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Decoder Plug-In

USER MANUAL

1 Introduction ..................................................................................................................1 2 Main Screen..................................................................................................................2 2.1 Program Configuration......................................................................................................... 2 2.2 File-based Operation ............................................................................................................ 4 2.3 Error Reporting..................................................................................................................... 4 2.4 Metadata ............................................................................................................................... 5 2.5 Active Program Selection..................................................................................................... 6 2.6 Output Metering ................................................................................................................... 6 2.7 Solo / Mute ........................................................................................................................... 7 2.8 Settings ................................................................................................................................. 8 2.8.1 Metadata Serial Port ..................................................................................................... 8 2.8.2 Program Output Channel Mapping .............................................................................. 8 2.8.3 Channel Mapping Preset ............................................................................................ 10 2.8.4 Program Enable Option.............................................................................................. 10 2.8.5 Sync to Host Timeline................................................................................................ 10 2.9 Timecode ............................................................................................................................ 11 2.10 Metadata File .................................................................................................................... 11 3 Using the Decoder in Pro Tools ...............................................................................14 3.1 Placing the Plug-in on a Track ........................................................................................... 14 3.2 Monitoring 5.1 + 2 Programs ............................................................................................. 15 3.3 RTAS Processor Considerations and Recommendations................................................... 21 4 Using the Decoder in Nuendo...................................................................................22 5 Using the Decoder in Pyramix ..................................................................................27 5.0.1 File Based Decoding with Pyramix............................................................................ 43 5.0.2 Real-time Decoding with Pyramix............................................................................. 44 6 Using the Decoder in AWE........................................................................................46 6.1 Loading the Input Soundfiles ............................................................................................. 46 6.2 Dropping the Decoder Plug-in ........................................................................................... 47 6.3 Setting the Destination for Decoded Files.......................................................................... 47 6.4 Running the Decoder.......................................................................................................... 48 6.5 Decode Preview.................................................................................................................. 48 6.6 Hot Folders ......................................................................................................................... 48 6.7 Transcoding ........................................................................................................................ 49 7 iLok..............................................................................................................................50 8 Appendix A Program Configurations.....................................................................51 Table 1: .........................................................................................................................54

Introduction

1 Introduction
Dolby E is used to transmit audio-for-video from a network center to affiliate stations, where it is decoded into analog or re-encoded into Dolby Digital for rebroadcast to the consumer. The Dolby E data takes the space of a stereo pair of digital audio, at 48 kHz. Dolby E contains up to 8 channels which can be divided in different ways to create up to 24 unique channel configurations, called Program configurations. Each Program configuration is made of one or more programs, or groups of channels. A program can be a single mono channel, surround sound up to 7.1 channels. A Program configuration can be combinations of Programs such a 5.1 plus stereo. See Appendix A for a complete list of Program configurations. This plug-in decodes Dolby E streams from either a file or from the workstation timeline. The Dolby E stream can sync to a manual timecode value or the timeline of any supported workstation. The decoded output contains up to 8 channels of PCM digital audio.

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Main Screen

2 Main Screen
Figure 2-1 shows the SurCode for Dolby E Decoder plug-in.

Figure 2-1

2.1 Program Configuration


The plug-in displays the Program configuration in two ways - - 1) in a text listing at the upper right, and 2) by the graphic grouping of level meters. For example, if the Dolby E stream has two programs, one 5.1 channel program and one stereo program, the text will be displayed as shown in Figure 2-2.

Figure 2-2 SurCode for Dolby E Decoder page 2

Main Screen The meters will be shown in 2 groups - - one group of 6 meters for the 5.1 program, and one group of 2 meters for the stereo program (see Figure 2-3).

Figure 2-3 As another example, Figure 2-4 and Figure 2-5 show how four mono programs are displayed.

Figure 2-4

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Main Screen

Figure 2-5

2.2 File-based Operation


In addition to decoding from a workstation timeline, SurCode for Dolby E Decoder can decode from a file input. For file-based operation, you must select an input file for the Dolby E data. This is done by clicking on the Browse button under the timecode display (see Figure 2-6).

Figure 2-6 The name of the selected file will appear to the left of the Browse button. The plug-in will play the Dolby E file in sync with the timecode of your supported workstation.

2.3 Error Reporting


SurCode for Dolby E Decoder monitors the Dolby E encoded stream for frame errors. If an error is encountered, the Decoding Status button turns red (see Figure 2-7). By hovering your mouse

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Main Screen over the red button, youll be able to see what errors occured during the decode pass. Clicking on the button will reset the status, and the button will turn green.

Figure 2-7

2.4 Metadata
Dolby E streams can contain embedded AC3 metadata. This metadata is available for viewing as tabs on the main screen. There is a numbered tab for each Program in the Dolby E stream. When you click on a numbered tab, the metadata for that program is displayed (see Figure 2-8).

Figure 2-8

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Main Screen

2.5 Active Program Selection


Above each group of level meters is a round button (see Figure 2-9). It appears over the leftmost meter. This is the button that activates each program.

Figure 2-9 To make a program active, click on the button. It will turn green to indicate that the program is now active (i.e, that program will now pass decoded audio to the output (see Figure 2-10).

Figure 2-10

2.6 Output Metering


The SurCode for Dolby E plug-in will display one meter for each output channel, and the number of output channels will change depending on the Program configuration. They are grouped to reflect the grouping of channels in the current Program configuration (see section 2.1, Program Configuration). The meters will show outgoing audio from decoded Dolby E streams. The meters do not show audio from PCM passthrough.

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Main Screen A pull-down menu below the solo buttons selects between peak and RMS metering (see Figure 211).

Figure 2-11

2.7 Solo / Mute


Under each output meter is one mute button and one solo button (see Figure 2-12).

Figure 2-12 When you click on a mute button or a solo button, it turns green to show that it is active. When at least one solo button is active, the mute buttons for all of the non-soloed channels will turn green.

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Main Screen

2.8 Settings
Figure 2-13 shows the Settings tab.

Figure 2-13 2.8.1 Metadata Serial Port If the host computer has a RS-485 port, SurCode for Dolby E Decoder can send out serial metadata to be used by an external Dolby Digital encoder (such as the Dolby DP569). To activate serial metadata, open the pull-down menu and select the RS-485 port. 2.8.2 Program Output Channel Mapping The Surcode for Dolby E Decoder plug-in gives you flexibility in assigning Dolby E channels to I/O soundcard output channels. The button under Program determines the channel labels over

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Main Screen the eight buttons to the right. Clicking on the Program button will present a list of all the Program Configurations available in Dolby E (see Figure 2-14).

Figure 2-14 The selected Program Configuration appears on the Program button. The eight buttons to the right now have labels above them which indicate the correct channels for the selected program configuration. They define how the audio channels will map to the eight outputs of the plug-in. You can change the mapping by clicking on the button under each channel, and choosing a different output for that channel (see Figure 2-15).

Figure 2-15

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Main Screen 2.8.3 Channel Mapping Preset The most commonly used channel orderings can be selected from a pull-down menu (see Figure 2-16). The channel order is updated for all program configurations whenever a new preset is selected.

Figure 2-16 2.8.4 Program Enable Option When the Program Enable buttons select program audio output button is selected, audio from only one program can be selected at one time (see section 2.5, Active Program Selection). Otherwise, all audio from all programs is output. In addition, when this button is selected, the active program has its outputs routed to the lowest channels on the bus. This can be very useful for monitoring different programs. For instance, if the encoded file has a Program Configuration of 5.1+2, you can put the plug-in on a 5.1 bus of L, R, C, LFE, Ls, and Rs. You can then listen to the 5.1 content over the correct monitor loudspeakers, but also you can then switch to the stereo program, and the L and R channels of that program will play through the L and R loudspeakers. 2.8.5 Sync to Host Timeline For purely file-based decoding (browsing to an existing Dolby E file), the Sync to Host Timeline feature allows the Dolby E decode to occur at a specific timecode location. When this button is selected, the Dolby E file will play such that the timecode embedded in the Dolby E file is in sync with the timecode on the timeline. For example, a Dolby E file with a starting timecode value of 1 hour would only decode in your workstation timeline at 1 hour. When this button is not selected, the Dolby E file will start to play at the beginning of the timeline, regardless of the timecode on the timeline.

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Main Screen

2.9 Timecode
The embedded timecode in the Dolby E stream is displayed in the upper left corner of the plug-in (see Figure 2-17).

Figure 2-17 The button to the right of the timecode display lets you select the timecode display format (see Figure 2-18). Timecode will display the timecode in Hours:Minutes:Seconds:Frames, and Frame Count will display timecode in frames. The button will be labeled with the currently selected format.

Figure 2-18

2.10 Metadata File


The SurCode for Dolby E Decoder can save the metadata out to a file, for later use in Dolby Digital encoding. The metadata can be saved either as a text or xml file, or the metadata can be written into the header of a .wav file.

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Main Screen The text listing of metadata can be viewed by clicking on the Meta File tab (see Figure 2-19).

Figure 2-19 This metadata listing shows the metadata at the current timecode position in the host application.

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Main Screen The metadata can be saved by clicking on the Save As button. This brings up the Save dialog (see Figure 2-20).

Figure 2-20 The filename extension that you use determines the way that the metadata is stored. If you use a .txt extension, the metadata is stored in a simple text file. If you use a .xml extension, the metadata will be stored as an XML-formatted file. The third option is to select the .wav file that was created by the decoding of the Dolby E file. In this case, the audio in the file is unaffected, but the file is updated to include the metadata. At a later time, if this .wav audio file is encoded into Dolby E or Dolby Digital, the metadata is available to be read by the encoder and thus used in the encoding process.

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Using the Decoder in Pro Tools

3 Using the Decoder in Pro Tools


3.1 Placing the Plug-in on a Track
A Dolby E decoder will always have a stereo input, and have 4, 6, or 8 channels of output. So, in the 5.1 + 2 Program Configuration, for instance, the decoder will have 2 in and 8 out. Pro Tools is designed to accommodate plug-ins with a different number of inputs and outputs. To run the decoder, first create a stereo track and place the Dolby E encoded file on that track (see Figure 3-21).

Figure 3-21 Then go to Inserts and select multichannel RTAS plug-in > other > SurCode for Dolby E Decoder (see Figure 3-22). Notice that there are 3 different choices for SurCode depending on the number of outputs you want. This allows you to decode stereo-to-stereo, stereo-to-5.1, or or stereo-to-7.1 channels. In this example, we choose 8 outputs (stereo-to-7.1).

Figure 3-22 Pro Tools will warn you that this will cause the track outputs to be changed (see Figure 3-23).

Figure 3-23

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Using the Decoder in Pro Tools Now you will see 8 output meters on the track (see Figure 3-24).

Figure 3-24 The 8 outputs of the track can be routed into a 7.1 bus for monitoring or for bounce to disk.

3.2 Monitoring 5.1 + 2 Programs


The SurCode for Dolby E Decoder is a file-based plug-in. You select the Dolby E file that is to be decoded from inside the plug-in. The plug-in will then decode the Dolby E file and play it in sync with Pro Tools playback. The most common Program configuration in Dolby E is Program configuration 0, which is 5.1 plus stereo. It is easy to set up a Pro Tools session that provides simple monitoring of the 5.1 and stereo programs from the decoder. For all 8 channels of the decoder output to be available to Pro Tools, the plug-in must be dropped onto an 8-channel track. In Pro Tools, the 8-channel track that is available to us is a 7.1 track. From there, we use sub-paths to break out the 7.1 track into a 5.1 track and a stereo track. First, it is necessary to create a 7.1 i/o output path and a 7.1 bus path. Next, a 5.1 sub-path and a stereo sub-path must be created for both the 7.1 i/o output path and the 7.1 bus path. When you are done, the i/o output setup will look like Figure 3-25, and the bus setup will look like Figure 3-26.

Figure 3-25

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Using the Decoder in Pro Tools

Figure 3-26 What the channels are named does not matter. What does matter is that the channel order is the same for the 7.1 i/o output path and the 7.1 bus path, and that the channel order is the same for the 5.1 i/o output sub-path and the 5.1 bus sub-path. This will cause output channels 1 through 6 of the plug-in to appear on outputs 1 through 6 of the i/o. The stereo sub-paths, however, are different. Their job is to move the plug-in outputs 7 and 8 to i/o outputs 1 and 2. The end result is that you will be able to monitor the 5.1 output of the decoder plug-in on i/o outputs 1 through 6, and monitor the stereo outputs on i/o output 1 and 2. This way, the Left and Right channels of the 5.1 program will be monitored from the same speakers as the Left and Right outputs of the stereo program, with no need for external switching or cable swapping. After the i/o setup is complete, the tracks can be added. First, drop an 8 channel track by selecting Track > New, and choosing a 7.1 Audio Track (see Figure 3-27).

Figure 3-27

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Using the Decoder in Pro Tools This will create a 7.1 mixer strip in the mixer (see Figure 3-28).

Figure 3-28 Next, place the SurCode for Dolby E Decoder plug-in on this track (see Figure 3-29).

Figure 3-29

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Using the Decoder in Pro Tools Then, drop a 5.1 Aux Track (see Figure 3-30) and a Stereo Aux Track (see Figure 3-31).

Figure 3-30

Figure 3-31

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Using the Decoder in Pro Tools Your mixer will now look like Figure 3-32.

Figure 3-32 The inputs and outputs must be assigned as follows: The output of the 7.1 channels strip goes to the 7.1 bus The input of the 5.1 channel strip comes from the 5.1 channel sub-path of the 7.1 bus The output of the 5.1 channel strip goes to the 5.1 channels sub-path of the 7.1 channel i/o The input of the stereo channel strip comes from the stereo sub-path of the 7.1 channel bus The output of the stereo channel strip goes to the stereo sub-path of the 7.1 channel i/o

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Using the Decoder in Pro Tools The finished mixer looks like Figure 3-33.

Figure 3-33 This session is now ready to be used for monitoring Dolby E content. You will want to save this session for later use. To use this session, load a Dolby E file into the plug-in by clicking on the Browse button on the plug-in and browsing to the file. Now you can start playback in Pro Tools and the decoder plug-in will follow the Pro Tools timeline. You should see the meters in the plug-in moving, and you should see them reflected in the meters of the 7.1 channel strip. Also, the 5.1 channel strip will

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Using the Decoder in Pro Tools reflect the meters of the first 6 channels, and the stereo strip will reflect the meters of the last 2 channels. To listen to the 5.1 program, turn on the solo buttons for the 7.1 channel strip and the 5.1 channel strip. To listen to the stereo program, turn on the solo for the 7.1 channel strip and the stereo channel strip. When the 5.1 channel program is playing, the channel assignments of the i/o will be: Channel 1 - Left Channel 2 - Right Channel 3 - Center Channel 4 - LFE Channel 5 - Left Surround Channel 6 - Right Surround When the stereo program is playing, the channel assignments of the i/o will be: Channel 1 - Left Channel 2 - Right

3.3 RTAS Processor Considerations and Recommendations


The number of RTAS processors is determined by the number of available cores your machine is equipped with. We've received reports from end users that reducing the number of processors can result in more general stability. While it is possible to use every core in your machine, we recommend that you leave at least 1 and preferably 2 cores available for general system overhead. For example, if you have an 8 core machine, set your maximum number of processors to 6.

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Using the Decoder in Nuendo

4 Using the Decoder in Nuendo


One version of the SurCode for Dolby E Decoder is a VST plug-in. This version of the plug-in can be used in applications that accept VST plug-ins, both Mac and Windows. In this section, we will show its use in Nuendo as an example. SurCode for Dolby E Decoder is an 8-channel plug-in. For most applications, you will want to use it on an 8-channel track. To drop an 8-channel track in Nuendo, you will need to first create an 8channel output bus. Go to Devices > VST connections. This will bring up the VST connections window (see Figure 4-34).

Figure 4-34 For most uses, it is best to first remove any existing busses from the list. Do this by right-clicking on the bus name and selecting Remove Bus. Then, click on the Add Bus button, and select a 7.1 Music bus. Next, drop an 8-channel track into the timeline. Do this by going to Project > Add Track > Audio, and select a configuration of 7.1 Music in the Add Audio Track window (see Figure 4-35).

Figure 4-35

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Using the Decoder in Nuendo This will place an 8-channel track into the timeline (see Figure 4-36).

Figure 4-36 Click on the Inserts button to open the inserts list (see Figure 4-37).

Figure 4-37

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Using the Decoder in Nuendo Click on the first blank box under the Inserts button. This will open a list of available VST plugins (see Figure 4-38).

Figure 4-38

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Using the Decoder in Nuendo Click on SurCodeforDolbyEDecoderVST. This will place the decoder plug-in into the inserts list, and also bring up the decoder window (see Figure 4-39).

Figure 4-39 To use the decoder, select a Dolby E encoded file by using the Browse button on the decoder. Then hit the Play button on Nuendo. The decoder will play the decoded audio through the outputs selected in Nuendo.

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Using the Decoder in Nuendo To save the decoded audio as a file, first select a section of the timeline equal to the length of the encoded file by moving the two triangular handles in the time display at the top of the track (see Figure 4-40).

Figure 4-40 Then select File > Export > Audio Mixdown. This will bring up the Mixdown window (see Figure 4-41).

Figure 4-41 Give the decoded file a filename, and click on Export. If you want the output as 8 mono files, select the Split Channels option. Else , Nuendo will export the decoded file as an interleaved multichannel .wav file.

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Using the Decoder in Pyramix

5 Using the Decoder in Pyramix


The following is a step-by-step procedure to set up Pyramix for Dolby E decoding. First, go to the Project menu and select New. This will bring up the New Project Wizard (see Figure 5-42).

Figure 5-42

Accept the default setting by clicking on the Finish button.

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Using the Decoder in Pyramix Next, open the Configuration Wizard by right-clicking anywhere on the mixer surface, and select Settings > Wizard. Click the Next button to go to the second screen. Select Surround Mix and Stereo Mix, and click the Next button (see Figure 5-43).

Figure 5-43

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Using the Decoder in Pyramix On the next page, request 1 GPS strip, and click the Next button (see Figure 5-44), and on the following page, click the Finish button.

Figure 5-44

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Using the Decoder in Pyramix At the top right of the mixer are the letters M A C R O. Click on the C to go to the Configuration screen (see Figure 5-45).

Figure 5-45

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Using the Decoder in Pyramix This is the Configuration screen (see Figure 5-46). This is where you set up the mixer configuration. First, go to the bottom of the GPS strip (just above the Input Strips Summary). One of the boxes indicates the number of channels in the strip (in this case, 6 ch.). Click on that button.

Figure 5-46

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Using the Decoder in Pyramix This brings up a window that allows you to select the number of channels in this strip (see Figure 5-47). Click on 8.

Figure 5-47

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Using the Decoder in Pyramix Next, you will need to assign speakers to each of these 8 mixer channels. To do that, click on the channels one at a time from the list (see Figure 5-48).

Figure 5-48

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Using the Decoder in Pyramix This will bring up a menu of the possible speaker selections. Click on the appropriate speaker for each of the 8 channels to assign them (see Figure 5-49).

Figure 5-49

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Using the Decoder in Pyramix When you are done, the channel list should look like this (see Figure 5-50).

Figure 5-50

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Using the Decoder in Pyramix Open the SurCode for Dolby E Decoder plug-in by clicking on the VST button at the top of the mixer channel strip (see Figure 5-51). The plug-in will then be listed in the little window under the VST button.

Figure 5-51

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Using the Decoder in Pyramix Switch from the Configure mode to the Mix mode. Open the Channel routing window by clicking on the small grid icon next to the knob on the Aux Bus send (see Figure 5-52).

Figure 5-52

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Using the Decoder in Pyramix Click the Auto button to clear the connections in the last 2 columns (see Figure 5-53).

Figure 5-53

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Using the Decoder in Pyramix Go to the next Aux Send and click on the grid icon to bring up the Channel Routing for the stereo send. Click on the Auto button to set up the routing (see Figure 5-54).

Figure 5-54

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Using the Decoder in Pyramix This will turn on the connections in the last two columns (see Figure 5-55).

Figure 5-55

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Using the Decoder in Pyramix Go to the Track view and right-click on the first track. It will bring up a menu (see Figure 5-56). Click on Auto-Connect.

Figure 5-56

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Using the Decoder in Pyramix Now, you can bring up the SurCode user interface by clicking on the SurCode button on the Mixer. (see Figure 5-57 ).

Figure 5-57

Decoding Dolby E files can be accoplished by either decoding a Dolby E file that is in your project timeline or by browsing to a Dolby E file on your hard drive.

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Using the Decoder in Pyramix 5.0.1 File Based Decoding with Pyramix Open the SurCode for Dolby E Decoder interface by clicking on the SurCode button on the Mixer and select the Browse button. (see Figure 5-58).

Figure 5-58 Once you have located the file, you should see the timcdoe (if enabled), frame rate, bit depth, program configuration and metadata of the the file youve selected. To decode, just press play.

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Using the Decoder in Pyramix 5.0.2 Real-time Decoding with Pyramix To decode Dolby E files from your Pyramix proejct timeline, simply add the Dolby E files to tracks that are patched to the mixer channels configured for Dolby E. Open the SurCode for Dolby E Decoder interface by clicking on the SurCode button on the Mixer. To decode, just press play. (see Figure 5-59)

Figure 5-59

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Using the Decoder in Pyramix After auditioning the Dolby E file, you may want to decode and create PCM files. To do this faster than real-time, select the Project menu optino and select Mix Down. (see Figure 5-60)

Figure 5-60 Firs,t Select the audio you are wanting to encode, or use in and out points on your timeline. On the Mix Down options page you will first choose a Mix Down name. Next, choose where you want to save the decoded material. Choose your audio format and resolution. In the "Record" section, choose what you need to Mix Down. Choose whether or not you want Real Time or non-Real Time processing (Unchecked for non-Real Time) Click Mix Down when your settings choices are complete. This process will write your decoded PCM as files.

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Using the Decoder in AWE

6 Using the Decoder in AWE


The SurCode for Dolby E Decoder installation includes a native plug-in for Minnetonka Audio Softwares Audio Tools AWE program. With AWE, you can batch process any number of Dolby E decodes with a single click. To decode in AWE, you simply: 1) Drop the encoded soundfiles into the Input Structure (on the Input tab) 2) Drop the SurCode for Dolby E Decoder plug-in onto the Processing Chain (on the Processing tab) 3) Tell AWE where to place the decoded soundfiles (on the Output tab) 4) Click on the Submit button

6.1 Loading the Input Soundfiles


To load Dolby E files for decoding, drag and drop the files on the Input Structure on the Input tab (see Figure 6-61). You can also drop folders of input files, and the folders can even contain subfolders. Input Structure

Figure 6-61

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Using the Decoder in AWE

6.2 Dropping the Decoder Plug-in


To decode, the Dolby E Decoder plug-in must be loaded into the Processing Chain on the Processing tab (see Figure 6-62). This is done by dragging the plug-in from the list on the left into the Chain at the bottom. The Dolby E Decoder plug-in is listed under Audio Tools AWE Native Processors.

Figure 6-62

6.3 Setting the Destination for Decoded Files


The Output tab determines where the decoded files will be placed (see Figure 6-63). To select an output folder, click on the Browse button. The output files can retain the same folder structure as the input files, or all files can be placed in the same folder. Something that is handy is the ability

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Using the Decoder in AWE to alter the name of the file - - for instance, you can use the Append option to add _decoded to the name of the input file in creating the output file.

Figure 6-63

6.4 Running the Decoder


Once your batch project is set up, all you need to do is click on the Submit button in the lower left corner of AWE. AWE will decode all of the input files without any further intervention. A progress meter shows the status of the job. For more detailed status, go to the Job Queue tab.

6.5 Decode Preview


AWE can do real-time decoding for auditioning. To audition a Dolby E file, go to the Input Structure and select the file you want to listen to. Then go to the Processing tab, and click the Play button on the transport at the bottom.

6.6 Hot Folders


AWE has a hot folder feature that helps to automate a workflow. A hot folder can be designated in AWE, and each time a new file is dropped into that folder, AWE performs the designated task, such as Dolby E decoding. Better yet, a hot folder can be accessed over a network, so that any engineer in the facility can send decoding tasks to a single station. SurCode for Dolby E Decoder page 48

Using the Decoder in AWE

6.7 Transcoding
Since AWE has options for both Dolby E decoding and Dolby Digital encoding, AWE can be set up to decode Dolby E files and then re-encode them into Dolby Digital in a single pass.

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iLok

7 iLok
This software product uses an iLok dongle for copy protection (see Figure 7-64). This dongle must be plugged into a USB port on the computer in order for the software to run.

Figure 7-64 When you purchase software that is protected by an iLok dongle, the license is sent to you electronically and must be programmed into the key. This requires that you have an account at iLok.com. When you purchase the software, you will supply the vendor with your iLok account user name. The vendor will send the license to your account, using that name. Then, when you log onto iLok.com, you will be notified that a new license has been sent to you and ask if you would like to download it into a dongle. Just follow the simple instructions on the website. At a later time, you may move the license to a different dongle, such as when you want to put all of your iLok licenses on one dongle for convenience. The iLok website has instructions for making the move. There is a charge for moving licenses except for the initial download of the license.

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Appendix A Program Configurations

8 Appendix A Program Configurations


Table 1:
Program Configuration 0 1 Program Sequence 5.1 + 2 5.1 + 1 + 1 Configuration Name 5.1 + 2 5.1 + 2x1 Channels Program 1: L,R,C,LFE,Ls,Rs Program 2: L,R Program 1: L,R,C,LFE,Ls,Rs Program 2: C Program 3: C Program 1: L,R,C,S Program 2: L,R,C,S Program 1: L,R,C,S Program 2: L,R Program 3: L,R Program 1: L,R,C,S Program 2: L,R Program 3: C Program 4: C Program 1: L,R,C,S Program 2: C Program 3: C Program 4: C Program 1: L,R Program 2: L,R Program 3: L,R Program 4: L,R Program 1: L,R Program 2: L,R Program 3: L,R Program 4: C Program 5: C Program 1: L,R Program 2: L,R Program 3: C Program 4: C Program 5: C Program 6: C

2 3

4+4 4+2+2

4+4 4 + 2x2

4+2+1+1

4 + 2 + 2x1

4+1+1+1+1

4 + 4x1

2+2+2+2

4x2

2+2+2+1+1

3x2 + 2x1

2+2+1+1+1+1

2x2 + 4x1

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Appendix A Program Configurations Table 1:


Program Configuration 9 Program Sequence 2+1+1+1+1+1+1 Configuration Name 2 + 6x1 Channels Program 1: L,R Program 2: C Program 3: C Program 4: C Program 5: C Program 6: C Program 7: C Program 1: C Program 2: C Program 3: C Program 4: C Program 5: C Program 6: C Program 7: C Program 8: C Program 1: L,R,C,LFE,Ls,Rs Program 1: L,R,C,S Program 2: L,R Program 1: L,R,C,S Program 2: L,R Program 3: C Program 1: L,R Program 2: L,R Program 3: L,R Program 1: L,R Program 2: L,R Program 3: C Program 4: C Program 1: L,R Program 2: C Program 3: C Program 4: C Program 5: C Program 1: C Program 2: C Program 3: C Program 4: C Program 5: C Program 6: C Program 1: L,R,C,S Program 1: L,R Program 2: L,R

10

1+1+1+1+1+1+1+1

8x1

11 12 13

5.1 4+2 4+1+1

5.1 4+2 4 + 2x1

14

2+2+2

3x2

15

2+2+1+1

2x2 + 2x1

16

2+1+1+1+1

2 + 4x1

17

1+1+1+1+1+1

6x1

18 19

4 2+2

4 2x2

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Appendix A Program Configurations Table 1:


Program Configuration 20 Program Sequence 2+1+1 Configuration Name 2 + 2x1 Channels Program 1: L,R Program 2: C Program 3: C Program 1: C Program 2: C Program 3: C Program 4: C Program 1: L,R,C,LFE,Ls,Rs,Lrs,Rrs Program 1: L,R,C,LFE,Ls,Rs,Lrs,Rrs

21

1+1+1+1

4x1

22 23

7.1 7.1 Screen

7.0 7.1 Scrn

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Copyright 2010 Minnetonka Audio Software, Inc. SurCode is a trademark of Minnetonka Audio Software, Inc. All rights reserved.

Manufactured under license from Dolby Laboratories. Dolby and the double-D symbol are trademarks of Dolby Laboratories. Confidential unpublished works. Copyright 1998-1999, 2007 Dolby Laboratories All rights reserved.

VST is a trademark of Steinberg Soft- und Hardware GmbH.

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page 54

System Requirements:
Please visit

www.minnetonkaaudio.com
for more information on supported operating systems.

Supported Platforms:
VST: Qualified VST Surround hosts on Mac and Windows, such as Nuendo, Pyramix, Fairlight, AudioTools AWE Pro Tools RTAS: Pro Tools HD 7.4, 8 or Pro Tools 8 LE with Complete Production Toolkit An iLok USB dongle is required for plug-in authorization.

17113 Minnetonka Blvd Minnetonka, MN 55345 USA Phone +1 952 449-6481 info@minnetonkaaudio.com

www.minnetonkaaudio.com
Ziegelbahn 59 D-41747 Viersen, Germany Phone +49 2162 1062622 europe@minnetonkaaudio.com