Browse Buttons allow searching the computer s folders for the soundfiles to be encoded. 2.6 Playback Panel This area contains the Playback parameters and controls. 3 Getting Started 1) Select the (up to) 6 soundfiles of your surround master. 2) Select the file Destination, i.e. the name and location for the encoded soundfile. 3) Determine the appropriate settings for the Gain Trim pop-up faders, based on listening to both the Encoded (Lt/Rt) output and the Decoded 3

4 (Lt/Rt Decoded output). Refer to section 4, Encoding Options, for more information. 4) Click on the "Encode" button (see section 5, Encoding). This is the entire procedure for most recordings that you will encode. You can also set different start and end times (see section 5, Encoding). 3.1 The Setup Menu This is a standard Windows menu bar function. It allows you to open a New project, Open an existing one, Save the current project (as a Sur- Code Settings File, or.ssf ), do a Save As for the current project, or Exit the program. 3.2 Selecting the soundfiles to be encoded Up to 6 soundfiles need to be specified for the 5.1 channels (see Figure 3-1). Figure 3-1 4

Figure 3-2 Navigate to the directory that has the surround soundfiles to be encoded, and double-click on the soundfile appropriate for that channel - the name will then

5 To select a soundfile for any of the 6 channels, click on the Channel Browse button on the left that corresponds to the channel you want to load. This will bring up a browse window (see Figure 3-2). Figure 3-2 Navigate to the directory that has the surround soundfiles to be encoded, and double-click on the soundfile appropriate for that channel - the name will then appear in that Channel s window. The SubBass LFE file is always optional. To clear a Channel soundfile, click on the Clear button ( C ) to the right of the Channel Browse Window (see section 3.3, Clear buttons). 3.3 Clear buttons These buttons allow the individual channels to be cleared of soundfiles (see Figure 3-3). Figure 3-3 5

6 3.4 Selecting an output file for encoded sound You must select a Destination and a name for the encoded file (see Figure 3-4). Figure 3-4 Click on the Destination Button shown in Figure 3-4. This brings up the browse window (see Figure 3-5). Figure 3-5 Browse to the directory you want to save the encoded file in (shown in the window at the top labeled "Save in:"), and type a filename into the window labeled "File name:". Then hit the "Save" button. The directory pathname and filename will now appear in the window next to the "Destination" button. 6

7 4 Encoding Options When the (up to) six input files and the output (Destination) file have been selected, you are now ready to set the Encode Options. Note: If ALL input soundfiles are 24-bit, the encoded files will be 24- bit also. Otherwise, the encoded files will be 16-bit. As noted earlier, it is very important to correctly set the four pop-up Gain Trim faders ( L/R Front, Center, LFE, and L/R Surround). Not only are the Gain Trim settings critical for compatible stereo and surround playback, they are also important in ensuring that the matrix encoder does not overload at the input, or when it mixes ( matrixes ) the multiple channels. If, for example, the surround soundfiles have been Normalized (not recommended), the encoder will overload as soon as the channels are matrixed. Likewise, multi-channel peak level passages can overload the matrix encoder, even if the rest of the tracks are lower in level. Therefore it is necessary to play back (monitor) the source files ( Source selected in the Playback Panel), the matrix encoder output ( Lt/Rt selected in the Playback Panel), and the Decoder output ( Lt/Rt Decoded selected in the Playback Panel) in order to set the Gain Trims for best (most compatible) results. Figure 4-1 7

While the setup process is subjective, a simple guideline would be that the best results are those settings that sound best, i.e. when the Lt/Rt sounds like the Center, Surround, and LFE tracks are present but not too loud, and the Decoded Lt/Rt sounds most like the Source playback.

8 While the setup process is subjective, a simple guideline would be that the best results are those settings that sound best, i.e. when the Lt/Rt sounds like the Center, Surround, and LFE tracks are present but not too loud, and the Decoded Lt/Rt sounds most like the Source playback. We recommend that you read the Dolby Publication Mixing with Dolby Pro Logic II Technology that is included on the install disc in PDF format. You may also access it on the internet at Channel Gain Trim buttons The pop-up channel Gain Trim faders are activated by clicking and holding any of the Channel Gain Trim buttons. Moving the mouse changes the fader value. The button box shows the Trim values in 0.1 db increments above or below the Default value (see Figure 4-2). Figure 4-2 Note: There are four Gain Trim faders (and Channel Meters) for six soundfiles. The Left/Right Front and Surround soundfiles are treated as stereo channels and the same level change is applied to both channels. 8

Figure 4-3 This is a useful feature if the overall levels are too high or too low after adjusting the Channel Gain Trims.

9 4.2 Gain Trim Gang button This button gangs (groups) the four Channel Gain Trim faders together. The Left/Right Front pop-up fader becomes the Master Gain Trim fader (graying out the other three), with all values scaling up or down with their respective level offsets (see Figure 4-3). Figure 4-3 This is a useful feature if the overall levels are too high or too low after adjusting the Channel Gain Trims. If the Overload Indicator flashes during playback, the Channel levels must all be reduced, or the loudest Channel (indicated by the Channel Meters) must be reduced. If, however, you have already adjusted the individual Channel Gain Trims for optimum results, the Gang button can allow you to reduce the overall levels into the matrix encoder so no overload indications occur. 4.3 Gain Trim Reset button This button resets all four Channel Gain Trim values to their default values ( 0.0 db - see 4.5). 4.4 Mute/Solo buttons Figure 4-4 These buttons allow channel soundfiles to be muted and/or soloed during playback of Source files. (see Figure 4-5). Figure 4-5 9

4.5 Limiter button This button engages the Limiter function (see Figure 4-6). Figure 4-6 The Limiter function is useful if the Overload Indicator ( see section 4.

Instead of reducing the overall gain even further, the Limiter can catch the few peaks before they overload the matrix encoder.

10 4.5 Limiter button This button engages the Limiter function (see Figure 4-6). Figure 4-6 The Limiter function is useful if the Overload Indicator ( see section 4.6, Overload Indicator) is only showing a few overloads for the entire track. Instead of reducing the overall gain even further, the Limiter can catch the few peaks before they overload the matrix encoder. The Limiter function is actually six ganged channel limiters that are active only if the matrix encoder has indicated an overload ( Saturation ). The block of audio that caused the overload is then re-encoded at a lower gain level for the duration of the overload condition, which makes it an effective peak limiter. 4.6 Overload Indicator This indicator shows when the matrix encoder is overloaded, which results in distortion (see Figure 4-7). Figure 4-7 If the Overload Indicator is flashing often (more than three or four times per track), or remains lit, the overall gain must be reduced until the indicator no longer flashes, or until there are only a few flashes. The Overload Indicator becomes the Limiter Function Indicator (showing that the Limiter is active) when the Limiter Button is engaged (see Figure 4-6). 4.7 Channel Meters These three-segment level indicators show signal present, -6dB (below 0dBFS), and -1dB (just below clipping). The top and bottom meters are 10

11 for the Left/Right Front and Left/Right Surround pairs, with the paired channels shown on one meter (see Figure 4-8). 5 Encoding Figure 4-8 Once the Source and Destination files are selected, and the Encode Options are set, simply click on the "Encode" button (see Figure 5-1). Figure 5-1 You can cancel the encoding process at any time by clicking on the Stop" button. It is not necessary to encode the entire input surround master. For example, you may want to trim a few seconds of silence from the beginning 11

12 or end. You can use the "Start" and "End" windows to trim the soundfile during encoding (see section 8.3, Using the transport to trim a file ). You may also set the Start and End times manually in the appropriate window. Pressing the Start Reset button will reset the start time to the beginning of the soundfile, or zero, and pressing the End Reset button resets the end time to the end of the soundfile. The Status Bar will tell you when the encode process has been completed. Note: The time windows show time in the hours:minutes:seconds.hundredths format. Using direct entry of Start or End Times could result in the loss of samples, because the window does not show or allow entry of the thousandths value. 6 Monitoring There are five different monitor options using SurCode: 1. The input source soundfiles (surround format); 2. The encoder Lt/Rt output (real-time, stereo format); 3. The decoded encoder output (real-time, surround format); 4. The Lt/Rt encoded Destination file (stereo format); 5. The decoded Destination file (surround format). In order to monitor the various options correctly, you must have a monitoring environment capable of stereo and surround (L, R, C, LFE, Ls, Rs). The parameters for this are covered in Dolby document Mixing With Dolby Pro Logic II Technology, which can be found in PDF form on the SurCode for Dolby Pro Logic II Install Disc, or can be accessed on the internet at A paper titled Dolby Surround Mixing Manual on Dolby surround techniques and monitor setups can be found at tech/l.ml.9811.surmix.s.pdf. This is an early look at Dolby Surround, but the monitoring process can be applied to Dolby Pro Logic II. Also, your computer must have a six-channel soundcard or interface (see Figure 6-1). The analog outputs of this soundcard or interface are 12

13 sent to the mixer, monitor controller, or power amplifiers/powered speakers that make up your surround monitor environment. Figure 6-1 The analog outputs from the computer soundcard or interface allow you to monitor the various soundfile options, and a S/PDIF output allows you to monitor the stereo (non-decoded) soundfiles through a digitalinput device, or to decode the Lt/Rt with a digital-input hardware decoder. The soundcard device drivers are accessed with the Device Options section of the Options menu bar selection (see section 7, Device Options). Most hardware decoders accept the 6 analog outputs, as well as stereo analog, or S/PDIF coax or optical formats. 7 Device Options The "Device Options" window can be accessed through the Options menu (see Figure 7-1 Figure

This section allows you to assign soundcard outputs to use for monitoring (see Figure 7-2). Figure 7-2 7.1 Source and Decoded Output Windows wave devices work in stereo pairs.

14 This section allows you to assign soundcard outputs to use for monitoring (see Figure 7-2). Figure Source and Decoded Output Windows wave devices work in stereo pairs. You will need to assign 3 stereo wave drivers for 6 outputs to monitor 5.1 surround audio. This is done with a six-channel (or more) soundcard or interface (see Figure 6-1). These usually connect through analog outputs, although you can also connect them through ADAT, TDIF, or other digital output soundcards or interfaces (with six or more output channels). 7.2 Lt/Rt and Destination Output The Preview selection allows you to monitor the two-channel (stereo) playback modes with a separate output device if desired. Preview is two-channel (stereo) only, and the real-time encoder output ( Lt/Rt ) or the encoded soundfile ( Destination - see section 8.1, Playback Options) can be monitored separately from the surround playback mode options, as well as through a hardware decoder. 14

15 8 The Playback Panel Figure 8-1 shows the Playback (monitoring) Panel of the SurCode Main Screen. Figure 8-1 The Playback Panel has a familiar 5-button transport consisting of Return to Zero, Rewind, Fast Forward, Stop, and Play controls. When you click on the play button, playback begins at the time location shown in the Time Display window (to the right of the Play button). The time display keeps a running indication of where you are in the soundfile. Note: All Playback is at 16-bit resolution regardless of file bit depth. 8.1 Playback Options The Playback option buttons allow five different playback options: 1. Source - plays the input soundfiles (surround); 2. Lt/Rt - plays the real-time-encoded soundfile (stereo); 3. Lt/Rt Decoded - decodes and plays the encoded Lt/Rt soundfiles (surround); 4. Destination - plays the previously-encoded soundfile (stereo) from the hard disc; 5. Destination Decoded - decodes and plays the previously-encoded soundfile (surround) from the hard disc Source Playback This option plays the six source (input) soundfiles through the six output channels of the selected soundcard(s). This enables you to monitor the 15

16 original soundfiles for comparison with the decoded (after encoding) soundfiles Lt/Rt Playback This option plays the real-time encoder output (in stereo) through the Left Front/Right Front or S/PDIF outputs (as selected in the Device Options menu - see section 7, Device Options). This is important for monitoring the matrixed stereo signal for compatibility Lt/Rt Decoded This option plays the encoder real-time output through the built-in decoder in surround. This allows a comparison between the original (Source) soundfiles and the decoded Lt/Rt encoder output. This is important for setting the encoder options (see section 4, Encoding Options) in real-time while monitoring the stereo AND surround outputs for best results in both formats Destination Playback This option plays the encoded Lt/Rt Destination soundfile (from the disc drive) in stereo through the Left Front/Right Front or S/PDIF soundcard outputs Destination Decoded This option plays the Lt/Rt Destination file (from the disc drive) through the built-in decoder in surround format. This is useful for comparing an encoded file to the original (Source) files in surround mode. 8.2 Solo/Mute When you are playing from the 6 input soundfiles, you can mute or solo any of the 6 channels. The mute/solo buttons are to the left of the input channel browse buttons (see Figure 8-2). Figure

17 It is necessary to assign channel outputs to the soundcard(s) in order to monitor the soundfiles (see section 7, Device Options). 8.3 Using the transport to trim a file The playback and encode sections make it easy to trim a file for encoding. The start and stop times for the encoder default to the beginning and end of the soundfile. To trim a file, you will want to change these times. There are two buttons next to the start time, and also next to the stop time. These buttons are labeled "S" and "R" (see Figure 8-3). Figure 8-3 When you click on "S", the time that is showing in the monitor time display is copied into the encoder time window next to the button. When you hit the "R", the time is reset to the default (which is zero for the Start time, and is the end-of-recording time for the End time). For example, you can trim off unnecessary silence at the end of a recording. Listen to the recording and hit the "S" button on the End time when you hear the recording ending. The time can transfer either onthe-fly or with the transport stopped. The encoder will now trim the recording to the new end point, eliminating the unnecessary silence at the end. 17

18 9 Decoder Options The Decoder Options window is found under the Options menu selection (see Figure 9-1). Figure 9-1 Clicking on the Decoder Options selection opens the Decoder Options window (see Figure 9-2). Figure 9-2 Note: These are DECODER Options, and do not affect the Encoder settings. Options chosen in this window become the Decoder Options when new projects are started. 18

19 9.1 Mode Figure 9-3 shows the Mode pull-down menu in the Decoder Options window. Figure 9-3 Pro Logic II allows for 6 different modes. Four of these modes (Pro Logic Emulation mode, Virtual Compatible mode, Movie mode, and Matrix mode) are totally predefined, and no additional features are available. In Music mode, the Center Spread control, Dimension control, and Panorama modes are available as options. Finally, there is a Custom mode in which all of the decode parameters can be set independently Movie/Standard This mode is the standard setting for programs with video. This decoding is based on the original Pro Logic decoding scheme, but with the single Surround channel separated into Left and Right Surround channels Virtual Compatible This is the same as Movie, except that the Right Surround channel is not phase-inverted Music This mode is the most versatile feature of Pro Logic II. It activates the settings on the Panorama, Dimension, and Center Width menus; those settings can help a consumer make a stereo (Lo/Ro) recording into one that takes advantage of a multichannel listening environment. Particularly attractive for automotive entertainment systems, this can be used in home theaters as well. 19

20 Panorama This mode sends the stereo signal to the surround speakers as well as the front Left and Right. The Panorama setting is disregarded if the Pro Logic II mode is anything other than Music Dimension This adjusts the focus of the signal from the front speakers to the rear speakers. If the Pro Logic II mode is anything other than Music, the Dimension setting is read as 0 (Center) Center Spread This steers the Center output signal between the Center, Left, and Right outputs. At 0 degrees setting, there is no center width spreading. At 90 degrees, there is a phantom center Pro Logic Emulation This is the Pro Logic II system reproduction of the original Pro Logic decoding system. Because consumer decoders now offer Pro Logic II as the default Dolby Surround decoding system, this emulation mode is available to reproduce the original Pro Logic decoding if the consumer wishes to hear it. (This option is not available on all consumer decoders made with Pro Logic II.) Matrix This is primarily for radio reception in cars. It is essentially the same as the original passive Dolby Surround decoder without the directional steering provided by Pro Logic Custom This mode makes all decode options available (not as a preset). 20

9.2 Channel Configuration Figure 9-4 shows the Channel Configuration pull-down window in the Decoder Options window. This sets the Decoder to your playback speaker configuration. 9.3 Output Scale Figure 9-4 The Output Scale control functions basically as an attenuator (for the Decoder only).

21 9.2 Channel Configuration Figure 9-4 shows the Channel Configuration pull-down window in the Decoder Options window. This sets the Decoder to your playback speaker configuration. 9.3 Output Scale Figure 9-4 The Output Scale control functions basically as an attenuator (for the Decoder only). 9.4 Invert Right Surround In Pro Logic II, the Ls and Rs outputs are intended to be out of phase by 180 degrees for surround steered inputs. However, if the decoder is set to Movie mode, the polarity of the Rs output is inverted in order for the Ls and Rs outputs to be in phase. This improves phantom rear center imaging. In Movie mode, the polarity of the Rs output is inverted. 9.5 Surround Shelf Filter A shelf filter is applied to the Ls and Rs outputs if the decoder is in Music or Matrix modes to take the high frequency edge off the signals. 9.6 Auto Balance The Auto Balance function is used to correct gain mismatches between Lt and Rt. Further information on the Dolby Pro Logic decoder is available at This is primarily about hardware decoders, but it has a good (and very technical) explanation of the process. 21

The Dolby DP564 manual (a hardware multi-format decoder) also has information on the Decoder settings. It is available at http://www.dolby.com/products/dp564/dp564usermanual_issue1.pdf.

22 The Dolby DP564 manual (a hardware multi-format decoder) also has information on the Decoder settings. It is available at While the DP564 controls are not identical to the SurCode options, the settings mentioned are informative. 10 The Help Menu The SurCode for Dolby Pro Logic II Owner s Manual can be found under the Help menu selection (see Figure 10-1 Figure 10-1 The Manual is available in HTML format, which opens automatically in your computer s default web browsing program when you click on SurCode Help under the Help menu, and also in PDF format on the SurCode for Dolby Pro Logic II Install Disc. Additional information about Dolby Pro Logic II may be found at 22

The About SurCode menu selection opens the About SurCode window (see Figure 10-2), which contains the version number, copyright data, and Minnetonka Audio Support contact information.

23 The About SurCode menu selection opens the About SurCode window (see Figure 10-2), which contains the version number, copyright data, and Minnetonka Audio Support contact information. Figure 10-2 Manufactured under license from Dolby Laboratories. Dolby, Pro Logic, and the double-d symbol are trademarks of Dolby Laboratories. SurCode is a trademark of Minnetonka Audio Software, Inc. Copyright 2003 Minnetonka Audio Software, Inc. All rights reserved. 23

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