Dolby Digital Multichannel Audio Encoder DP569 Manual

Model DP569
Dolby Digital
Multichannel Audio Encoder
User’s Manual
Issue 3 Part Number 91572
Dolby Laboratories, Inc.
Corporate Headquarters
100 Potrero Avenue
San Francisco, CA 94103-4813
Telephone 415-558-0200
Fax 415-863-1373
Email [email protected]
www.dolby.com
European Headquarters
Wootton Bassett
Wiltshire, SN4 8QJ, England
Telephone (44) 1793-842100
Fax (44) 1793-842101
Troubleshooting must be performed by trained technicians. Do not attempt

WARNING:
to service this equipment unless you are qualified to do so.
Check that the correct fuses have been installed. To reduce the risk of fire,
replace the fuses only with the same type and rating. See page xi.
DISCLAIMER OF WARRANTIES: Equipment manufactured by Dolby Laboratories is warranted against defects in

materials and workmanship for a period of one year from the date of purchase. All warranties, conditions or other
terms implied by statute are excluded to the fullest extent allowed by law.
LIMITATION OF LIABILITY: It is understood and agreed that Dolby Laboratories’ liability whether in contract, in tort,
under any warranty, in negligence or otherwise shall not exceed the cost of repair or replacement of the defective
components and under no circumstances shall Dolby Laboratories be liable for incidental, special, direct, indirect or
consequential damages (including but not limited to damage to software or recorded audio or visual material), or loss
of use, revenue or profit even if Dolby Laboratories or its agents have been advised, orally or in writing, of the
possibility of such damages.
Dolby, Pro Logic, Surround EX, AC-3, and the double-D symbol are trademarks of Dolby Laboratories. All other
trademarks remain the property of their respective owners.
 2001 Dolby Laboratories, Inc. All rights reserved.
S01/13793/13940 Issue 3, Part Number 91572
ii
Model DP569 User’s Manual
Table of Contents
List of Figures .............................................................................................................. vii
List of Tables............................................................................................................... viii
Regulatory Notices and Fuse Information .................................................................. ix
Chapter 1 Introduction .......................................................................................... 1-1
Chapter 2 Setting Up ............................................................................................. 2-1
2.1 Unpacking.................................................................................... 2-1
2.2 System Considerations ................................................................ 2-1
2.2.1 Jumpers ........................................................................... 2-1
2.2.2 Digital Input and Output ................................................... 2-2
2.3 Front Panel .................................................................................. 2-3
2.3.1 Front-Panel Interface ....................................................... 2-3
2.3.2 Contrast Adjust ................................................................ 2-3
2.3.3 Preset Buttons ................................................................. 2-4
2.4 Status Menu................................................................................. 2-4
2.5 Setup Menu ................................................................................. 2-4
2.5.1 Selecting Parameters ...................................................... 2-5
2.5.2 Entering Text ................................................................... 2-6
2.6 Front-Panel Indicators ................................................................. 2-7
2.6.1 Digital Input Status LEDs ................................................. 2-7
2.6.2 Fault, Error, Test, Ref In, Remote, and Timecode LEDs ... 2-7
2.6.3 Channel Activity LEDs ..................................................... 2-8
2.6.4 Remote Connector........................................................... 2-8
Chapter 3 Applications .......................................................................................... 3-1
3.1 Digital Television Broadcasting.................................................... 3-1
3.1.1 Basic Integration with an MPEG Encoder or Multiplexer ... 3-1
3.1.2 Integration within a Dolby E System ................................ 3-2
3.1.3 Metadata Reversion......................................................... 3-3
3.1.4 Coding Delay and Audio/Video Synchronization.............. 3-3
3.1.5 Alarms and Monitoring ..................................................... 3-4
3.1.6 Quick Start for Digital Television Broadcasting ................ 3-4
3.2 DVD Authoring............................................................................. 3-5
3.2.1 Overview.......................................................................... 3-5
3.2.2 Quick Start for DVD Authoring ......................................... 3-6
Chapter 4 Front-Panel Menus ............................................................................... 4-1
4.1 Status Menu................................................................................. 4-1
4.2 Setup Menu ................................................................................. 4-2
4.2.1 System Settings Operating Mode .................................... 4-2
4.2.2 Metadata Control ............................................................. 4-3
iii
4.2.3 Metadata Params ............................................................ 4-4

4.2.4 User Presets .................................................................... 4-5
4.2.5 I/O Control ....................................................................... 4-6
4.2.6 System Settings............................................................... 4-9
Chapter 5 DolbyRemote ........................................................................................ 5-1
5.1 DolbyRemote Overview ............................................................... 5-1
5.2 Installation.................................................................................... 5-1
5.2.1 PC System Requirements................................................ 5-1
5.2.2 Software Installation ........................................................ 5-1
5.2.3 Serial Cable Installation ................................................... 5-2
5.2.4 DP569 Setup ................................................................... 5-3
5.3 Starting DolbyRemote.................................................................. 5-3
5.3.1 Device Type..................................................................... 5-3
5.3.2 Communications .............................................................. 5-3
5.3.3 Adding or Removing Additional Devices .......................... 5-5
5.4 General Operation ....................................................................... 5-5
5.4.1 Saving and Restoring Configurations .............................. 5-5
5.4.2 Exporting Configurations.................................................. 5-5
5.5 Common Setup Problems............................................................ 5-5
5.6 Display Overview ......................................................................... 5-6
5.6.1 Audio Service Parameters ............................................... 5-7
5.6.2 Preprocessing.................................................................. 5-8
5.6.3 Bitstream Info................................................................... 5-8
5.6.4 Dual Mono ....................................................................... 5-9
5.6.5 Input and Output Settings and Reference Input............... 5-9
5.6.6 Presets .......................................................................... 5-10
5.6.7 Timecode Parameters ................................................... 5-11
Chapter 6 Specifications ....................................................................................... 6-1
6.1 System Block Diagram ................................................................ 6-1
6.2 Connections................................................................................. 6-1
6.2.1 Digital Audio Connections................................................ 6-2
6.2.2 Vertical Interval Timecode Input (VITC In) ....................... 6-2
6.2.3 Delay Control Input (TTL Delay) ...................................... 6-2
6.2.4 Linear Timecode Input ..................................................... 6-2
6.2.5 Metadata Serial Port ........................................................ 6-3
6.2.6 Rear Panel Remote Control Serial Port (Remote) ........... 6-3
6.2.7 Front Panel Remote Control Serial Port (Remote)........... 6-4
6.2.8 General Purpose Control Input Port (GPI/O In) ............... 6-4
6.2.9 General Purpose Status Output Port (GP I/O Out) .......... 6-5
6.3 Mechanical Specifications............................................................ 6-5
6.4 Environmental Specifications....................................................... 6-5
iv
Appendix A Metadata ................................................................................................ A-1

A.1 Metadata Overview...................................................................... A-1
A.2 Dialogue Level ............................................................................. A-4
A.3 Dynamic Range Control............................................................... A-6
A.3.1 Line Mode ........................................................................ A-7
A.3.2 RF Mode .......................................................................... A-7
A.3.3 Dynamic Range Control Profiles...................................... A-8
A.4 Downmixing ................................................................................. A-9
A.5 Parameter Definitions ................................................................ A-11
A.5.1 Universal Parameters .................................................... A-12
A.5.2 Extended Bitstream Information Parameters ................. A-19
A.6 Metadata Combinations ............................................................. A-22
Appendix B SMPTE Time Stamp .............................................................................. B-1
Appendix C Factory Default Presets ........................................................................C-1
Appendix D Error Messages .....................................................................................D-1
v
vi
List of Figures
2-1 Jumper Locations............................................................................................ 2-2
2-2 DP569 Front Panel.......................................................................................... 2-3
2-3 Front-Panel Navigation Buttons ...................................................................... 2-3
2-4 Preset and Program Buttons........................................................................... 2-4
2-5 Front-Panel Indicators..................................................................................... 2-7
3-1 DP569 Integrated with a Multiplexer ............................................................... 3-2
3-2 Connection Between a DP569 and DP572 ..................................................... 3-3
3-3 Hot-Standby Operation of the DP569 ............................................................. 3-4
3-4 DVD Encoding System Block Diagram ........................................................... 3-6
5-1 DolbyRemote Open Device Window ............................................................... 5-3
5-2 DolbyRemote Window..................................................................................... 5-4
5-3 Controlling Two Encoders ............................................................................... 5-5
5-4 Audio Service Parameters .............................................................................. 5-7
5-5 Encoder Stop and Start Buttons...................................................................... 5-7
5-6 Preprocessing Tab .......................................................................................... 5-8
5-7 Bitstream Info Tab........................................................................................... 5-8
5-8 Dual Mono Tab ............................................................................................... 5-9
5-9 Input/Output Tab ............................................................................................. 5-9
5-10 Reference Input ............................................................................................ 5-10
5-11 Presets Tab................................................................................................... 5-10
5-12 Timecode Tab ............................................................................................... 5-11
6-1 System Block Diagram.................................................................................... 6-1
6-2 DP569 Rear Panel .......................................................................................... 6-1
A-1 Metadata Flow from Production to Consumer................................................. A-3
A-2 DRC Profile Pattern......................................................................................... A-8
B-1 Encoding Audio with Timecode....................................................................... B-1
B-2 Time Stamps and AC-3 Frames in the IEC958 Datastream............................ B-2
vii
List of Tables
2-1 Status Menu Navigation Buttons..................................................................... 2-4
2-2 Setup Menu Navigation Buttons...................................................................... 2-5
2-3 Commands that Exit the Setup Menu.............................................................. 2-5
2-4 Navigation in Text Entry Menu ........................................................................ 2-6
2-5 Digital Input LED States .................................................................................. 2-7
2-6 Status LED States........................................................................................... 2-7
2-7 Input Channel Activity LED States .................................................................. 2-8
4-1 Metadata Params Submenus.......................................................................... 4-4
4-2 Coding Delay .................................................................................................. 4-8
6-1 Linear Timecode Input Pins ............................................................................ 6-2
6-2 Metadata Serial Port Pin-Outs ........................................................................ 6-3
6-3 Rear Panel Remote Control Serial Port Pin-Outs ........................................... 6-3
6-4 Front Panel Remote Control Serial Port Pin-Outs........................................... 6-4
6-5 General Purpose Control Input Port Pin-Outs ................................................. 6-4
6-6 General Purpose Status Output Port Pin-Outs................................................ 6-5
6-7 Mechanical Specifications............................................................................... 6-5
6-8 Environmental Specifications .......................................................................... 6-5
viii
Regulatory Notices and Fuse Information

FCC
This equipment has been tested and found to comply with the limits for a Class A digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference when the equipment is operated in a commercial environment. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with this instruction manual, may cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful interference in which
case the user will be required to correct the interference at his or her own expense.
Canada
This Class A digital apparatus complies with Canadian ICES-003.
UL
WARNING: Troubleshooting must be performed by a trained technician. Do not attempt

to service this equipment unless you are qualified to do so.
Check that the correct fuses have been installed. To reduce the risk of fire,
replace only with fuses of the same type and rating.
Exposed portions of the power supply assembly are electrically "hot". In order to reduce the risk
of electrical shock, the power cord MUST be disconnected when the power supply assembly is
removed.
The ground terminal of the power plug is connected directly to

the chassis of the unit. For continued protection against
electric shock, a correctly wired and grounded (earthed) three-
pin power outlet must be used. Do not use a ground-lifting
adapter and never cut the ground pin on the three-prong plug.
UK
The power cord Dolby part 92021 supplied for use in Europe is not suitable for use in the UK. To use
the cord in the UK cut off the CEE7/7 plug and replace with an approved BS 1363 13A plug:
• The core that is coloured green and yellow must be connected to the terminal in the plug
identified by the letter E or by the earth symbol or coloured green or green and yellow.
• The core that is coloured blue must be connected to the terminal that is marked with the letter
N or coloured black.
• The core that is coloured brown must be connected to the terminal that is marked with the
letter L or coloured red.
• This apparatus must be earthed.
ix
EU
This equipment complies with the EMC requirements of EN55103-1 and EN55103-2 when
operated in an E2 environment in accordance with this manual.
IMPORTANT SAFETY NOTICE

This unit complies with the safety standard EN60065. The unit shall not be exposed to dripping or splashing
and no objects filled with liquids, such as coffee cups, shall be placed on the equipment. To ensure safe GB
operation and to guard against potential shock hazard or risk of fire, the following must be observed:
o Ensure that your mains supply is in the correct range for the input power requirement of the unit.
o Ensure fuses fitted are the correct rating and type as marked on the unit.
o The unit must be earthed by connecting to a correctly wired and earthed power outlet.
o The power cord supplied with this unit must be wired as follows:
Live—Brown Neutral—Blue Earth—Green/Yellow
IMPORTANT – NOTE DE SECURITE
Ce materiel est conforme à la norme EN60065. Ne pas exposer cet appareil aux éclaboussures ou aux gouttes F
de liquide. Ne pas poser d'objets remplis de liquide, tels que des tasses de café, sur l'appareil. Pour vous
assurer d'un fonctionnement sans danger et de prévenir
tout choc électrique ou tout risque d'incendie, veillez à observer les recommandations suivantes.
o Le selecteur de tension doit être placé sur la valeur correspondante à votre alimentation réseau.
o Les fusibles doivent correspondre à la valeur indiquée sur le materiel.
o Le materiel doit être correctement relié à la terre.
o Le cordon secteur livré avec le materiel doit être cablé de la manière suivante:
Phase—Brun Neutre—Bleu Terre—Vert/Jaune
WICHTIGER SICHERHEITSHINWEIS
Dieses Gerät entspricht der Sicherheitsnorm EN60065. Das Gerät darf nicht mit Flüssigkeiten (Spritzwasser
usw.) in Berührung kommen; stellen Sie keine Gefäße, z.B. Kaffeetassen, auf das Gerät. Für das sichere D
Funktionieren des Gerätes und zur Unfallverhütung (elektrischer Schlag, Feuer) sind die folgenden Regeln
unbedingt einzuhalten:
o Der Spannungswähler muß auf Ihre Netzspannung eingestellt sein.
o Die Sicherungen müssen in Typ und Stromwert mit den Angaben auf dem Gerät übereinstimmen.
o Die Erdung des Gerätes muß über eine geerdete Steckdose gewährleistet sein.
o Das mitgelieferte Netzkabel muß wie folgt verdrahtet werden:
Phase—braun Nulleiter—blau Erde—grün/gelb
NORME DI SICUREZZA – IMPORTANTE
Questa apparecchiatura è stata costruita in accordo alle norme di sicurezza EN60065. Il prodotto non deve
essere sottoposto a schizzi, spruzzi e gocciolamenti, e nessun tipo di oggetto riempito con liquidi, come ad I
esempio tazze di caffè, deve essere appoggiato sul dispositivo. Per una perfetta sicurezza ed al fine di evitare
eventuali rischi di scossa êlettrica o d'incendio vanno osservate le seguenti misure di sicurezza:
o Assicurarsi che il selettore di cambio tensione sia posizionato sul valore corretto.
o Assicurarsi che la portata ed il tipo di fusibili siano quelli prescritti dalla casa costruttrice.
o L'apparecchiatura deve avere un collegamento di messa a terra ben eseguito; anche la connessione rete deve
avere un collegamento a terra.
o Il cavo di alimentazione a corredo dell'apparecchiatura deve essere collegato come segue:
Filo tensione—Marrone Neutro—Blu Massa—Verde/Giallo
AVISO IMPORTANTE DE SEGURIDAD
Esta unidad cumple con la norma de seguridad EN60065. La unidad no debe ser expuesta a goteos o E
salpicaduras y no deben colocarse sobre el equipo recipientes con liquidos, como tazas de cafe. Para
asegurarse un funcionamiento seguro y prevenir cualquier posible peligro de descarga o riesgo de incendio, se
han de observar las siguientes precauciones:
o Asegúrese que el selector de tensión esté ajustado a la tensión correcta para su alimentación.
o Asegúrese que los fusibles colocados son del tipo y valor correctos, tal como se marca en la unidad.
o La unidad debe ser puesta a tierra, conectándola a un conector de red correctamente cableado y puesto a tierra.
o El cable de red suministrado con esta unidad, debe ser cableado como sigue:
Vivo—Marrón Neutro—Azul Tierra—Verde/Amarillo
x
VIKTIGA SÄKERHETSÅTGÄRDER!
Denna enhet uppfyller säkerhetsstandard EN60065. Enheten får ej utsättas för yttre åverkan samt föremål
S
innehållande vätska, såsom kaffemuggar, får ej placeras på utrustningen." För att garantera säkerheten och
gardera mot eventuell elchock eller brandrisk, måste följande observeras:
o Kontrollera att spänningsväljaren är inställd på korrekt nätspänning.
o Konrollera att säkringarna är av rätt typ och för rätt strömstyrka så som anvisningarna på enheten föreskriver.
o Enheten måste vara jordad genom anslutning till ett korrekt kopplat och jordat el-uttag.
o El-sladden som medföljer denna enhet måste kopplas enligt foljande:
Fas—Brun Neutral—Blå Jord—Grön/Gul
BELANGRIJK VEILIGHEIDS-VOORSCHRIFT:
Deze unit voldoet aan de EN60065 veiligheids-standaards. Dit apparaat mag niet worden blootgesteld aan
vocht. Vanwege het risico dat er druppels in het apparaat vallen, dient u er geen vloeistoffen in bekers op te NL
plaatsen. Voor een veilig gebruik en om het gevaar van electrische schokken en het risico van brand te
vermijden, dienen de volgende regels in acht te worden genomen:
o Controleer of de spanningscaroussel op het juiste Voltage staat.
o Gebruik alleen zekeringen van de aangegeven typen en waarden.
o Aansluiting van de unit alleen aan een geaarde wandcontactdoos.
o De netkabel die met de unit wordt geleverd, moet als volgt worden aangesloten:
Fase—Bruin Nul—Blauw Aarde—Groen/Geel
Fuse Information
WARNING:
To reduce the risk of fire, replace fuses only with the same type and rating.
The unit uses a universal switching power supply that handles the full range of nominal mains
voltages between 90 and 264 VAC and any frequency between 50 Hz and 60 Hz.
Check Main Fuse

The Main fuse rating is:
1 Amp, 250 V, 20 mm, time-lag fuse (for all operating voltages)
WARNING: The power to the unit must be off when the following steps are performed.
Ensure that the main power cable to the unit is not connected to a power
source.
1. Open the fuse compartment door in the AC power input housing with a small flat-blade
screwdriver (see figure next page). Carefully pull out the fuse carrier.
2. Check that the fuse has the correct rating. The fuse carrier must be inserted into the
compartment with the orientation shown in the figure below. Do not force the carrier into the
compartment or both could be damaged.
3. Snap the fuse compartment door closed.
xi
Checking the Main Fuse
Internal Fuse
The switching power supply contains a separate fuse. Most fault conditions should be protected
by the main fuse.
If you find it necessary to replace the internal fuse, be certain to replace it with a fuse of the same
type and rating as printed on the switching power supply board.
xii
Chapter 1
Introduction
The Dolby DP569 is the reference Dolby Digital multichannel audio encoder. It
supports encoded bit rates from 56 to 640 kbps and channel configurations from
mono to 5.1-channel surround sound. The DP569 is intended for digital TV, cable,
and disc authoring applications, including automated broadcast installations and
mastering for DVD and other recorded media.
The DP569 provides three pairs of AES3 digital audio inputs and a single AES3
output. A separate AES3 input may be used for a clock reference signal. Previously
encoded Dolby Digital audio bitstreams pass through unchanged—automatically, if
the DP569’s bitstream detection feature is activated. Matrix encoding on Dolby
Surround input signals also remains unaffected.
EBU/SMPTE LTC and VITC timecode inputs make it possible to start and stop the
encoder accurately to create separate program segments and soundtrack files for disc
authoring. The DP569 can also derive the time stamps required for A/V synchronization.
The DP569 supports all metadata parameters, including the flag to indicate material
encoded in Dolby Digital Surround EX. An automatic data rate setting allows the output
data rate to follow the number of encoded channels dynamically for broadcast
applications.
The rear-panel Metadata connector provides external metadata input from other
Dolby products (such as a Dolby E decoder). Two additional connectors are provided
for general-purpose I/O signals, including status and control signals. Fault-monitoring
circuits warn of actual or potential system failure, and bypass connections enable a
hot-standby mode for broadcast installations.
The DP569’s front panel features an alphanumeric display showing status parameters
and tri-color LEDs indicating channel activity. Controls include an elastomeric
keypad for menu navigation and preset recall. Front- and rear-panel serial interfaces,
along with supplied application software, make it possible to configure and control
the DP569 from Windows 95/98/2000/NT-equipped PCs or other remote devices.
1-1
l
Chapter 2
Setting Up
This chapter covers all general connection and installation requirements for the DP569.
2.1 Unpacking
Before unpacking the DP569, inspect the outer carton for shipping damage. If the
carton shows damage, inspect the unit in those areas.
Several accessories are provided with the unit.
• A power cord (US style)

• Floppy disks containing the DolbyRemote software
• A serial connection cable for the front-panel RS-232 port
• A bag containing BNC 75Ω terminators, rack-mount screws, washers, and
fuses
• A foldout Quick Start Guide and this User’s Manual
2.2 System Considerations
2.2.1 Jumpers
The Model DP569 allows you to choose options that are configured by internal jumpers.
Factory default settings are shown in Figure 2-1, these are suitable for most installations.
To gain access to these jumpers, remove the top cover of the unit as follows:
WARNING: The power to the DP569 must be off when the following steps are
performed. Ensure that the main power cable to the unit is not
connected to a power source and that a suitably qualified person is
performing this task.
1. Remove the 12 screws securing the top cover to the chassis (use the supplied
hex wrench to remove the three screws on the upper front panel).
Note: The front panel is attached to the chassis by means of three screws at the
lower end of the front panel. Do not remove these screws.
2-1
Model DP569 User’s Manual Setting Up
2. Gently lift the top cover upward and towards the rear. Carefully set aside.
3. Reverse the above procedure when re-assembling the unit.
J40
Open
Signal Ground to Linked
Chassis Ground Link
J41 J40 J32 J31 Terminated Not Terminated

Terminated
Aux Data Output Not Terminated J30 J25 J26 J28
Termination
Ref Dig 1/2 Dig 3/4 Dig 5/6
Aux Data Input J34 Input Input Input Input
Termination
Remote Output
Termination Not Used
Remote Input
Termination
Figure 2-1 Jumper Locations
2.2.2 Digital Input and Output

The digital input and output connections on the DP569 may seem unfamiliar to the
first time user of a digital audio device. The Audio Engineering Society (AES)
created a standard electrical interface for digital audio with a balanced XLR
connector and 110Ω impedance called AES3-1995. This interface was later expanded
to include an unbalanced BNC connector, 1 V peak-to-peak signal level, and 75Ω
impedance; the new standard is known as both AES3-ID-1995 and SMPTE-276M.
The DP569 uses this new standard.
Note: These signals must be properly terminated with a 75Ω impedance on the last
device in the signal chain. External 75Ω terminations for standard installations
are supplied within the packing kit for the DP569.
2-2
2.3 Front Panel

The Model DP569 front-panel interface consists of a two-line alphanumeric liquid
crystal display (LCD), a set of user-input buttons, a set of dedicated LED status
indicators, and a remote port. Please see Figure 2-2 for the front-panel illustration.
Figure 2-2 DP569 Front Panel
2.3.1 Front-Panel Interface

The menu system has two independent structures: setup and status. The setup menu
lets you configure the DP569 to suit your environmental and program requirements,
and the status menu displays information regarding the operating status and the
condition of input signals.
Navigation Buttons
The eight buttons closest to the display window control navigation through the menus
and selection of parameters within menu screens.
Figure 2-3 Front-Panel Navigation Buttons
To select the function listed above or below a button, first press Shift, then the
associated button. For example, to select Remote, press Shift, ←. Do not hold down
Shift while pressing the second button.
Insert and Delete have no impact except in text entry menus. For details on text
entry, see Section 2.5.2, Entering Text.
2.3.2 Contrast Adjust

Press Shift, ↓ to access the contrast control.
Use the arrow buttons to adjust the contrast on the LCD. Press Enter or Esc to return
to the previous menu.
2-3
2.3.3 Preset Buttons

The second group of buttons allows you to quickly select existing presets.
Figure 2-4 Preset and Program Buttons
To select a preset, press the appropriate Preset button. A table of factory default
presets can be found in Appendix C. Presets 28–32 are copied to presets 1–5 when
shipped from the factory.
2.4 Status Menu

To navigate the status menu, use the front-panel navigation buttons as shown in
Table 2-1.
Table 2-1 Status Menu Navigation Buttons
Command Result
← or ↑ Displays the previous status menu
↓ or → Displays the next status menu
Esc Displays main status menu
2.5 Setup Menu

To navigate the setup menu, use the front-panel navigation buttons as shown in
Table 2-2.
2-4
Table 2-2 Setup Menu Navigation Buttons
Command Result
← or ↑ Displays the previous menu item available on line 2 of the display.
↓ or → Displays the next menu item available on line 2 of the display.
Enters the menu item on line 2 of the display; changes function
Enter
status and menu display accordingly.
Displays the next higher menu level. If you have changed the
Esc display from the current parameter value without pressing Enter,
Esc returns display to current parameter value.
These commands and results remain constant throughout the setup menu except
during text entry. For details on text entry, see Section 2.5.2, Entering Text.
The commands in Table 2-3 exit the setup menu. (If you are in edit mode of a
parameter, the Status key and the Remote keys do not respond.)
Table 2-3 Commands that Exit the Setup Menu
Command Result
Status Displays current status menu
Engages the remote control and
Remote
displays the main status menu
To return to the setup menu, press Setup. If you engage the remote, to use the front-panel
status menu you must first disengage the remote by pressing Shift, ←, then Setup.
2.5.1 Selecting Parameters

When line 2 of the display includes a flashing cursor, the parameter displayed on that
line is not active. Pressing Enter activates that parameter. Pressing Esc while the
cursor is flashing returns line 2 of the display to the active parameter for that menu.
Example:
Clock Source
with flashing cursor
Internal 48kHz
Press Enter to activate the Clock Source setting. Press Esc to return the display to the
active status:
Clock Source
without cursor
Digital Input
If you press Enter from the active status display, there is no change. If you press Esc,
the next higher menu level displays:
2-5
I/O Control
Clock Source
2.5.2 Entering Text

In certain situations you will be prompted to enter text. In the text entry window,
Enter Name
PRESET 6
the first line prompts you to enter text. The second line displays the current text for
the parameter or, if no text is yet defined, a default text string. An underline cursor
appears under the first character in the string.
Note: Do not use more than 12 characters, including spaces, for a preset name.
Button functions in Text Entry mode are described in Table 2-4.
Table 2-4 Navigation in Text Entry Menu
Command Result
← or → Moves the cursor to the left or right
↑ Displays the next character in the character set
↓ Displays the previous character in the character set
Saves the text on line 2 temporarily, pending confirmation; changes
Enter
display to confirmation dialog
Returns text on line 2 to initial display; if text is unmodified,
Esc
displays the next higher menu level
Places a blank space at the cursor location; if there are characters to
Insert
the right of the cursor, moves all characters one space to the right
Delete Deletes the character at the cursor location
Remote Engages the remote control and displays the main status menu
2-6
2.6 Front-Panel Indicators
Figure 2-5 Front-Panel Indicators
The front-panel LED indicators provide information on the operational state of the
DP569.
2.6.1 Digital Input Status LEDs

The front panel has three status LEDs for audio inputs Digital In 1/2, 3/4, and 5/6.
Each indicates if its respective input is in use and, if so, if it is valid.
Bypass mode does not affect the function of the status LEDs.
Table 2-5 Digital Input LED States
State Description
Off Input is unused.
Green Input is in use and a valid input is detected.
Red Input is required, but invalid or not present.
2.6.2 Fault, Error, Test, Ref In, Remote, and Timecode LEDs
Table 2-6 Status LED States
LED State Description

Off PSU and processor status OK.
Fault
Red PSU or processor/memory fault.
Off No operational errors are detected by the DP569.
Error
Red One or more operational errors are detected and the DP569 output is not valid.
Off Normal operation.
Test
Red Test tone output is enabled. Audio from the system inputs is ignored.
2-7
LED State Description

Off The Ref In input is not selected.
Ref In Green The Ref In input is required and locked without errors.
Red The Ref In input is required, but invalid or not present.
Off Remote interface is disabled.
Remote Green Remote interface is enabled and operating without errors.
Red Remote interface is enabled but there is a low-level serial communications error.
Off The timecode input is not required.
Timecode Green Input is required and a valid input is detected.
Input is required, but invalid (e.g., stop time frame number >25 and timecode
Red
is at 25 fps) or not present.
2.6.3 Channel Activity LEDs

There are six-channel activity LEDs.
If an input channel is muted because its input source is missing or invalid, the
respective activity LED will be turned off.
If the system is missing its clock signal then all activity indicators will be turned off
even if audio inputs are present.
Table 2-7 Input Channel Activity LED States
State Description
Off Channel is not used. Channel is muted due to invalid input.
Yellow Channel is selected and less than –60 dBFS.
Green Channel is selected and between –0.1 and –60 dBFS.
Red Channel is selected and is greater than –0.1 dBFS (clip).
2.6.4 Remote Connector

The front-panel RS-232 port is active only when a connector is physically attached to
the port and the Remote mode or Download mode is enabled.
The following front-panel functions are active during the Remote mode:
• All front-panel status LEDs. This includes the LEDs on the front-panel preset
buttons, although the buttons themselves are not active.
• The Remote mode remains active whether or not controlling devices are
attached to the remote ports and whether or not commands are being received.
Note that commands from the front-panel remote port override any commands
received from the rear-panel port.
2-8
Chapter 3
Applications
The two main applications for the DP569 Dolby Digital encoder are:
• Digital Television Broadcasting
• DVD Authoring
Each environment has unique requirements in terms of installation and operation. In
this chapter, we discuss each application in detail. This chapter assumes the user has
some knowledge of the ideas and principles behind metadata. If this is not the case,
we suggest you read Appendix A before continuing.
3.1 Digital Television Broadcasting
3.1.1 Basic Integration with an MPEG Encoder or Multiplexer

The DP569 is designed to integrate with existing MPEG encoders and transport
stream multiplexers. Various methods can be used to control the encoder settings,
particularly the metadata parameters used during the encoding process, each
providing a different level of complexity and service.
The DP569 is connected as shown in Figure 3-1. This diagram shows a 5.1-channel
installation; stereo and mono installations will be identical except for the number of
digital audio inputs.
In the simplest mode of operation, all system settings (including metadata parameters)
are set once in the encoder for all transmissions. In this mode the metadata settings
will need to be configured to match the characteristics of the audio currently used
within the TV station (for example, the levels, dynamic range, peak levels, and so
forth). Consequently, all audio must conform to these characteristics before it reaches
the DP569 in order to match these metadata settings. This is similar to the requirements
of analog or MPEG digital transmissions, where the audio system has fixed
characteristics and the program audio is conformed to match.
The next level of complexity uses the GPI status port to select up to four different user
presets, allowing automation systems to choose different metadata settings for different
types of programming. For example, one setting for network transmissions and another
for local insertions, or settings for news, sports, feature films, and commercials.
Again, the audio will need to be conformed to match the chosen setting; however,
there is now a greater amount of flexibility available for audio transmissions.
3-1
Model DP569 User’s Manual Applications
DP569 MUX
Main Multiplexer
L/R
Out Dolby
Digital
C/LFE Digital Input
In
Ls/Rs
MPEG Transport
stream output
GPI
Input
Ref In
Alarms and Status
48 kHz
Reference GPI
Ref Out
Status
Optional Preset Recall

via automation
Figure 3-1 DP569 Integrated with a Multiplexer
3.1.2 Integration within a Dolby E System

More and more broadcast systems are using Dolby E to distribute multiple channels
of audio within and between TV stations. Dolby E will provide both the audio and
metadata for the DP569 encoder, in effect “remote controlling” the DP569 settings.
Consequently, the configuration of the DP569 itself is simplified yet the whole audio
transmission is highly flexible.
An example of a 5.1-channel installation is shown in Figure 3-2. Stereo or mono

installations will follow a similar pattern. The DP572 decodes the Dolby E signal,
extracts the audio and metadata, and sends it to the DP569.
Connect the DP572’s Digital Output channels 1/2, 3/4, 5/6 to the DP569’s Digital
Input channels 1/2, 3/4, 5/6, respectively. Install 75Ω terminators if the loop-through
BNC connectors on the DP569 are unused.
Use a standard DB9 male-to-male cable (not a null modem) to connect the Metadata
output on the DP572 decoder to the Metadata input on the DP569. It is possible to
connect one DP572 to many DP569 units by simply cascading the metadata
connection.
When a DP569 receives external metadata, the following parameters must be

explicitly set:
• Set the Metadata Source to the appropriate program—this is usually

Program 1. See Section 4.2.2.
• Set the Reversion Mode. See Section 4.2.2.
This can also be done quickly by recalling factory preset 1 from the front panel (a
copy is stored in preset 28).
3-2
DP572 DP569 MUX

Main Main Multiplexer
Dolby E L/R
Input Out Dolby
Digital Digital
In Digital Input
Audio
Outputs
MPEG Transport
stream output
Metadata Aux
Out Input
Video Ref (Studio
Ref or Source VTR)
GPI Alarms and GPI

GPI Status
Status Status Input
Figure 3-2 Connection Between a DP569 and DP572
3.1.3 Metadata Reversion

It is important to consider what will happen in situations where metadata does not
exist. There are two common situations where metadata may not be available.
1. When using audio material that has been supplied without metadata—for
example, archived material or regular stereo broadcast programming such as
news or local programming material.
2. Equipment failure within the broadcast audio chain.
When a DP569 (or Dolby E products) does not receive metadata, it will revert to a set
of preconfigured metadata parameters. This reversion behavior can be used as part of
a systems design to apply the correct metadata values in case 1 above as well as
providing suitable values in case 2. See Section 4.2.2.
We suggest you contact your systems designer or Dolby Laboratories to discuss the
correct settings for your installation and operating practices.
3.1.4 Coding Delay and Audio/Video Synchronization

It is important to establish the correct system timing relationship between the video
encoder or MPEG transport stream multiplexer and the DP569 in order to maintain
sync. In most cases the MPEG encoder/multiplexer will be able to compensate
internally for the DP569 encoding delay and will have a setting to enable this.
If possible, it is recommended that both the MPEG encoder/multiplexer and the

DP569 be set to compensate for 200 ms of delay (plus an additional one frame in the
multiplexer if also compensating for the decoding delay of Dolby E). As 200 ms is
larger than the minimum delay value required by the DP569 (at 48 kHz) small timing
adjustments can be made in the DP569 if necessary.
3-3
3.1.5 Alarms and Monitoring

The DP569 has a bypass input that can be used for redundant or hot standby
operation. In order to connect a pair of DP569 for hot standby, the following
connections should be made.
DP569 Primary Encoder

Digital Main
Main Program In Out
Audio
Dolby Digital
Encode Processing
Main Program
Normal
Switched Output
Bypass In Bypass
Out
DP569 Standby Encoder

Digital Main
In Out
Optional Terminator Dolby Digital
Encode Processing
Bypass In Switched
Not Connected Not Used
Out
Figure 3-3 Hot-Standby Operation of the DP569
The unit automatically enters Bypass mode when an internal fault occurs or when
power to one unit is lost. Bypass mode can also be selected from the I/O Control
menu or via the GPI/O input port.
For further security, pins 1 and 9 (ground) of the GPI/O ports can be used to control a
unit fault alert. If pin 1 goes “low,” then a power supply or hardware fault has
occurred. These can be used on both the encoders so that a faulty standby encoder can
be identified before it is required. Pins 3, 4, and 9 can also be used to ascertain
whether the unit is producing an encoded output, and to trigger a warning.
3.1.6 Quick Start for Digital Television Broadcasting

This section describes the steps necessary to configure the DP569 for typical operation.
1. After unpacking the unit, connect the Digital Audio Inputs to the DP569 using
termination as required. See Section 2.2.2, Digital Audio Inputs.
3-4
2. If you wish to clock the DP569 using an external AES reference, connect this
reference and change the Clock Source menu to Ref-In SRC On. See Section
4.2.5.
3. If required, connect the appropriate GPIs to an alarm system and/or a second

encoder for redundant operation. See Section 3.1.5
4. Connect the main output (or switched output) to the Dolby Digital input of the
transmission multiplexer.
5. Configure the transmission multiplexer to accept a pre-encoded Dolby Digital

bitstream, as per the unit’s instructions.
6. Set the correct Coding Delay. See Section 3.1.4.
7. Define the Input Channels configuration. See Section 4.2.5.
In a Dolby E facility
8. Recall preset number 1 (copied in preset 28), the DP569 will now be
configured to follow the metadata supplied by the DP572 Dolby E decoder.
In an installation without Dolby E

8. Connect the GPI preset recall pins to the automation as required.
9. You will now need to create individual user preset(s), stored in numbers 1–4,
to hold sets of metadata parameters suitable for your station. Presets 2–5
(copied from 29–32) provide starting points for the most common types of
program. We recommend that you use the DolbyRemote software to configure
and back up these presets.
3.2 DVD Authoring
3.2.1 Overview
The DP569 can be used as part of an integrated system for encoding audio for DVD
applications. The system consists of the following hardware and software:
• PC computer running Windows with a suitable digital I/O soundcard installed

(A list of soundcards is available at www.dolby.com.)
• DP569 Dolby Digital Encoder
• DP562 Multichannel Dolby Digital/Pro Logic Decoder
• DolbyRemote software (supplied with a DP569)
• Dolby Digital Recorder software (Cat. No. 542)
3-5
Dolby Laboratories can also supply an interface kit to aid the installation of this system
into studios that use balanced digital audio connections. This kit is called the Cat. No. 541
cable kit and contains four BNC cables along with four impedance transformers.
3.2.2 Quick Start for DVD Authoring

This section describes the steps necessary to configure the DP569 for typical
operation. Refer to Figure 3-4 as necessary.
Multitrack
Tape DP569 DP562
Main Main
L/R L/R
Out In
Digital C/LFE Digital Audio
C/Sub
Audio In Outputs
Outputs Ls/Rs Ls/Rs
LTC LTC RS-485 or

Out Input RS-232
PC
Soundcard Soundcard
Digital Digital
Input Output
Serial
Port
PC running Dolby Digital

Recorder and
DolbyRemote software
Figure 3-4 DVD Encoding System Block Diagram
1. After unpacking the unit connect the source audio to the digital audio inputs of
the DP569 using terminations as required. See Section 2.2.2 and 4.2.5, Digital
Audio Inputs.
2. Install the soundcard in the PC and connect the main output of the DP569 to
the digital input of the soundcard.
3. Install and calibrate the DP562 Dolby Digital decoder as shown in Figure 3-4
and described the DP562 user’s manual.
4. Install the DolbyRemote and Dolby Digital Recorder applications on the PC.
See Section 5.2 and the Dolby Digital Recorder user’s manual.
5. Using the supplied cable, connect the COM port of the PC to the front panel
remote port of the DP569. See Section 5.2.3.
3-6
6. Recall factory preset number 2 (copied in preset 29) from the front panel; this
configures the unit to generate all metadata settings internally.
7. Place the DP569 in remote mode by sequentially pressing shift and ← keys.
8. Launch the DolbyRemote software and connect to the DP569. See Section 5.3.
You are now ready to create a Dolby Digital file.
9. Using the DolbyRemote software, set the following parameters:
• The Input Channels configuration. See Section 4.2.5 and 5.6.5

• Include timecode packets. See Sections 4.2.5 and 5.6.7.
• Metadata parameters to suit the current audio selection. See Section 4.2.3
and Appendix A.
• Start and stop timecode values. See Sections 4.2.1 and 5.6.7.
10. Click the Stop button to place the encoder into timecode control.
11. To configure the Dolby Digital recorder:
• Create a new file using the Toolbar or File New menu.

• Click the record button to place the Dolby Digital Recorder into Record
Ready mode. The status bar should display Record Ready—Waiting for
data.
• Click the play button to place the Dolby Digital Recorder into Record
mode. The status bar should display Recording—Waiting for data.
12. Start the audio source multitrack machine a few seconds before the start
timecode value.
When the encoder receives the start time value from the multitrack machine, it will
begin encoding and the Dolby Digital Recorder will begin to record the file. The
bitstream parameters will be displayed in the main window, and the status bar will
display Recording—Receiving stream X, where X is the stream ID set in the
Recording Preferences dialog box.
To replay this file, simply click on the play button in the Dolby Digital recorder software.
3-7
3-1
Chapter 4
Front-Panel Menus
This chapter provides an overview of the terms and selections available in the front-
panel LCD window.
4.1 Status Menu

The main status menu appears when you turn the power on, press the Status button
combination (Shift, Setup), or activate the remote control.
Main Status
Encoder Status
3/2L 448 48 27 0
The top line shows the current unit name or the name of the current preset. The
second line shows the current encoding status. Stopped indicates encoding has been
manually disabled, Not Encoding indicates that the unit has been set to encode but is
prevented from doing so because a required input is missing or the timecode start
value has not be reached. If the unit is encoding, then the second line displays the
current value of the channel mode and LFE channel metadata parameters, followed
by the output data rate and sampling rate. The last two numbers show the current
dialogue level value and the output stream number. The second line will also show
if the unit is in multiplexing mode.
Other Status Menus

Information displayed are:
• Center and surround downmix level metadata parameters.

• Condition of the digital input and reference input.
• Current status of the timecode input and if the unit is under timecode
control.
• Current coding delay.
• Timestamp delay word.
• The metadata input status, its current reversion mode, and the current
metadata source. “P” indicates preset; “L,” last used; and “A,” adaptive
reversion modes. An asterisk indicates that parameters are being overridden.
• Errors menu
• Firmware version
4-1
Model DP569 User’s Manual Front-Panel Menus
4.2 Setup Menu

Options in the top menu level are:
• Operating Mode
• Metadata Control
• Metadata Params
• User Presets
• I/O Control
• System Settings
4.2.1 Operating Mode

In this menu you control whether the DP569 is encoding, and whether it is being
controlled by timecode.
The submenus are:

• Encoder Control
• TC Start Time
• TC Stop Time
Encoder Control
The DP569 encode can be controlled in two ways. The simplest is using the Encode
or Stop options in the Encoder control menu.
The second method is using Timecode Ctrl. This mode enables and disables the
encoding process based on the TC Start Time and TC Stop Time values. This is
used to create encoded streams of a specific length and position in time for DVD
authoring.
The start and stop times are specified in the format HH:MM:SS:FF:ssss, where:
• HH = hours (00 to 23)

• MM = minutes (00 to 59)
• SS = seconds (00 to 59)
• FF = frames (00 to 29)
• ssss = samples (0000 to 1536)
The first sample of the first encoded frame will correspond to the sample specified by
the start time. The last sample of the last encoded frame cannot be specified because
encoding must end at a Dolby Digital frame boundary. For this reason, the samples
field of TC Stop Time is not user-adjustable. Encoding will actually end at the
completion of the first Dolby Digital frame following the specified stop time. At the
4-2
completion of encoding the actual value of stop time, including samples, will be
shown in the TC Stop Time display. This samples value can then be used to offset
the next piece of encoded material, if necessary, to maintain A/V sync. For more
information consult Appendix B.
Timecode control can be entered only when the following conditions are met:
• Input Format is set to PCM.

• Multiplex Mode is disabled.
• Timecode controlled preset recalls are not pending.
The time stamp must be enabled for timecode to exist in the bitstream. For further
information, see Appendix B.
4.2.2 Metadata Control

This menu controls the source for metadata for the DP569 and what to do in the
situations where the metadata disappears.
The submenus are:

• Metadata Source
• Override Params
• Reversion Mode
• Reversion Preset
Metadata Source
Chooses the source or origin of the metadata values used in the encoding process.
Internal uses the current values as defined in the Metadata Params menus, these
values can be modified at any time. Choosing a specific program number uses the
metadata contained within that program from the metadata stream connected to the
Metadata port.
Override Params
When using metadata from a chosen external program, this setting allows either the
dialogue level and/or compression profile parameter to be replaced by the internal
metadata parameter setting.
Reversion Mode, Reversion Preset

These parameters determine what happens when the external metadata source, if
selected, is interrupted.
• Last Used continues encoding using the last values set by the external source.
• Preset continues encoding using the values contained in the chosen Reversion
preset.
4-3
• Adaptive behaves like Last Used if the metadata disappears completely;

behaves like Preset if any individual metadata parameters are missing.
4.2.3 Metadata Params

This menu contains 30 metadata parameter selection menus. Table 4-1 provides a basic
definition for each of the metadata parameters available, listed by the text shown on the
front-panel display. See Appendix A for more detailed information about metadata.
Table 4-1 Metadata Params Submenus
LCD Description
Dialogue Lev Controls dialogue level or dialnorm. See Appendix A for detail.
Channel Mode Designates the number of active channels.
LFE Channel
Indicates whether LFE channel is present. Available only in channel modes 3/2,
3/1, 3/0, 2/2, and 2/1.
Data Rate Sets the output data rate.
Bitstrm Mode Describes the audio service carried in the bitstream. Informational only.
Line Mode Pro Designates preset compression configuration for line-mode decoding.
RF Mode Pro Designates preset compression configuration for RF-mode decoding.
RF Ov Protect
Protects against overmodulation when decoded and subsequently modulated onto
an RF carrier.
Center Dwnmx
Designates downmix level for center channel when end user has no center speaker.
Default is 0.707 (–3.0 dB).
Designates downmix level for surround channels when end user has no surround
Srnd Dwnmx speakers. Note that the 0 (-999 dB) setting discards the surround channels.
Default is 0.707 (–3.0 dB).
Dolby Srnd
Indicates whether a two-channel encoded bitstream contains a Dolby Surround
(Lt/Rt) program and requires Pro Logic decoding. Default Not Dolby Srnd.
Audio Prod Indicates whether the Mixing Level and Room Type parameter settings are carried
Info in the bitstream.
Mixing Level
Indicates absolute acoustic SPL of main dialogue channel during final mixing
session. Informational only.
Room Type
Indicates size and calibration of the mixing room used for the final mixing session.
Informational only.
Copyright Indicates whether the encoded bitstream is copyright protected. Informational only.
Orig Bitstrm
Indicates whether the encoded Dolby Digital bitstream is the master version.
Informational only.
Extnd Bitstrm
Setting controls whether extended bitstream parameters are included in the
encoded output.
Pref Dwnmx Designates preference for Lt/Rt or Lo/Ro stereo downmix.
4-4
LCD Description
Lt/Rt C Dwnmx
When the stereo downmix is Lt/Rt, designates downmix level for center channel
when end user has no center speaker.
Lt/Rt S Dwnmx
When the stereo downmix is Lt/Rt, designates downmix level for surround
channels when end user has no surround speakers.
Lo/Ro C Dwnmx
When the stereo downmix is Lo/Ro, designates downmix level for center channel
when end user has no center speaker.
Lo/Ro S Dwnmx
When the stereo downmix is Lo/Ro, designates downmix level for surround
channels when end user has no surround speakers.
Dolby Srnd EX Identifies if audio is encoded as Surround EX and requires Surround EX decoding.
A/D Conv Type Identifies the setting for type of A/D converter. Informational only.
De-emphasis Parameter controls whether or not 50/15 µs digital de-emphasis is applied to the
main input channels.
DC Filter Applies a DC-blocking 3 Hz highpass filter before Dolby Digital encoding.
Lowpass Filt Applies a lowpass filter to the main input channels before Dolby Digital encoding.
LFE Filter Applies a 120 Hz lowpass filter to LFE channel before Dolby Digital encoding.
Srnd 3dB Attn Attenuates surround channels 3 dB before encoding.
Srnd Ph Shift
Before encoding, creates the phase-shifted surround channels necessary to create
an Lt/Rt output in a decoder that can be Pro Logic decoded to L, C, R, S.
4.2.4 User Presets

Allows the user to save and recall 32 individual unit configurations. Presets 28–32
contain presets stored in factory ROM. When shipped from the factory, presets 1–5
contain a copy of presets 28–32. Each preset can be given a name of up to 12 characters.
A table of factory default presets can be found in Appendix C.
Preset Pending
A special recall preset state allows a selected preset to be recalled at a time, based on
the timecode input. When this has been enabled, the selected preset will be
considered pending until the specified time is reached, and the preset becomes active.
For instance, you might want the Stereo Music preset to take effect at timecode
00:12:22:12.
To do this, use the following procedure:

• Enter 00:12:22:12 in the TC Start Time field
• Recall the Stereo Music preset.
• Choose Yes when asked Recall at Start?
When timecode 00:12:22:12 occurs, the unit will switch to the Stereo Music preset.
There are a few restrictions on the recall preset on timecode feature:

• Once you have selected a start time and a preset, you can’t change the start
time.
4-5
• Pressing any of the preset buttons, immediately invoking a preset, cancels any
pending preset.
• If the unit is in Timecode Control mode, it cannot also recall a preset based
on timecode.
4.2.5 I/O Control

In the I/O Control menu you can set the configuration of the DP569’s inputs and
outputs.
The submenus are:

• Input Channels
• Clock Source
• Input Format
• Output Format
• Timecode Input
• Mono Channel
• Multiplex Mode
• Coding Delay
• Bypass Mode
Input Channels
Allows you to determine the mapping of input sources to audio channels. Channel
assignment is represented in the form A/B C/D E/F, where channels A through F are
mapped to input sources 1 through 6, respectively.
For example, when the Input Channels parameter is set to L/R C/LFE Ls/Rs, the 1/2
input is the source for the Left and Right channels, the 3/4 input is the source for the
Center and Low Frequency Effects channels, and the 5/6 input is the source for the
Left Surround and Right Surround channels.
Clock Source
Specifies the reference clock source for the encoding process as well as the reference
for the output signal. The encoder will not produce a valid output signal if a clock
source is not present. There are three types of clock sources:
• Digital Input: a valid AES3 signal must be present at the Dig In 1/2 input.
• Ref In: a valid AES3 signal must be present at the Ref In input.
• Internal (48, 44.1 or 32 kHz): always valid when selected.
The clock source setting also controls the state of the internal sample rate conversion
(SRC). SRC is disabled for the Digital Input and Ref In – SRC Off settings. SRC is
enabled for the Ref In – SRC On and Internal clock source settings. SRC is required
4-6
if the input audio signals are not both synchronous and phase aligned with the
reference signal.
There are some restrictions on the clock source selection:

• If Ref In-SRC On or an Internal clock source is selected the current Input
Format must be PCM.
• If Digital Input or an Internal clock source is selected, the Multiplex Mode
must be disabled.
Input Format
• PCM: Dolby Digital encoding will be enabled.
• Pre-encoded: Pass-through mode will be enabled. Pre-encoded bitstreams
move through the unit, unmodified, to the output.
• Autodetect: Automatically detects and encodes PCM audio, and passes
through pre-encoded bitstreams. Invalid bitstreams will be assumed to be
PCM data, and encoding will be enabled.
WARNING: If you choose input format PCM but supply the input with pre-
encoded material, you could damage your ears, speakers, or both
due to the full-scale digital output.
Output Format
Output Stream #
The default setting is zero.
Output Mode
Determines the mode of the AES3 output bitstream and how the data is packed
within that bitstream. The selection is either professional or consumer and 16 or
32-bit. The default is Professional 32-bit.
Time Stamp
If enabled the encoded output bitstream contains timecode information packets,
known as timestamps. These are used by DVD authoring systems to synchronize
the encoded audio to video. This is set to disabled for broadcast applications.
Time Stamp Delay Word

If enabled each Dolby Digital audio frame will be preceded by a data packet that
reports the current delay through the DP569 encoder. This is used in some
broadcast multiplexers to adjust A/V timing to maintain lipsync. Options are
included to offset the current delay value carried in this data packet, or override
the current value with a user-defined value. This is set to disabled for DVD
applications.
4-7
Audio Mode
Sets the audio bit in the output bitstream as either audio or non-audio (i.e., data).
Default is non-audio.
Timecode Input
Selects either the LTC or VITC inputs as the timecode input.
Mono Channel
Allows you to determine the mapping of a mono input source when in 1/0 mode.
Options are channel 1 of digital input 1/2, channel 2 of digital input 1/2 or the
current center channel.
Multiplex Mode
Allows a second encoded bitstream to be combined with the main output bitstream.
When enabled, an internally encoded Dolby Digital bitstream is multiplexed with
another pre-encoded bitstream supplied by the reference-input signal.
When Multiplex Mode is active, the DP569 overwrites the contents of the channel
selected by the Output Mode.
The following options should be selected in order to enable Multiplex Mode:
• The Reference Input must be selected as the Clock Source.

• Timecode Control must be disabled.
• The Output Mode must be set to either Pro 16-bit Ch 1 or Pro 16-bit Ch 2.
• The bitstream in the Reference Input must have been encoded in the Pro 16-
bit mode, and cannot be present in the same channel selected by the output
format.
Coding Delay
Select Internal to specify the amount of coding delay in milliseconds. If External
mode is selected the delay is determined from the signal applied to the TTL delay
input. This control only affects the coding latency through the DP569, it does not
affect the time stamp values if enabled. The minimum allowable coding delay at
each sample rate is shown in Table 4-2.
Table 4-2 Coding Delay
Sample Rate Minimum Coding Delay

32 kHz 280 ms
44.1 kHz 204 ms
48 kHz 187 ms
4-8
Bypass Mode
Is used to route the output of a secondary (standby) encoder to the switched audio
output of the primary encoder. See Section 3.1.5.
4.2.6 System Settings

This menu gives you access to submenus controlling communication with other
devices, and for upgrading software.
The submenus are:

• Remote Baud Rate
• Unit Address
• Unit Name
• Test Tone
• Firmware Upgrade
Remote Baud Rate

Sets the baud rate for remote port communications.
Unit Address
The unit address is four characters long. The first character is limited to the numbers
8–F, and the other characters are restricted to 0–F. The last character must be even.
Unit Name
Assign any text name you wish to your DP569; this is displayed on the top line of the
main status menu.
Test Tone
Activates an internally generated test signal as the input to the encoding process rather
than the currently selected input signal. In order to get a valid Dolby Digital output,
encoding must also be active, which requires that the selected clock source be valid.
Firmware Upgrade
Enter the firmware upgrade menu when you have an upgrade to install. Download
status information is displayed while in progress and when completed. See the
documentation that accompanies the upgrade kit.
4-9
4-1
Chapter 5
DolbyRemote
5.1 DolbyRemote Overview

The DolbyRemote application, version 2.01, is used to remotely control the DP569.
Key features of the software include:
• Offline mode, without the presence of a unit, to create and edit parameter files.
• Save a unit configuration in a file on a PC. Restore the unit’s configuration
from a saved DolbyRemote file.
• Export an encoder’s configuration in human readable form in either text or
HTML format.
• Control of multiple DP569 encoders from a single instance of the
DolbyRemote application, hardware permitting.
5.2 Installation
5.2.1 PC System Requirements

The minimum PC system requirements include a Pentium 90 processor and either:
• Windows 95 or 98 with 16 MB RAM, or

• Windows NT 4.0, Service Pack 3, and 24 MB RAM, or
• Windows 2000 or Me and 128MB RAM.
We recommended that you dedicate this PC to Dolby applications. If this is not
possible, additional memory may be needed to run other applications simultaneously.
Additionally, a faster processor may be required for newer operating systems.
5.2.2 Software Installation

The DolbyRemote application is installed from two diskettes.
1. Remove any previously installed version of DolbyRemote using the

Add/Remove Program command from the Control Panel.
5-1
Model DP569 User’s Manual DolbyRemote
Note: It is strongly recommended that you exit all Windows programs before
beginning the installation.
2. Insert the DolbyRemote Software Install Disk 1 into the computer.
3. Click Start and Run.
4. Browse to the DolbyRemote diskette. Select setup.exe and click OK.
5. Please read the Limitation of Liability and Welcome screens before

proceeding with the installation.
6. The default installation destination for DolbyRemote is C:\Program

Files\Dolby Laboratories. Click Next to accept the default, or click Browse to
select an alternative location.
7. Use the program folder default Dolby Laboratories, or enter an alternate folder
name and click Next.
8. Insert the DolbyRemote Software Install Disk 2 when prompted to do so, and
click OK.
9. To use the Help files in HTML format, click Yes. When the update is
complete click OK. If a previous copy of DolbyRemote has been installed,
this prompt may not appear.
10. DolbyRemote installation is complete.
Microsoft DLL Files

If you have an older version of Windows 95, you may see an error message about
Oleaut32.dll when you launch DolbyRemote. If this occurs, download and install the
Windows Library Update from Microsoft (www.microsoft.com/windows95/downloads).
5.2.3 Serial Cable Installation

There are two types of serial interface used on the DP569, RS-232, and RS-485. It
is important to use the correct type of interface and the correct cable to ensure a
reliable connection.
Each RS-232 port on a PC must be connected to a single DP569; the application can,
however, control many RS-232 ports. For example, with five free RS-232 ports on a
computer, five DP569 devices may be controlled with a single instance of the
DolbyRemote application.
A single RS-485 computer port may connect to several devices, provided the devices
use the RS-485 connection and they have all been configured with different unit
addresses. See Section 4.2.6.
5-2
DolbyRemote ships with a cable for RS-232 connection between a PC and the front-
panel of a DP569 encoder. Additional cables may be purchased from Dolby Laboratories.
RS-485 connection for the DP569 requires a separate cable, not provided. This
connects to the rear panel serial port of the unit. Consult Section 6.2.6 for RS-485
support information.
5.2.4 DP569 Setup

To operate using DolbyRemote it is necessary to place the DP569 into remote mode.
Press Shift, ←to access remote mode.
5.3 Starting DolbyRemote

From the Windows Start button, select DolbyRemote from the folder in which you
installed the DolbyRemote application. The Open Device window is displayed,
Figure 5-1.
Figure 5-1 DolbyRemote Open Device Window
5.3.1 Device Type

Select the Dolby encoder model to be controlled. The application will also control older
Dolby encoders (i.e., the DP561 and DP567).
5.3.2 Communications
Port
Select the computer communications port to be used. DolbyRemote allows COM1
through COM10. The correct port will depend on the computer configuration.
5-3
Baud Rate
The communication baud rate for the DP569 may be set to 9,600, 19,200, or 38,400
(the default rate). The baud rate is configurable through the front panel of the
encoder. The rate you select in DolbyRemote must match the rate selected in the unit.
Address
The default address setting for the DP569 is 0x8280. If the address has been changed
from the front panel of the encoder, set the remote address accordingly.
Off-Line
The DolbyRemote application may be used off-line, without the presence of an
encoder. This allows configurations to be preprogrammed and stored.
Once the desired parameters have been set, as described above, click OK. When the
DolbyRemote application establishes communication with the unit, it will display the
unit’s current settings.
Figure 5-2 DolbyRemote Window
5-4
5.3.3 Adding or Removing Additional Devices

To add additional encoders, click the New button or select File, New Device. The
Open Device window is again displayed. See Section 5.3 for parameter details.
Figure 5-3 Controlling Two Encoders
To remove or discontinue the remote control of a device, click Close or select File,
Close Device.
5.4 General Operation
5.4.1 Saving and Restoring Configurations

DolbyRemote can save the configuration of the active device so that it can easily be
recalled later. The file extension for these configurations is .dby and can only be read
with DolbyRemote. Configurations can be transferred between different DP569
encoders, using this function.
Configuration files can be opened or saved from the File menu, or from buttons on
the Tool Bar.
5.4.2 Exporting Configurations

Export file gives two different options for saving the current configuration as a file
that can be read and printed outside of the remote software. It is not possible to use
these file types to configure a unit. You may export the current settings in either a text
file or an HTML file.
5.5 Common Setup Problems

Make sure the unit is in remote mode (press Shift, ←). The remote LED should be lit.
5-5
Make sure that you are either using a RS-232 connection through the front panel or a
RS-485 connection through the rear panel.
Verify that the baud rate and device address of the unit to be controlled match the
parameters given to the DolbyRemote application in the Open Device window. On
the unit, these parameters are found in the System Settings section of the DP569
setup menu.
It is possible that hardware constraints on the controlling PC can cause problems

with the remote connection. The DolbyRemote application transfers data
continuously to update dynamic information such as meter values. If the port is using
a shared IRQ with another device, then it is possible that the connection may be lost.
In this case using another COM port can solve the problem.
If the connection is lost, the unit will continue to operate with the current set of
parameters contained immediately before the connection was broken; it is not
advisable, however, to use the unit in this way if this problem persists.
5.6 Display Overview

This section describes the parameters that are available in the windows of DolbyRemote.
Parameters that are not accessible through the setup menus are described in detail, for
more detailed information about other parameters see Chapter 4 and Appendix A.
5-6
5.6.1 Audio Service Parameters
Figure 5-4 Audio Service Parameters
Input Meters show the input level of the channels enabled in the current encoding
mode in dBFS.
Audio Bandwidth displays the current audio bandwidth of the main channels. This is
dependent on the number of channels being encoded and the data rate.
Pass Through indicates if the unit is in pass-through mode, (i.e., a pre-encoded

bitstream has been detected).
Figure 5-5 Encoder Stop and Start Buttons
Encoder State displays the status of encoding for the current device.
• Not Encoding: The user has requested that the unit start encoding, but the
encoder is unable to encode because it is missing a required input signal, or
the timecode start value has not been reached.
• Encoding: The unit is encoding.
5-7
• Stopped: The user has directed the unit to not encode.
5.6.2 Preprocessing
Figure 5-6 Preprocessing Tab
Input Level Meter shows the input signal used by the dynamic range control process
to determine the amount of boost or cut required.
Line Mode and RF Mode meters show the current value of the dynamic range
control cut and boost words being included in the Dolby Digital bitstream. Red shows
compression (cut) and green shows expansion (boost), calibrated in dB.
5.6.3 Bitstream Info
Figure 5-7 Bitstream Info Tab
5-8
5.6.4 Dual Mono

These fields are only applied when the coding mode is set to 1+1. In this case, these
parameters apply to channel 2.
Figure 5-8 Dual Mono Tab
5.6.5 Input and Output Settings and Reference Input
Figure 5-9 Input/Output Tab
5-9
Figure 5-10 Reference Input
Lock Status shows whether the input channels have been detected and locked by the
encoder.
Sample Rate shows the sample rate of the input channels.
Integrity shows the data integrity of the input channels.
Input Subcode Status Bits show the format, sample rate, emphasis, and audio bit as
indicated in the subcode of the input signal.
Stream Number shows the input stream number for a pre-encoded signal present at
the reference input.
5.6.6 Presets
Figure 5-11 Presets Tab
5-10
Click on any of the 32 preset buttons to recall a user preset. These presets are stored
internally within the decoder, not within the DolbyRemote application.
Configure
Number selects the number of the present you wish to configure, 1 through 27.
Presets 28 through 32 are factory defaults and cannot be overwritten.
Save Current Configuration

Click this button to save the current configuration in the selected preset.
5.6.7 Timecode Parameters
Figure 5-12 Timecode Tab
Status shows if a valid timecode signal is present.
Current Timecode shows both the current timecode value and frame rate in
HH:MM:SS:FF format. If no timecode input is present, this box will be grayed out.
The Resume button copies the Stop Timecode value to the Start Timecode value.
This allows seamless encoding of two sections of continuous material.
5-11
5-1
Chapter 6
Specifications
6.1 System Block Diagram
AES3
2 Sample 2 SRC
Digital In 1 AES/EBU
Rate Select
AES3 1 Receiver
Converter 6
Loopthru 6
AES3 Aux Data RS-485

2 Sample 2
Digital In 2 AES/EBU
Rate DSP
AES3 2 Receiver Processing SMPTE
Converter
Loopthru Time Code LTC In
AES3 Rcvr SMPTE
2 Sample 2
Digital In 3 AES/EBU VITC In
Rate
AES3 3 Receiver
Converter
Loopthru
6 Digital
Input Front
AES3 Serial (RS-232)
2 Reference
Ref In AES/EBU Remote
Input µC Rear
AES3 Ref Receiver Control
(RS-422)
Loopthru
Clock
AES3 Reference Control
Bypass In GPIO
Bypass Local Status
AES3 (32/44.1/48 kHz)
Clock Ref
Switched
Out User Interface Frame sync
delay TTL Pulse
AES3 AES/EBU Front Panel
2 input
Main Out Transmitter
= data
= clock
Figure 6-1 System Block Diagram
6.2 Connections
WARNING: Check fuse rating before applying power. Model DP569 Metadata GP I/O In
Digital Audio Encoder
CAUTION
To reduce the risk of
fire replace only with Linear Time
Dig Dig Dig Ref VITC Bypass Main
same type and rating
Code In
250V slow-blow fuse
WARNING: In 1/2 In 3/4 In 5/6 In In In Out Remote GP I/O Out
100-240 Vac
24VA 50-60Hz
No user service-
FUSE
able parts inside.
T1A Refer all service
to qualified
personnel. TTL Switched Dolby and the double-D symbol are trademarks of Dolby Laboratories Licensing Corporation.
Delay Out
Figure 6-2 DP569 Rear Panel
6-1
Model DP569 User’s Manual Specifications
6.2.1 Digital Audio Connections
Inputs
(Digital In 1/2, 3/4, 5/6), Reference Digital Input (Ref In), Bypass Digital Audio
Input (Bypass In)
BNC female connectors per AES3ID-1995
Outputs
Main Digital Audio Output (Main Out), Switched Digital Audio Output (Switched Out)
BNC female connectors per AES3ID-1995
6.2.2 Vertical Interval Timecode Input (VITC In)

BNC female connectors, composite video input
6.2.3 Delay Control Input (TTL Delay)

BNC female connector, 5V TTL level active high pulse
6.2.4 Linear Timecode Input

XLR female connector
Table 6-1 Linear Timecode Input Pins
Pin Connection
1 Signal ground
2 LTC In +
3 LTC In –
6-2
6.2.5 Metadata Serial Port

9-pin female D-connector, electrical specifications per SMPTE 207M
Table 6-2 Metadata Serial Port Pin-Outs
Pin Connection
1 Shield
2 TX A asynchronous data out –
3 RX B asynchronous data in +
4 Ground
5 NC
6 Ground
7 TX B asynchronous data out +
8 RX A asynchronous data in –
9 Shield
6.2.6 Rear Panel Remote Control Serial Port (Remote)

9-pin female D-connector per SMPTE 207M
Table 6-3 Rear Panel Remote Control Serial Port Pin-Outs
Pin Connection
1 Shield
2 TX B asynchronous data out –
3 RX A asynchronous data in +
4 Ground
5 NC
6 Ground
7 TX A asynchronous data out +
8 RX B asynchronous data in –
9 Shield
6-3
6.2.7 Front Panel Remote Control Serial Port (Remote)

8-pin female mini-DIN connector, electrical specifications per EIA RS-232
Table 6-4 Front Panel Remote Control Serial Port Pin-Outs
Pin Connection
1 NC
2 NC
3 RX asynchronous data out
4 Ground
5 TX asynchronous data in
6 NC
7 NC
8 Sense select front panel
6.2.8 General Purpose Control Input Port (GPI/O In)

9-pin female D-connector, 5 V CMOS input levels (active low)
Table 6-5 General Purpose Control Input Port Pin-Outs
Pin Connection Comments

1 Bypass Select Ref input as source for Switched output.
2 Autodetect Autodetect and pass-through valid AC-3 signals.
3 Pre-encoded Force Pass-through mode (no AC-3 encoding).
4 PCM Force AC-3 encoding (no pass-through mode).
5 User Preset 1 Select user preset mode 1.
9 Ground --
6-4
6.2.9 General Purpose Status Output Port (GP I/O Out)

9-pin female D-connector, 5 V CMOS output levels (active low)
Table 6-6 General Purpose Status Output Port Pin-Outs
Pin Connection Comments

1 Fault Power supply or processor/memory fault
2 Not Locked Invalid input or clock source
3 Pass-through Valid AC-3 input signal being passed through
4 Encoding AC-3 encoding of input signal active
5 User Preset 1 User preset mode 1 selected and active
9 Ground
6.3 Mechanical Specifications

Table 6-7 Mechanical Specifications
Dimensions 44 × 483 × 330 mm (1.75 × 19 × 13 inches)

Net Weight 4 kg (8.5 lb) approximate
Shipping Weight: 6 kg (13 lb) approximate
Power Requirements 90–264 VAC, 50–60 Hz
Power Consumption 15 W maximum
6.4 Environmental Specifications

Table 6-8 Environmental Specifications
Temperature
5˚ to 45˚ C (41˚ to 113˚ F), natural convection
Operating
cooling
Non Operating (Storage) –20˚ to +70˚ C (–4˚ to +158˚ F)
Humidity Up to 90% relative humidity, non-condensing
EMC Limits
Radiated Per EN 55103-1, FCC Part 15 Class A, ICES-003
Immunity Per EN 55103-2
6-5
6-1
Appendix A
Metadata
Metadata provides unprecedented capability for content producers to deliver the

highest quality audio to consumers in a range of listening environments. It also
provides choices that allow consumers to adjust their settings to best suit their
listening environments.
In this appendix, we first discuss the concept of metadata:
• Metadata overview
We then discuss the three factors controlled by metadata that most directly affect the
consumer’s experience:
• Dialogue level
• Dynamic range control (DRC)
• Downmixing
We then define each of the adjustable parameters, and provide sample combinations:
• Individual parameters
• Metadata combinations
A.1 Metadata Overview

Dolby Digital and Dolby E are both bit-rate reduction technologies that use metadata
to describe the encoded multichannel audio. In normal operation the encoded audio
and metadata are carried together as a data stream on two regular digital audio
channels (AES/EBU or S/PDIF). Metadata is carried in the Dolby Digital or Dolby E
bitstream, describing the encoded audio and conveying information that precisely
controls downstream encoders and decoders. Metadata allows content providers
unprecedented control over how original program material is reproduced in the home.
Dolby Digital is a transmission bitstream (sometimes called an emission bitstream)

intended for delivery to the consumer. It consists of a single encoded program of up
to six channels described by one metadata stream. The consumer’s Dolby Digital
decoder processes the metadata stream according to parameters set by the program
creator, as well as certain settings for bass management and dynamic range that are
chosen by the consumer to reflect their specific home theater equipment and
environmental conditions.
Dolby E is a distribution bitstream capable of carrying up to eight channels of

encoded audio and metadata. The number of programs ranges from one single
A–1
Model DP569 User’s Manual Metadata
program (Program Config: 5.1) to eight individual programs on a single Dolby E

stream (Program Config: 8 × 1). Each program is discrete with its own metadata in
the Dolby E stream. Some control metadata parameters in a Dolby E stream
automatically configure a Dolby Digital encoder while others are passed through to
the consumer’s Dolby Digital decoder.
Dolby E is a professional technology used for broadcast applications such as program

origination and distribution; the Dolby E bitstream carries the entire metadata
parameter set. Dolby Digital, used for consumer applications such as transmission to
the home or for DVD authoring, employs a subset of the entire metadata parameter
set called Dolby Digital metadata; the Dolby Digital bitstream carries only those
parameters necessary for proper decoding by the consumer.
Metadata is first inserted during program creation or mastering, and is carried through
transmission in a broadcast application or directly onto a DVD. The metadata
provides control over how the encoded bitstream is treated at each step on the way to
the consumer’s decoder.
Example:
In a broadcast truck parked outside a football stadium, the program mixer chooses the
appropriate metadata for the audio program being created. The resulting audio
program, together with metadata, is encoded as Dolby E and sent to the television
station via fiber, microwave, or other transmission link. At the receiving end of this
transmission, the Dolby E stream is decoded back to baseband audio and metadata.
The audio program is monitored and the metadata is altered or re-created as other
elements of the program are added in preparation for broadcast. This new audio
program/metadata pair is re-encoded as Dolby E, leaves the postproduction studio and
is passed through the television station to Master Control, where many incoming
Dolby E streams are once again decoded back to their individual baseband digital
audio/metadata programs. The audio program/metadata pair that is selected to air is
sent to the transmission Dolby Digital encoder, which encodes the incoming audio
program according to the metadata stream associated with it, thereby simplifying the
transmission process. Finally, the Dolby Digital signal is decoded in the consumer’s
home, with metadata providing the information for that decoding process. Through
the use of metadata, the mixer in the truck has been able to control the home decoder
for the sporting event, while news breaks, commercials, station Ids, and the like are
similarly appropriately decoded.
This control, however, requires the producer to correctly set the metadata parameters
because they affect important aspects of the audio—and can seriously compromise
the final product if set improperly. Although most metadata parameters are
transparent to consumers, certain parameters affect the output of a home decoder, like
when downmixing for a specific speaker configuration, or when the consumer
chooses Dynamic Range Control to avoid disturbing family and neighbors.
Figure A-1 shows a 5.1 + 2 Program Config consisting of a 5.1-channel program and
a two-channel Secondary Audio Program (SAP).
A–2
Multichannel
Monitor System
The Dolby E bitstream
contains both the 5.1- and
Metadata two-channel programs’
Program Source encoded audio, and each
program's metadata.
L/R
5.1-Channel DP570 C/LFE
Program DP571
Multichannel Audio
Ls/Rs Dolby E Encoder
Tool in 5.1+2 Program Config
in 5.1+2 Program Config
Two-Channel
(Stereo) Program Lt/Rt
Decoded Dolby E bitstream

delivers both the 5.1- and The Dolby Digital bitstream
two-channel programs’ contains a single program’s
encoded audio along with encoded audio and
corresponding metadata. corresponding metadata.
DP572 DP569 Broadcast

Cable, Satellite, Consumer
Dolby E Decoder Dolby Digital Encoder or Terrestrial
Dolby
Two-
Channel
SAP or Visual Encoder
Descriptive
Metadata
Figure A-1 Metadata Flow from Production to Consumer
In the simplest terms, there are two functional classifications of metadata:
Informational: These parameters convey information but do not affect either the
encoded bitstream or the decoding process. For example, the Bitstream Mode
parameter describes the audio service provided in the bitstream according to the
ATSC specification. This information may be used by certain components in the
audio system.
Control: These parameters direct how the decoder, encoder, or both process the
audio when certain modes are applied to the encoder or decoder. For example, the
Lowpass Filter parameter determines whether a lowpass filter is applied to the
main inputs of a Dolby Digital encoder, and the Surround Downmix Level
parameter instructs the Dolby Digital decoder how to mix the surround channels
during downmixing.
A–3
Both types of metadata can be examined, modified, or passed through during

encoding. Table A-1 lists the active metadata parameters and indicates if each
parameter is informational or control.
Table A-1 Metadata Parameters

Extended Bitstream Information parameters are in italics.
Metadata Parameter Informational Control

Dialogue Level r
Channel Mode r
LFE Channel r
Bitstream Mode r
Line Mode Compression r
RF Mode Compression r
RF Overmodulation Protection r
Center Downmix Level r
Surround Downmix Level r
Dolby Surround Mode r
Audio Production Information r
Mix Level r
Room type r
Copyright Bit r
Original Bitstream r
Preferred Stereo Downmix r
Lt/Rt Center Downmix Level r
Lt/Rt Surround Downmix Level r
Lo/Ro Center Downmix Level r
Lo/Ro Surround Downmix Level r
Dolby Surround EX Mode r
A/D Converter Type r
DC Filter r
Lowpass Filter r
LFE Lowpass Filter r
Surround 3 dB Attenuation r
Surround Phase Shift r
A.2 Dialogue Level

Dialogue level (also known as dialogue normalization or dialnorm) is perhaps the
single most important metadata parameter. The dialogue level setting represents the
average loudness of dialogue in a presentation.
A–4
When received at the consumer’s Dolby Digital decoder, this parameter setting
determines the level shift in the decoder that sets, or normalizes, the average audio
output of the decoder to a preset level. This aids in matching audio volume between
program sources.
The proper setting of the dialogue level parameter enables the Dynamic Range Control
profiles chosen by the content producer to work as intended in less-than-optimal
listening environments, and is essential in any content production, whether it is for
transmission in a broadcast stream or for direct distribution to consumers, as in DVDs.
In broadcast transmission, standard setting of dialogue level ensures that the

consumer can switch channels or watch a television program without having to adjust
the volume control during commercial breaks. Using that standard for all content,
whether conveyed by broadcast television, DVD, or other media, enables the
consumer to switch between sources and programs while maintaining a comfortable
listening level.
Note: Programs without dialogue, such as an all-music program, still require a careful
setting of the dialogue level parameter. When setting the parameter for such
content, it is useful to compare the program to the level of other programs. The
goal is to allow the consumer to switch to your program without having to
adjust the volume control.
The Scale
The scale used in the dialogue level setting is from –1 to –31 dBFSLeqA in 1 dB steps.
Contrary to what you might assume at first, a setting of –31 represents no level shift in
the consumer’s decoder, and –1 represents the maximum level shift. Here’s why:
Dolby Digital consumer decoders standardize the average loudness (averaged over
time by the formula LeqA) to –31 dBFS (31 dB below 0 dB full-scale digital output)
by applying a shift in level based on the dialogue level parameter setting. When a
decoder receives an input signal with a dialogue level setting of –31, it applies no
level shift to the signal because this indicates to the decoder that the signal already
matches the target level and therefore requires no shift. In contrast, a louder program
requires a shift to match the –31 dB standard. When the dialogue level parameter
setting is –21, the decoder applies a 10 dB level shift to the signal. When the setting is
–11, it applies a 20 dB level shift, and so on.
A Simple Rule:
31 + (dialogue level value) = Shift applied
Example:
31 + (–21) = 10 dB
A–5
The most important point to remember is that in setting the dialogue level parameter,
you are providing your listener with an essential service. For your listeners, setting
this level properly means:
• The volume level is consistent with other programs.
• The DRC profiles you make available to them work as you intend.
Once dialogue level is set, you can set up DRC profiles to further benefit the
consumer.
A.3 Dynamic Range Control

Different home listening environments present a wide range of requirements
regarding dynamic range. Rather than simply compressing the audio program to work
well in the poorest listening environments, Dolby Digital encoders calculate and send
Dynamic Range Control (DRC) metadata with the signal. This metadata can be
applied to the signal by the decoder to reduce the signal’s dynamic range.
Through the proper setting of DRC profiles during the mastering process, the content
producer can provide the best possible presentation of program content in virtually
any listening environment, regardless of the quality of the equipment, number of
channels, or ambient noise level in the consumer’s home.
Many Dolby Digital decoders offer the consumer the option of defeating the Dynamic
Range Control metadata, but some do not. Decoders with six discrete channel outputs
(full 5.1-channel capability) typically offer this option. Decoders with stereo, mono,
or RF-remodulated outputs, such as those found on DVD players and set-top boxes,
often do not. In these cases the decoder automatically applies the DRC metadata
associated with the decoder’s selected operating mode.
The Dolby Digital stream carries metadata for the two possible operating modes of
the decoder. The operating modes are known as Line Mode and RF Mode due to the
type of output they are typically associated with. Line Mode is typically used on
decoders with six- or two-channel line-level outputs and RF Mode is used on
decoders that have an RF-remodulated output. Full-featured decoders allow the
consumer to select whether to use DRC and if so, which operating mode to use. The
consumer sees options such as Off, Light Compression, and Heavy Compression
instead of None, Line Mode, and RF Mode. Advanced decoders may also allow
custom scaling of the DRC metadata.
All that needs to be done during encoding is selection of the dynamic range
control profiles for Line Mode and RF Mode. The profiles are described in the
following sections.
A–6
Note: While the use of DRC modes during decoding is a consumer-selectable feature,
the dialogue level parameter setting is not. Therefore, the proper setting of the
dialogue level parameter is essential before previewing a DRC profile.
A.3.1 Line Mode

Line Mode offers these features:
• Low-level boost compression scaling is allowed.
• High-level cut compression scaling is allowed when not downmixing.
• Dialogue, as set by the dialogue level parameter, is reproduced at a constant
level of –31 dBFSLeqA.
All line-level or power-amplified outputs from two-channel set-top decoders, two-

channel digital televisions, 5.1-channel digital televisions, Dolby Digital A/V
surround decoders, and outboard Dolby Digital adapters use Line mode.
Consumer control of the dynamic range is limited when downmixing. Products with
stereo or mono outputs do not usually allow consumer scaling of Line Mode. This is
because these devices are usually downmixing, (for example, when receiving a
5.1-channel signal.) However, in these products the consumer may have a choice
between Line Mode and RF Mode.
A.3.2 RF Mode
RF Mode offers these features:
• High- and low-level compression scaling is not allowed (when active, always
fully applied).
• +11 dB gain shift raises overall program level.
• Dialogue, as set by the dialogue level parameter and combined with the
+11 dB gain shift, is reproduced at a constant level of –20 dBFSLeqA.
RF Mode is designed for products (such as set-top boxes) that generate a downmixed
signal for connection to the RF/Antenna input of a television set; however, it is also
useful in situations where heavy DRC is required—for example, when small PC
speakers are used for DVD playback. In RF Mode, the overall program level is raised
11 dB, while the peaks are limited to prevent signal overload in the D/A converter.
By limiting headroom, severe overmodulation of television receivers is prevented.
The 11 dB gain provides an RF modulation level that compares well with analog
television broadcasts and premium movie channels.
In some situations it may be necessary to further constrain signal peaks above the
average dialogue level so that there is less than 20 dB headroom. The selection of a
suitable RF Mode profile achieves this.
A–7
A.3.3 Dynamic Range Control Profiles

Six preset DRC profiles are available to content producers: Film Light, Film
Standard, Music Light, Music Standard, Speech, and None. Each is applied in
the pattern shown in Figure A-2. All DRC profiles are encoded using a modified
B-weighted curve.
High
in
ty Ga
i
Un
Ouput Level
Cut
Early Range
Dialogue Level
Setting
Cut
Range
Null
Band
Boost Centered at
the Dialogue
Low
Range
Level Setting
Low Input Level High
Figure A-2 DRC Profile Pattern
In each case the center of the null band is assigned to the dialogue level parameter
setting, and the DRC profile is applied in relation to that level.
• Film Light
Max Boost: 6 dB (below –53 dB)
Boost Range: –53 dB to –41 dB (2:1 ratio)
Null Band Width: 20 dB (–41 dB to –21 dB)
Early Cut Range: –26 dB to –11 dB (2:1 ratio)
Cut Range: –11 dB to +4 dB (20:1 ratio)
• Film Standard
• Music Light (No early cut range)
A–8
• Music Standard
• Speech
• None
No DRC profile selected. The dialogue level parameter (dialnorm) is still applied.
These choices are available to the content producer for both Line Mode and RF
Mode. The content producer chooses which of these profiles to assign to each mode;
when the consumer or decoder selects a DRC mode, the profile chosen by the
producer is applied.
In addition to the DRC profile, metadata can limit signal peaks to prevent clipping
during downmixing. This metadata, known as overload protection, is inserted by the
encoder only if necessary. For example, consider a 5.1-channel program with signals
at digital full scale on all channels being played through a stereo, downmixed line-
level output. Without some form of attenuation or limiting the output signal would
obviously clip. Correct setting of the dialogue level and DRC profiles normally
prevents clipping and unnecessary application of overload protection.
Note: DRC profile settings are dependent on an accurate dialogue level setting.
Improper setting of the dialogue level parameter may result in excessive and
audible application of overload protection.
A.4 Downmixing
Downmixing is a function of Dolby Digital that allows a multichannel program to be
reproduced over fewer speaker channels than for which the program is optimally
intended. Simply put, downmixing allows consumers to enjoy a DVD or digital
television broadcast without requiring a full-blown home theater setup.
As with stereo mixing where the mix is monitored in mono on occasion to maintain
compatibility, multichannel audio mixing requires the engineer to reference the mix to
fewer speaker channels to ensure compatibility in downmixing situations. In this way,
Dolby Digital, using the metadata parameters that control downmixing, is an “equal
opportunity technology” in that every consumer who receives the Dolby Digital data
stream can enjoy the best audio reproduction possible, regardless of the playback system.
A–9
It is important to consider the output signals from each piece of equipment that can
receive a Dolby Digital program in the home. Table A-2 shows the output types from
different equipment.
Table A-2 Outputs from Various Dolby Digital Signal Processing Equipment
Output
Equipment Digital 5.1-Channel Two-Channel RF
Analog Analog Remodulated
5.1-channel amplifier
Standard home theater A/V amp r r
5.1-channel decoder r r
High-end DVD player r r r
DVD player r r
PC
r (some units) r
Includes games consoles
High-end set-top box
Often HDTV r r r r
Set-top box
Usually SDTV r r r
IDTV
TV set with integrated digital TV tuner r r
High-end TV
Large screen TV with 5.1-channel r r
speaker system
Set-top boxes, used for the reception of terrestrial, cable, or satellite Digital
Television, typically offer an analog mono signal modulated on the RF/Antenna
output, a line-level analog stereo signal, and an optical or coaxial digital output. DVD
players offer an analog stereo and a digital output, and some offer a six-channel
analog output (for a 5.1-channel presentation). Portable DVD players offer analog
stereo, headphone, and digital outputs. DVD players in computers and game consoles
offer a digital output as well as analog stereo, headphone, and possibly six-channel
analog outputs. 5.1-channel amplifiers, decoders and receivers have six-channel
analog outputs and possibly six speaker-level outputs.
In all of these cases, a Dolby Digital decoder creates the analog audio output signal.
In the case of the set-top box or DVD player, the analog stereo output is a
downmixed version of the Dolby Digital data stream. The digital output delivers the
Dolby Digital data stream to either a downstream decoder or a Dolby Digital
capable integrated amplifier.
In each of these devices, the analog stereo output is one of two different stereo
downmixes. One type is a stereo-compatible Dolby Surround downmix (also called
Pro Logic, left-total/right-total, or Lt/Rt) of the multichannel source program that is
suitable for Dolby Surround Pro Logic decoding. The other type is a simple stereo
representation (called a left-only/right-only, or Lo/Ro) suitable for playback on a
A–10
stereo hi-fi or on headphones, and from which a mono signal is derived for use on an
RF/Antenna output. The difference between the downmixes is how the surround
channels are handled. The Lt/Rt downmix sums the surround channels and adds them,
in-phase to the left channel and out-of-phase to the right channel. This allows a Dolby
Surround Pro Logic decoder to reconstruct the L/C/R/S channels for a Pro Logic
home theater. The Lo/Ro downmix adds the right and left surround channels
discretely to the left and right speaker channels. This preserves the stereo separation
for stereo-only monitoring and produces a mono-compatible signal. In all downmixes,
the LFE channel is not included.
On most home equipment, the consumer can use the product’s user interface to
choose the appropriate stereo output for their playback system. The mono signal
feeding the RF/Antenna output is always derived from the Lo/Ro downmix.
There are separate metadata parameters for the adjustment of the Lo/Ro and Lt/Rt
downmix conditions. Certain metadata parameters allow the engineer to select how
the stereo downmix is constructed and which stereo analog signal is preferred, but
Lt/Rt is the default selection in all consumer decoders. See Section A.5 for more
information on individual parameters.
During downmixing, as we have seen, the adjustment of dynamic range control

parameters is limited. Broadly speaking, the stereo outputs use the Line Mode
compression profile and the mono signal uses RF Mode compression. As with
dynamic range control, downmixing is ultimately dependent upon each consumer’s
unique listening environment.
While the engineer must optimize the multichannel mix for reproduction in an ideal
listening environment, it is also important to preview the mix in downmixing
conditions to ensure compatibility with different playback systems when selecting the
downmixing metadata parameters. These previews can be achieved in real time using
the DP570 Multichannel Audio Tool.
A.5 Parameter Definitions

Metadata parameters include:
• Universal parameters
• Extended Bitstream Information (Extended BSI) parameters
Extended BSI parameters are active only when the consumer’s decoder is capable of
reading them and when the producer chooses to use them. All decoders can
successfully decode a metadata stream without Extended BSI parameters, and
Extended BSI parameters translate seamlessly to decoders that read only universal
parameters.
A–11
A.5.1 Universal Parameters

Universal parameters are present in all Dolby Digital encoders and decoders.
Dialogue Level
The Dialogue Level parameter is discussed in Section A.2.
Channel Mode
This parameter (also known as audio coding mode) indicates the active channels
within the encoded bitstream and affects both the encoder and consumer decoder.
This parameter instructs the encoder as to which inputs to use for this particular
program; it tells the decoder what channels are present in this program so the decoder
can deliver the audio to the correct speakers.
The setting is described as X/Y, where X is the number of front channels (Left,
Center, Right) and Y the number of rear (surround) channels.
The availability of certain channel modes depends on the data rate and whether the
LFE Channel is present. For example, you can’t have a mono stream with an LFE
channel (1.1!) or a 3/2 stream at 96 kbps. Appropriate data rates are shown in the
definition of each setting.
Note: The presence of the LFE channel is indicated through a different metadata
parameter (see LFE Channel).
Table A-3 Channel Mode Settingsd
Channel Mode
Definition and Data Rate
Setting
Dual mono (not valid for DTV
1+1
broadcast or DVD production)
1/0 Mono From 56 kbps, usually 96 kbps
2/0 Stereo From 112 kbps, usually 192 kbps
3/0 From 256 kbps
2/1 From 256 kbps
3/1 From 320 kbps
2/2 From 320 kbps
3/2 From 384 kbps, often 448 kbps
LFE Channel
The status of the LFE Channel parameter indicates to a Dolby Digital encoder
whether an LFE Channel is present within the bitstream. Channel Mode determines
A–12
whether the LFE Channel parameter can be set. You must have at least three channels
in order to be able to add an LFE channel.
LFE Channel Setting

Enable
Disable
Bitstream Mode
This parameter describes the audio service contained within the Dolby Digital
bitstream. A complete audio program may consist of a main audio service (a complete
mix of all the program audio), an associated audio service comprising a complete
mix, or one main service combined with an associated service. To form a complete
audio program, it may be (but rarely is) necessary to decode both a main service and
an associated service using a maximum total bit rate of 512 kbps. Refer to the Guide
to the Use of the ATSC Digital Television Standard, Document A/54 (www.atsc.org)
for further information. Although a detailed description of each option follows, in
practice most programming uses the default setting, Complete Main. An example of
an exception to this rule is a special karaoke DVD, or an emergency service within
digital television.
Table A-4 Bitstream Mode Definitions
Bitstream Mode
Definition
Setting
CM flags the bitstream as the Main Audio Service for the program and all elements
Complete Main
are present to form a complete audio program. Currently, this is the most common
(CM)
setting. The CM Service may contain from one (mono) to six (5.1) channels.
The bitstream is the Main Audio Service for the program, minus a dialogue channel.
Main M&E The dialogue channel, if any, is intended to be carried by an Associated Dialogue
(ME) Service. Different Dialogue Services can be associated with a single ME Service to
support multiple languages.
This is typically a single-channel program intended to provide a narrative description
Assc. Visual Imp. of the picture content to be decoded along with the Main Audio Service. The VI
(VI) Service may also be a complete mix of all program channels, comprising up to six
channels.
This is typically a single-channel program intended to convey audio that has been
Assc. Hear Imp. processed for increased intelligibility and decoded along with the Main Audio
(HI) Service. The HI Service may also be a complete mix of all program channels,
comprising up to six channels.
This is typically a single-channel program intended to provide a dialogue channel for
an ME Service. If the ME Service contains more than two channels, the D Service is
Assc. Dialogue
limited to only one channel. If the ME Service is two channels, the D Service can be a
(D)
stereo pair; the appropriate channels of each service are mixed together (requires
special decoders).
A–13
Bitstream Mode
Definition
Setting
This is typically a single-channel program intended to convey additional commentary
that can be optionally decoded along with the Main Audio Service. This service
Assc. Commentary
differs from a Dialogue Service because it contains an optional, rather than a required,
©
dialogue channel. The C Service may also be a complete mix of all program channels,
comprising up to six channels.
This is a single channel service that is given priority in reproduction. When the E
Assc. Emergency
Service appears in the bitstream, it is given priority in the decoder and the Main
(E)
Service is muted.
Assc. Voice Over This is a single channel service intended to be decoded and mixed to the center
(VO) channel (requires special decoders).
Main Sv Karaoke
The bitstream is a special service for karaoke playback.
(K)
Line Mode Compression Profile

Line Mode is discussed in Section A.3.1.
RF Mode Compression Profile

RF Mode is discussed in Section A.3.2, Dynamic Range Control.
RF Overmodulation Protection
This parameter is designed to protect against overmodulation when a decoded Dolby
Digital bitstream is RF modulated. When enabled the Dolby Digital encoder includes
pre-emphasis in its calculations for RF Mode compression. The parameter has no
effect when decoding using Line Mode compression. Except in rare cases, this
parameter should be disabled.
RF Overmodulation Protection
Enable
Disable
A–14
Center Downmix Level

When the encoded audio has three front channels (L, C, R), but the consumer has
only left and right front speakers, this parameter indicates the nominal downmix level
for the center channel with respect to the left and right channels. Dolby Digital
decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI
parameters are not active.
Table A-5 Center Downmix Level
Center Downmix Level

Definition
Setting
The center channel is attenuated 3 dB and
0.707 (–3 dB) default
sent to the left and right channels.
The center channel is attenuated 4.5 dB and
0.596 (–4.5 dB)
The center channel is attenuated 6 dB and
0.500 (–6 dB)
Surround Downmix Level

When the encoded audio has one or more surround channels but the consumer does
not have surround speakers, this parameter indicates the nominal downmix level for
the surround channel(s) with respect to the left and right front channels. Dolby Digital
decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI
parameters are not active.
Table A-6 Surround Downmix Level
Surround Downmix
Definition
Level Setting
The left and right surround channels are each
0.707 (–3 dB) default attenuated 3 dB and sent to the left and right
front channels, respectively.
0.5 (–6 dB) Same as above, but the signal is attenuated 6 dB.
0 (–999 dB) The surround channel(s) are discarded.
Dolby Surround Mode

This parameter indicates to a Dolby Digital decoding product that also contains a
Dolby Pro Logic decoder (for example a 5.1-channel amplifier) whether the two-
channel encoded bitstream contains a Dolby Surround (Lt/Rt) program that requires
Pro Logic decoding. Decoders can use this flag to automatically switch on Pro Logic
decoding as required.
A–15
Table A-7 Dolby Surround Mode
Dolby Surround Mode

Definition
Setting
Not Dolby Surround The bitstream contains information that was not Dolby
default Surround encoded.
The bitstream contains information that was Dolby
Dolby Surround Surround encoded. After Dolby Digital decoding, the
bitstream is Pro Logic decoded.
Not Indicated There is no indication either way.
Audio Production Information

This parameter indicates whether the mixing level and room type values are valid. If
Yes, then a receiver or amplifier could use these values as described below. If No,
then the values in these fields are invalid. In practice only high-end consumer
equipment implements these features.
Table A-8 Audio Production Information
Audio Production
Definition
Information Setting
Yes Mixing Level and Room Type parameters are valid.
Mixing Level and Room Type parameters are invalid
No
and should be ignored.
Mixing Level
The Mixing Level parameter describes the peak sound pressure level (SPL) as
experienced during the final mixing session at the studio or on the dubbing stage. The
parameter allows an amplifier to set its volume control such that the SPL in the replay
environment matches that of the mixing room. This control operates in addition to the
dialogue level control, and is best thought of as the final volume setting on the
consumer’s equipment. This value can be determined by measuring the SPL of pink
noise at studio reference level and then adding the amount of digital headroom above
that level. For example, 85 dB equates to a reference level of –20dBFS; the mixing
level is 85+20, or 105 dB.
Mixing Level Setting

80 to 111 dB in 1 dB increments
Room Type
The Room Type parameter describes the equalization used during the final mixing
session at the studio or on the dubbing stage. A Large room is a dubbing stage with
the industry standard X-curve equalization; a Small room has flat equalization. This
parameter allows an amplifier to set the same equalization as heard in the final mixing
environment.
A–16
Room Type Setting

Not Indicated
Large
Small
Copyright Bit
This parameter indicates whether the encoded Dolby Digital bitstream is copyright
protected. It has no affect on Dolby Digital decoders and is purely for information.
Copyright Bit Setting

Yes
No
Original Bitstream
This parameter indicates whether the encoded Dolby Digital bitstream is the master
version or a copy. It has no affect on Dolby Digital decoders and is purely for
information.
Original Bitstream
Setting
Yes
No
Note: The parameters DC Filter, Lowpass Filter, LFE Lowpass Filter, Surround
3 dB Attenuation, and Surround Phase Shift appear after the Extended BSI
parameters on Dolby E and Dolby Digital equipment menus.
DC Filter
This parameter determines whether a DC blocking 3 Hz highpass filter is applied to
the main input channels of a Dolby Digital encoder prior to encoding. This parameter
is not carried to the consumer decoder. It is used to remove DC offsets in the program
audio and would only be switched off in exceptional circumstances.
DC Filter Setting
Enable default
Disable
Lowpass Filter
This parameter determines whether a lowpass filter is applied to the main input
channels of a Dolby Digital encoder prior to encoding. This filter removes high-
A–17
frequency signals that are not encoded. At the suitable data rates this filter operates
above 20 kHz. In all cases it prevents aliasing on decoding and is normally switched
on. This parameter is not passed to the consumer decoder.
Lowpass Filter Setting

Enable default
Disable
LFE Lowpass Filter

This parameter determines whether a 120 Hz 8th order lowpass filter is applied to the
LFE channel input of a Dolby Digital encoder prior to encoding. It is ignored if the
LFE channel is disabled. This parameter is not sent to the consumer decoder. The
filter removes frequencies above 120 Hz that would cause aliasing when decoded.
This filter should only be switched off if the audio to be encoded is known to have no
signal above 120 Hz.
LFE Lowpass Filter

Setting
Enable default
Disable
Surround 3 dB Attenuation
The Surround 3 dB Attenuation parameter determines whether the surround
channel(s) are attenuated 3 dB before encoding. The attenuation actually takes place
inside the Dolby Digital encoder. It balances the signal levels between theatrical
mixing rooms (dubbing stages) and consumer mixing rooms (DVD or TV studios).
Consumer mixing rooms are calibrated so that all five main channels are at the same
sound pressure level (SPL). For compatibility reasons with older film formats,
theatrical mixing rooms calibrate the surround channels 3 dB lower in SPL than the
front channels. The consequence is that signal levels on tape are 3 dB louder.
Therefore, to convert to a consumer mix from a theatrical calibration it is necessary to
reduce the surround levels by 3 dB by enabling this parameter.
Surround 3 dB
Attenuation Setting
Enable
Disable
A–18
Surround Phase Shift

This parameter causes the Dolby Digital encoder to apply a 90-degree phase shift to
the surround channels. This allows a Dolby Digital decoder to create an Lt/Rt
downmix simply. For most material the phase shift has a minimal impact when the
Dolby Digital program is decoded to 5.1 channels, but provides an Lt/Rt output that
can be Pro Logic decoded to L, C, R, S, if desired. However, for some phase-critical
material (such as music) this phase shift is audible when listening in 5.1 channels.
Likewise some material downmixes to a satisfactory Lt/Rt signal without needing this
phase shift. It is therefore important to balance the needs of the 5.1 mix and the Lt/Rt
downmix for each program.
Surround Phase Shift

Setting
Enable (default)
Disable
A.5.2 Extended Bitstream Information Parameters

In response to requests from content producers, Dolby Laboratories recently modified
the definitions of several metadata parameters from their original definition as
described in ATSC document A/52. The original parameters were rarely, if ever used.
The revised definitions allow more information to be carried about the audio program
and allow more choices for stereo downmixing. When the metadata parameters
carried in Dolby Digital were first described, they were generically called Bitstream
Information or BSI. We refer to the alternate parameter definitions as Extended BSI.
Because the revised definitions affect metadata parameters that were not used by the
consumer decoders, all decoders will be compatible with the revised bitstream. Newer
decoders that are programmed to detect and decode the new parameters will be able
to implement the new features the Extended BSI provides.
Products that allow emulation of the effects of metadata, such as the DP570, normally
have a feature that allows emulation of a new (or compliant) decoder or a legacy decoder.
Preferred Stereo Downmix Mode

This parameter allows the producer to select either the Lt/ Rt or the Lo/Ro downmix
in a consumer decoder that has stereo outputs. Consumer receivers are able to
override this selection, but this parameter provides the opportunity for a 5.1-channel
soundtrack to play in Lo/Ro mode without user intervention. This is especially useful
on music material.
Preferred Stereo
Downmix Mode Setting
Not Indicated
Lt/Rt Preferred
Lo/Ro Preferred
A–19
Lt/Rt Center Mix Level

This parameter indicates the level shift applied to the center channel when adding to
the left and right outputs when downmixing to an Lt/Rt output. Its operation is similar
to the center downmix level in the universal metadata.
Lt/Rt Center
Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Lt/Rt Surround Mix Level

This parameter indicates the level shift applied to the surround channels when
downmixing to an Lt/Rt output. Its operation is similar to the surround downmix level
in the universal metadata.
Lt/Rt Surround
Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Lo/Ro Center Mix Level

This parameter indicates the level shift applied to the center channel when adding to
the left and right outputs when downmixing to a Lo/Ro output. When Extended BSI
parameters are active, this parameter is used and the Center Mix Level parameter in
the universal parameters is not.
A–20
Lo/Ro Center
Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Lo/Ro Surround Mix Level

This parameter indicates the level shift applied to the surround channels when
downmixing to a Lo/Ro output. When Extended BSI parameters are active, this
parameter is used, and the Surround Mix Level parameter in the universal parameters
is not.
Lo/Ro Surround
Mix Level Setting
1.414 (+3.0 dB)
1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Surround EX Mode
This parameter is used to identify the encoded audio as Surround EX encoded
material. This parameter is only used if the encoded audio has two surround channels.
An amplifier or receiver with Dolby Digital Surround EX decoding can use this
parameter as a flag to switch the decoding on or off automatically. The behavior is
similar to the Dolby Surround Mode parameter.
Surround EX Setting
Not Indicated
Not Surround EX
Dolby Surround EX
A–21
A/D Converter Type

This parameter allows audio that has passed through a particular A/D conversion stage
to be marked as such so that a decoder may apply the complementary D/A process.
A/D Converter Type Setting

Standard
HDCD
A.6 Metadata Combinations

Table A- provides examples of combinations of parameters that could be used as a
preset.
Note: These parameter settings are provided as examples to demonstrate that

different settings can be saved, named, and brought up as needed for quick use
in different situations. The settings are not recommendations, but could
provide a baseline starting point from which to create your own metadata
values.
Table A-9 Examples of Possible Metadata Settings

Live
Action Film Drama Local News
Parameter Music (5.0) Sporting
(5.1) (Lt/Rt) (Mono)
Events (5.0)
Dialogue Level –27 dB –27 dB –20 dB –15 dB –18 dB
Channel Mode 3/2L 2/0 1/0 3/2 3/2
LFE Channel Enable N/A N/A Disable Disable
Main Main Main Main Main
Bitstream Mode
Complete Complete Complete Complete Complete
Film Music Film
Line Mode Pro Film Light Speech
Standard Standard Standard
Film Music Film
RF Mode Pro Film Light Speech
Standard Standard Standard
RF Ovrmd Protect Disable Disable Disable Disable Disable
–0.707 dB –0.707dB –0.707 dB
Center Dwnmix Lev N/A N/A
(–3 dB) (–3 dB) (–3 dB)
–0.707 dB –0.707 dB –0.707 dB
Srnd Dwnmix Lev N/A N/A
(–3 dB) (–3 dB) (–3 dB)
Dolby
Dolby Srnd Mode N/A N/A N/A N/A
Surround
Audio Prod Info Yes Yes No Yes No
Mix Level 101 dB 90 dB N/A 95 dB N/A
A–22

Live
Action Film Drama Local News
Parameter Music (5.0) Sporting
(5.1) (Lt/Rt) (Mono)
Events (5.0)
Room type Large Small N/A Large N/A
Copyright Yes Yes Yes Yes Yes
Original Bitstream Yes Yes Yes Yes Yes
Preferred Stereo
Lt/Rt Lt/Rt N/A Lo/Ro Lt/Rt
Downmix
Lt/Rt Center –0.707 –0.707 –0.707
N/A N/A
Downmix Level (–3 dB) (–3 dB) (–3 dB)
Lt/Rt Surround –0.707 –0.707 0.595
N/A N/A
Downmix Level (–3 dB) (–3 dB) (–4.5 dB)
Lo/Ro Center –0.707 –0.707 –0.707
N/A N/A
Downmix Level (–3 dB) (–3 dB) (–3 dB)
Lo/Ro Surround –0.707 –0.707 0.595
N/A N/A
Downmix Level (–3 dB) (–3 dB) (–4.5 dB)
Dolby Not Dolby Not Dolby
Dolby Surround EX
Surround N/A N/A Surround Surround
Mode
EX EX EX
A/D Converter Type Standard Standard Standard Standard Standard
DC Filter Enable Enable Enable Enable Enable
Lowpass Filter Enable Enable Enable Enable Enable
LFE Lowpass Filter Enable N/A N/A N/A N/A
Srnd 3 dB Atten Enable N/A N/A Disable Disable
Srnd Phase Shift Enable N/A N/A Enable Enable
A–23
A–1
Appendix B
SMPTE Time Stamp
An edited excerpt from Annex B of ATSC Document A/52 (“Digital Audio

Compression Standard (AC-3)”) is reproduced below.
The Time Stamp Data_type

Time stamps are useful in applications where time information must be kept closely
associated with encoded audio data (see Figure B-1). An example of this would be in
a digital audio/video transmission system where both audio and video sources have
SMPTE timecodes. When the audio and video are digitally compressed it is useful if
each output compressed bit stream contains the original SMPTE timecode
information. When a time stamp is included in this interface, its value applies to the
single coded audio access unit that immediately follows.
Audio Signals
to be encoded
IEC 958 signal
Digital Audio Encoder Coded audio + time code
SMPTE
Time Code
Figure B-1 Encoding Audio with Timecode
Values of SMPTE timecode occur only once per picture frame, and thus have a
resolution in their value of approximately 33 ms (for 30 Hz frame rate). Audio
samples occur much more frequently, approximately once every 21 µs (48 kHz
sample rate). The AC-3 audio access units occur every 32 ms (48 kHz sample rate). It
is desirable for the time stamp to precisely indicate the time of the first audio sample
contained in each audio access unit, but this is not practical due to the coarse nature
of the source of the timing information (SMPTE timecode). The method adopted here
is to let the time stamp contain both a SMPTE timecode value, and an indicator as to
the audio sample within the following audio access unit to which the timecode value
applies.
Depending on the precise timecode frame rate, and the audio access unit frequency
(which depends on the audio sample rate), it is possible for all audio samples within a
single audio access unit to be between two sequential timecode values. In this case,
the time stamp cannot point to a sample in the audio access unit, but must point to a
sample in the following audio access unit (see Figure B-2). It is also possible for two
B–1
Model DP569 User’s Manual SMPTE Time Stamp
timecode values to occur within a single audio access unit. In this case, the timecode
value that applies to the earliest sample in the access unit is used.
It should be recognized that the time stamp values will have a small amount of
inherent jitter. The sources of the jitter could be, for example, the ±1 sample
ambiguity in relating timecode to an exact sample value or bandwidth limitations in
the source of linear timecode.
Increasing Time
TS TS
AC-3 Frame n AC-3 Frame n+1
n n+1
Sample Sn Sample Sn+1
Time Stamp n contains the Time Stamp n+1 contains the

time information for sample time information for sample
Sn in AC-3 frame n Sn+1 in AC-3 frame n+1
If the value of sample number Sn contained in time

stamp n is >= 1536 (the number of samples in an AC-3
frame), it points to sample 1536-Sn in AC-3 frame n+1
Figure B-2 Time Stamps and AC-3 Frames in the IEC958 Datastream
B–2
Appendix C
Factory Default Presets
Preset Number 28 29 30 31 32
Preset Name Externl Metadata Stereo Film Stereo Music Surround Film Surround Music
Dialogue Level –27 dB –27 dB –27 dB –27 dB –27 dB
Channel Mode 3/2 2/0 Stereo 2/0 Stereo 3/2 3/2
LFE Channel Enabled Disabled Disabled Enabled Disabled
Data Rate Automatic 384 192 kbps 256 kbps 448 kbps 448 kbps
Bitstream Mode Main Complete Main Complete Main Complete Main Complete Main Complete
Line Mode Profile Film Standard Film Standard Music Standard Film Standard Music Standard
RF Mode Profile Film Standard Film Standard Music Standard Film Standard Music Standard
RF Ov Protect Disabled Disabled Disabled Disabled Disabled
Cntr Dwnmx 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB)
Srnd Dwnmx 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB)
Dolby Srnd Not Dolby Srnd Dolby Srnd Not Dolby Srnd Not Dolby Srnd Not Dolby Srnd
Audio Prod Info No No No No No
Mixing Level 80 dB 85 dB 80 dB 85 dB 80 dB
Room Type Not Indicated Not Indicated Not Indicated Not Indicated Not Indicated
Copyright Yes Yes Yes Yes Yes
Original Bitstream Yes Yes Yes Yes Yes
Extnd Bitstream Disabled Disabled Disabled Disabled Disabled
Preferred Dwnmx Lt/Rt Lt/Rt Lo/Ro Lt/Rt Lo/Ro
Lt/Rt C Downmix 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB)
Lt/Rt S Downmix 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB)
Lo/Ro C Dowmix 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB)
Lo/Ro S Downmix 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB) 0.707 (–3.0 dB)
Dolby Srnd EX Not Dolby EX Not Dolby EX Not Dolby EX Not Dolby EX Not Dolby EX
A/D Conv Type Standard Standard Standard Standard Standard
De-emphasis Autodetect Autodetect Autodetect Autodetect Autodetect
DC Filter Enabled Enabled Enabled Enabled Enabled
Lowpass Filter Enabled Enabled Enabled Enabled Enabled
LFE Lowpass Filt Enabled Disabled Disabled Disabled Enabled
Srnd 3 dB Atten Disabled Disabled Disabled Disabled Enabled
Srnd Phase Shift Enabled Disabled Disabled Enabled Enabled
Input Chan Assign L/R C/LFE Ls/Rs L/R C/LFE Ls/Rs L/R C/LFE Ls/Rs L/R C/LFE Ls/Rs L/R C/LFE Ls/Rs
Clock Source Digital Input Digital Input Digital Input Digital Input Digital Input
Input Format PCM PCM PCM PCM PCM
Output Stream # 0 0 0 0 0
Output Mode Pro 32-bit Pro 32-bit Pro 32-bit Pro 32-bit Pro 32-bit
C–1
Model DP569 User’s Manual Factory Default Presets
Preset Number 28 29 30 31 32
Preset Name Externl Metadata Stereo Film Stereo Music Surround Film Surround Music
Time Stamp Disabled Disabled Disabled Disabled Disabled
TS Delay Word Disabled Disabled Disabled Disabled Disabled
Audio Bit Non-Audio Non-Audio Non-Audio Non-Audio Non-Audio
Timecode Input LTC LTC LTC LTC LTC
Mono Channel Center Center Center Center Center
Multiplex Mode Disabled Disabled Disabled Disabled Disabled
Coding Delay This Parameter is not stored within the User Presets
Bypass Mode Disabled Disabled Disabled Disabled Disabled
Encoder Control Encode Encode Encode Encode Encode
TC Start Time 00:00:00:00:0000 00:00:00:00:0000 00:00:00:00:0000 00:00:00:00:0000 00:00:00:00:0000
TC Stop Time 00:00:00:00:0000 00:00:00:00:0000 00:00:00:00:0000 00:00:00:00:0000 00:00:00:00:0000
Test Tone Disabled Disabled Disabled Disabled Disabled
Metadata Source Program 1 Internal Internal Internal Internal
Override Params None None None None None
Reversion Mode Last Used Last Used Last Used Last Used Last Used
Reversion Preset 6 6 6 6 6
C–2
Appendix D
Error Messages
This appendix lists possible error messages that may be generated by the DP569. In
each case a description of possible setup conflicts are given that may have caused the
error. When a conflict occurs the parameter that caused the conflict will not be
updated but returned to its original value once the error message has been displayed.
NOT VALID: CHECK

DATA RATE
• A new Channel Mode has been selected but is not supported for the current
Data Rate.
• Internal 32 kHz has been selected as the Clock Source, the current Output
Mode is Pro 16-bit and the current Data Rate is 448 kbps or greater.
NOT VALID: CHECK

CHANNEL MODE
• A new Data Rate has been selected but is not supported for the current
Channel Mode setting.
• Main Srv Karaoke has been selected as the Bitstream Mode and the current
Channel Mode is 1+1 Dual Mono or 1/0 Mono; or Assc Voice Over has
been selected and the current Channel Mode is not 1/0 Mono.
• The LFE Channel has been Enabled and the current Channel Mode is 1+1
Dual Mono, 1/0 Mono, or 2/0 Stereo.
NOT VALID: CHECK
BITSTREAM MODE
• Either 1+1 Dual Mono or 1/0 Mono has been selected as the Channel Mode
and the current Bitstream Mode is Main Srv Karaoke. Or any selection
other than 1/0 Mono has been made and the current Bitstream Mode is Assc
Voice Over.
NOT VALID: CHECK
LFE MODE
• 1+1 Dual Mono, 1/0 Mono, or 2/0 Stereo has been selected as the Channel
Mode and the LFE Channel is Enabled.
D–1
Model DP569 User’s Manual Error Messages
NOT VALID: CHECK

INPUT FORMAT
• Ref In-SRC On or an Internal Clock Source has been selected and the
current Input Format is not PCM.
• Time Code Ctrl has been selected as the Encoder State and the current
Input Format is not PCM.
NOT VALID: CHECK

ENCODER STATE
• Time Code-based Recall has been selected and Encoder State is currently
set to Time Code Ctrl.
• Pre-encoded or Autodetect has been selected as the Input Format and the
current Encoder State is set to Time Code Ctrl.
• Multiplex Mode has been set to Enabled and the current Encoder State is
set to Time Code Ctrl.
NOT VALID: CHECK

MULTIPLEX MODE
• Digital Input or an Internal Clock Source has been selected, and Multiplex
Mode is currently Enabled.
• Pro 32-bit or Consumer has been selected as the Output Mode and
Multiplex Mode is currently Enabled.
• Time Code Ctrl has been selected as the Encoder State and Multiplex
Mode is set to Enabled.
NOT VALID: CHECK

CLOCK SOURCE
• Pre-encoded or Autodetect has been selected as the Input Format and the
current Clock Source is Ref In-SRC On or an Internal clock source.
• The Multiplex Mode has been Enabled and the current Clock Source is
Digital Input or Internal.
• A Coding Delay value less than 204 ms has been selected and the current
Clock Source is Internal 44.1 kHz, or a Coding Delay less than 280 ms has
been selected and the current Clock Source is Internal 32 kHz.
D–2
Model DP569 User’s Manual Error Messages
NOT VALID: CHECK

CODING DELAY
• Internal 44.1 kHz has been selected as the Clock Source and the current
Coding Delay is Internal with a delay value less than 204 ms, or Internal 32
kHz has been selected and the current delay value less than 280 ms.
NOT VALID: CHECK

OUTPUT MODE
• The Multiplex Mode has been Enabled and the current Output Mode is Pro
32-bit or Consumer.
NOT VALID: CHECK

OUT OF RANGE
• A new Coding Delay value has been selected and the new internal coding
delay parameter is not in the range “187”–“450”.
• The Unit Address is out of range.
NOT VALID: CHECK

GPIO INPUTS
• Bypass Mode has been Disabled and the bypass function is currently
activated through the rear-panel GP I/O connection.
NOT VALID: PRESET

RECALL PENDING
• Time Code Ctrl has been selected as the Encoder State and a time code
controlled preset recall is currently Pending.
D–3
D–1

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Model DP569

Troubleshooting must be performed by trained technicians. Do not attempt

DISCLAIMER OF WARRANTIES: Equipment manufactured by Dolby Laboratories is warranted against defects in

4.2.3 Metadata Params ............................................................ 4-4

Appendix A Metadata ................................................................................................ A-1

Regulatory Notices and Fuse Information

WARNING: Troubleshooting must be performed by a trained technician. Do not attempt

The ground terminal of the power plug is connected directly to

IMPORTANT SAFETY NOTICE

Check Main Fuse

Checking the Main Fuse

Several accessories are provided with the unit.

• A power cord (US style)

2.2 System Considerations

3. Reverse the above procedure when re-assembling the unit.

J41 J40 J32 J31 Terminated Not Terminated

Figure 2-1 Jumper Locations

2.2.2 Digital Input and Output

2.3 Front Panel

Figure 2-2 DP569 Front Panel

2.3.1 Front-Panel Interface

Figure 2-3 Front-Panel Navigation Buttons

2.3.2 Contrast Adjust

2.3.3 Preset Buttons

Figure 2-4 Preset and Program Buttons

2.4 Status Menu

Table 2-1 Status Menu Navigation Buttons

2.5 Setup Menu

Table 2-2 Setup Menu Navigation Buttons

Table 2-3 Commands that Exit the Setup Menu

2.5.1 Selecting Parameters

2.5.2 Entering Text

Button functions in Text Entry mode are described in Table 2-4.

Table 2-4 Navigation in Text Entry Menu

2.6 Front-Panel Indicators

Figure 2-5 Front-Panel Indicators

2.6.1 Digital Input Status LEDs

Table 2-5 Digital Input LED States

Table 2-6 Status LED States

LED State Description

LED State Description

2.6.3 Channel Activity LEDs

Table 2-7 Input Channel Activity LED States

2.6.4 Remote Connector

3.1 Digital Television Broadcasting

3.1.1 Basic Integration with an MPEG Encoder or Multiplexer

Optional Preset Recall

Figure 3-1 DP569 Integrated with a Multiplexer

3.1.2 Integration within a Dolby E System

An example of a 5.1-channel installation is shown in Figure 3-2. Stereo or mono

When a DP569 receives external metadata, the following parameters must be

• Set the Metadata Source to the appropriate program—this is usually

DP572 DP569 MUX

GPI Alarms and GPI

Figure 3-2 Connection Between a DP569 and DP572

3.1.3 Metadata Reversion

3.1.4 Coding Delay and Audio/Video Synchronization

If possible, it is recommended that both the MPEG encoder/multiplexer and the

3.1.5 Alarms and Monitoring