Sentences with phrase «channel audio mix»

Not exact matches

The audio doesn't suffer from any technical problems, as this Dolby Digital 2.0 mix offers clean dialogue, background details and a fair amount of channel separation.

Disney was generally doing 5.1 mixes for their direct - to - video films back in 2002 and you'd think this would get one now, or at least an uncompressed two - channel DTS - HD master audio mix.

The single Dolby Digital 5.1 audio track here presents the film's original matrixed surround mix, but in discrete channels; as a result, the surrounds are mono (though they're encoded as two separate channels).

The mix stays largely in the front, but the audio is appropriately divided among the three channels there.

A distortion - free 5.1 audio mix in Dolby Digital and DTS configurations demonstrates a little weakness in its centre channel (which can be compensated for to some extent through equalizing), but for source material of this age, the sound demonstrates a remarkable fidelity.

The DD 5.1 audio adequately delivers a predictably front - heavy mix with next to no rear - channel usage, save a near - closing shout - out to Death Cab for Cutie that I simultaneously welcomed and cringed at.

The 5.1 DTS - HD master audio mix is more remarkable, a delicious piece of sound design that uses all the channels to striking effect.

The audio is likewise pristine, the 7.1 DTS - HD MA mix rendering a lively soundstage marked by playful use of the surround channels.

The audio mixes do nothing to confirm that they're prepared with five distinct channels in mind.

The Dolby Surround audio has some channel separation, but the mix is too dominated by Serge Colbert's tinkling pianos and maudlin overtures.

Unquestionably marvellous is the (anachronistic) 5.1 Dolby Digital audio, featuring more gut - churning bass than Dolby owners will be used to as the robots march on New York City, though this showpiece use of the LFE channel occurs so early in the action that it's a mild letdown when no other facet of the mix proves quite as memorable.

Featuring both 2.0 and 5.1 Dolby Digital audio mixes, the latter demonstrates a nice depth of field, including some excellent rear - channel effects and a throaty rumble from the subwoofer.

A DD 5.1 audio mix is roomy and professional — sedate almost, though it'll occasionally surprise with the bass refrain and the stray atmospheric in the rear channels.

A Dolby 5.1 audio mix shows surprising fidelity through every channel — a rich, faithful presentation with a hearty bass rumble and nice rear - channel effects.

You won't mistake the audio here for a more contemporary multichannel mix featuring a plethora of elements and plenty of low - frequency information (a single explosion, for instance, can sound a little thin as it rips through the front and rear channels), but surround - sound mavens shouldn't be disappointed.

The audio mix utilizes those overhead channels so well.

Dolby Digital 5.1 audio mixes in Cantonese and dubbed English are nearly identical save for the latter being slightly goofier than the former — the rear channels don't get much of a workout except during a few of the fight scenes (which aren't showcase material, after all, but not bad).

The video is well matched by a DD 5.1 audio mix that blows the shingles off the roof: the musical numbers sound as good as they can, though they're so clean that the obviousness that the vocal tracks are laid on a separate channel make the scenes as they play out in crowded pubs seem curiously detached.

audio mix is underused save for a volcano escape in the second segment that gives the 0.1 channel a nice rumbly workout.

The DTS - HD 5.1 mix doesn't seem far removed from that, barely utilizing the rear channels to provide slight reinforcement and keeping the bulk of the audio in the front speakers.

As such, audio emanated from all my speakers during playback, but the rear channels just seemed to duplicate the front, suggesting this was a basic 2.0 stereo mix and not a true surround one.

The Dolby Digital 5.1 audio mix is likewise clear with a surprising amount of channel separation and atmospheric effects.

The audio is a DTS - Master Audio 5.1 mix that doesn't necessarily need a track with that many channels.

While nothing can compare with the grand scale audio technology and acoustics of IMAX theaters, this 5.1 channel soundtrack does a commendable job at creating a lively and appropriate mix.

Surprisingly, the DVD only offers a plain Dolby Surround 2.0 mix instead of full 5.1 - channel audio.

As usual, the 5.1 audio mix (here encoded to Dolby TrueHD) is much more robust on disc, expanding the dynamic range beyond what the original telecast allowed and making more aggressive use of the surround channels.

As with any Mono track, all of the audio comes from the center channel, and the mix of dialogue, mostly - present»70s score, and a few active sound effects is satisfactory and never difficult to distinguish.

The audio track is a remastered Dolby Digital 5.1 mix that relegates almost all the information to the front channels; musical interludes sound nearly as tinny and thin as the children staring robotically ahead as they karaoke each number.

The channels in a 5.1 audio mix serve distinct purposes.

In the audio department, everything is crisp and well - mixed, though an otherwise sufficient 5.1 track doesn't call the rear channels into play as much as one might like.

What I love about the audio show is that it's a mix of his keynote addresses (which are awesome), his rants (which are enjoyable), and unique content for the audio channel.

The soundscape in Extraction is in the league of the original's, providing ample intercom - voice and gun sounds through the Wii remote's speaker as well as a stirring mix of sound effects, whispers, growls and other frightful sounds from the main audio channels.

Lobby Audio Package Includes 2 small speakers, TV audio, 12 - channel Yamaha mixer with iPod cable, podium with microphone

Unlike Dolby Atmos and DTS: X, which are object - based, Auro - 3D remains a channel - based immersive audio format, which mixes sounds into specific audio channels.

The surround speakers are what produce the height channels of the audio mix.

In old - fashioned surround sound a movie had its audio mixed into channels.

Its take on channel encoding doesn't pre-mix audio for a specific setup, instead it takes an object - based approach to saving audio data which is mixed together right before the sound comes out of your speakers.

This represents a significant departure from the confines and limitations of channel based audio mixing and playback formats.

Multi-channel audio stream mixing means professional audio applications can now mix up to eight channels including 5.1 and 7.1 channels

Dolby Atmos, you see, is a technology that utilises extra height channels in an audio mix yet, unlike other technologies such as Dolby Pro Logic IIz, the audio doesn't feel like it's coming from the front stage.

This processing mode is commonly used when watching non-HD TV channels with a stereo - only audio mix.

The latest and greatest development in surround sound offers not only discrete audio for height channels, but also a new way for sound engineers to mix audio for the most accurate, hemispheric immersion to date.

Gen Probe, Inc., San Diego • CA 2006 — 2007 Senior Desktop Technician Lead contact for all audio visual user training, issues, projects, and set ups for events ranging from small meetings to company - wide outdoor events allocating a Shure PG288 / PG58 Dual Vocal Wireless System, Mackie 802 - VLZ3 8 channel mixing board, EV Electro - Voice SX300E passive PA speakers, Peavey CS800X4 Power Amplifier, AMX wireless touch screen meeting room controls, projectors, Cisco IPTV server, teleconferences, web conferences, video conferences, images and consistently provided superior customer service to all levels of employees.