Sentences with phrase «channel audio of»

The 1.0 DTS - HD MA track adds resonance to the centre - channel audio of the DVD — there's some actual bass during the mine - shaft collapse, and the guns our heroes shoot sound fittingly testosterone - charged.

Not exact matches

All of those genre - specific, audio - only music channels way up in the triple digits that come with your cable or satellite subscription?

ISIS (also known as the Islamic State) uses Telegram channels — which allow users to broadcast messages to an unlimited number of subscribers — to spread its propaganda, including images, audio messages, videos, and official statements.

In five years, the website they created has grown from a niche audio service for techno musicians to a web platform hosting audio channels from the White House and Harvard Business Review and launching hit singles from the likes of Nine Inch Nails and Beyoncé.

Users have unlimited access to channels with scores of audio programs and are entitled to one free audiobook every month.

News channels often have to apologize for smearing political candidates by cutting off audio and video feeds before the end of their sentence.

And it annoys me that in my area, philly Comcast, FS2 is packaged with Bein and a ton of Spanish audio sports channels.

It is the channel that is fully or partially dedicated towards the reproduction of audio that is directed towards the center of... Read more

In the online world, by contrast, drawing distinctions among channels is meaningless, since audio, video and text are delivered the same way: they're just slightly different flavors of digital content.

A virtual 7.1 channel 200w power output will ensure that you can enjoy a rich, multi-channel audio experience in a variety of positions in the room.

Channels: Soundcards support different numbers of audio cChannels: Soundcards support different numbers of audio channelschannels.

The vast majority of the audio focused on the forward channels.

While largely dialogue - driven, the audio for Se7en makes extensive use of both subtle detail (which is spread across the available channels in a very unobtrusive way) and music, as well as the occasional burst of audio fireworks.

Each of the three films (Fellowship of the Ring, The Two Towers, and Return of the King) takes two discs each and features a DTS - HDMaster Audio 6.1 channel soundtrack, along with multiple audio commentaries for each film.

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.

That first scene is so immersive, we flinch and duck (it scared my cat out of the room)-- from the breaking waves around the carrier to the incoming mortars to the zipping past of bullets, it's a layered, thickly - crafted audio track, with distant shots and center - channel machine gun fire making full and brilliant use of the entire soundstage.

Having missed Firewall at the multiplex, I can't vouch for the fidelity of the disc's Dolby Digital 5.1 audio to the original soundmix, but I will say that what we get here is surprisingly hemispheric, with the surround channels seemingly reserved for atmospheric reinforcement.

Picture quality is extremely high, and though the commensurately booming Dolby Surround audio stream doesn't give the rear channels much of a workout, it reproduces all the bitchy shenanigans with a fulsome fidelity.

In the audio department, Disney's disc abandons the two - channel English and Spanish soundtracks of the Sony disc to deliver merely the two remaining options: a Dolby Digital 5.1 track in English and a Dolby Surround track dubbed in French.

Similarly average is the film's DD 5.1 audio, which, save for the opening and closing scenes of broad Kindergarten Cop sitcom violence, doesn't give the surround channels much to do.

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.

A 5.1 Dolby Digital track is somewhat underutilized and a little quiet, but there is also a lack of any real need for bombastic five - channel audio pyrotechnics in the film; all that you need know is the dialogue sounds clear and the indie soundtrack is appropriately evocative of the Chelsea underground nightlife.

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.

Less likely to spark debate is the Dolby Digital 5.1 audio, which isn't afraid to pummel the viewer but maintains a transparency that's at least as impressive as the aggro use of the LFE channel.

The accompanying DD 5.1 audio is a predictable blitzkrieg of discrete effects; it's a soundtrack sure to impress but also one with a slightly - undercooked centre channel and slightly overcooked surround channels.

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.

Like a majority of the pre-1980 live action catalogue titles, Toby Tyler employs two - channel Dolby Digital Mono audio.

Sound is presented in 2.0 DTS - HD master audio and I'm ashamed to have taken it for two - channel mono, now having heard the documentary talk it up for being one of the first films to make use of a three - track stereo soundtrack.

The 5.1 DTS - HD master audio soundtrack is largely anchored to the front channels, but it delivers the heavy stream of dialogue with crispness and weight.

Providing sufficient atmosphere, the attendant 5.1 Dolby Digital audio, er, conjures a couple of good scares, mostly by reserving the LFE channel for sting notes.

At least the 5.1 DTS - HD MA remix of the original Cantonese audio offers a genuine upgrade (that mono track is on board as well in DD 2.0), although it mostly just broadens the front channels during the gunfights — sporadically and randomly at that.

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.

In Dolby Atmos, any sound — the helicopter, a car screeching around a corner, a melodic bird call — can exist as an independent audio object, free of channel restrictions.

With support for up to 7.1 channels of high - definition audio, Dolby TrueHD provides the most authentic surround sound experience available for your home theater.

Capable of delivering 16 channels of top - quality audio, Dolby TrueHD has room to expand as formats add new channels in the future.

On Blu - ray, Dolby TrueHD supports up to eight full - range channels of 96 kHz / 24 - bit audio and six full - range channels of 192 kHz / 24 - bit audio.

Up to eight channels of 24 - bit / 96 kHz audio; designed to be expandable should the Blu - ray Disc standard adopt additional channels

A 5.1 remix comes in relatively indistinguishable DTS and Dolby Digital flavours, the audio itself offering a respectable amount of rear - channel atmosphere as well as crisp reproduction of music and voices.

Quite possibly a remix of a film designed in plain stereo, the 5.1 DTS - HD master audio largely stays in the front channels, where it is lively and crisp.

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).

Though Scream Factory presents Dead Ringers with a clean soundtrack (the Criterion master was plagued by audio distortion), the stereo channels are reversed on the 2.0 DTS - HD MA tracks for both incarnations of the film.

Sounds moved cleanly from one speaker to another and each channel boasted a lot of unique audio.

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.

Making full use of the sound field in all five channels, the audio stands out as more enveloping than the norm.

As this is a comedy, most of the audio is simply dialogue which comes from the center channel.

DD 2.0 audio is provided along with a DD 5.1 remix, the latter the preferred option as an astonishing degree of care was obviously expended to fill the discrete channels with all manner of obscenity.

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

The 5.1 Dolby TrueHD audio didn't set my world on fire, either, for while there is moderate activity in the rear channels, it's more a general flood of noise indistinct in its atmospherics.