![]() The main DRC setting in the configurations is one that effects the industry standardised implementation of Dynamic Range Control as initially developed by Dolby. I only really use this with TV content though and generally prefer to portray multichannel soundtracks as they were encoded and set the AVR to STRAIGHT to elemenate any upmixing while watching most multichannel TrueHD or DTS-HD MA soundtracks. I personally have a preference for the SciFi program. I agree with you regarding DSU and Neural:X and the DSP Programs result in far more atmoshere and presence than those upmixing options. Note that these DSP Programs and their associated effects cannot be applied to Atmos or DTS:X soundtracks. From that point onward, all movie DSP Programs have automatically been designated to use NEO:6 upmixing. You did used to be able to select the upmixer used by the DSP Programs on the first generation of Yamaha Atmos enabled AVRs and the models that preceeded them, but this ability was dropped on later models that no longer included Pro Logic as an upmixing SUR. You can actually alter the room size and delay as well as several other elements depending upon which of the DSP Programs you engage. ![]() ![]() What the DSP Programs do is utilise the presence speakers to enhance the performance, more ordinarilly by playing with the sound to create the experience you'd get within different venues of different sizes. The upmixing is actually fascilitated by DTS's NEO:6 for all of the Yamaha movie DSP programs. Drama isn't technically an upmixing mode and is actually one of Yamaha's DSP Programs.
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