The system was calibrated by adjusting the output levels of each channel using gain trim controls on the front panel of the decoder. The signal path was tested with the encoder's internal test signal. Setting up the SRS system was a simple task, which is a significant advantage. Six distinct outputs from the decoder were then directed back to the hard disk recorder so the encode/decode signal could be stored for playback. The encoder's outputs, (total left channel and total right channel) were directly connected to the decoder's inputs with two analog cables. Next, the SRS encoder was connected to a hard drive recorder audio interface output six analog channels were directed to the encoder via balanced inputs.

The listening test comparison of the Dolby Pro Logic II and SRS Circle Surround matrix audio systems was conducted in an audio/video post-production studio. The systems were set up in a post-production studio equipped with two Yamaha 02R consoles, ProTools, audio interface in/out and other typical gear, as shown in Figure 1.įigure 1. To find out if either has a sonic edge, we set up both systems, ran identical source material through both encoder/decoder pairs and listened to the results. As in DPLI, home audiences can switch between stereo and surround sound playback of matrix-encoded content, depending on their preference and playback systems.īut because DPLI/II-equipped A/V receivers can be found in millions of household home theaters, can CS, the new kid on the block, compete with the more established technology? One key to potential success is sound quality. It also permits flexible mixing of the LFE channel so that broadcasters can tailor the signal to the end users' needs.

DPLII allows the encoding and decoding of stereo surround channels with full bandwidth, with improved channel separation and more intelligent logic steering mechanism. Subsequently, Dolby introduced its improved matrix surround technology, Dolby Pro Logic II. The well-known Dolby Pro Logic (DPLI) technology was first introduced in 1987, allowing broadcasters, via 2-channel audio delivery, to deliver surround sound audio to home users. To learn more about the operation of each system, and in particular to test the sonic performance of them, we assembled a Dolby DP563 encoder and DP564 decoder, and SRS CSE-07 encoder and CSD-07 decoder, and put them through their paces. While matrix surround systems such as Dolby Pro Logic II (DPLII) and SRS Circle Surround (CS) cannot perform as well as discrete digital systems, they are effective solutions for many broadcasters.

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