More than one. One I know for sure is this quad Messiaen release on DVD-Ai think there may have been at least one DVD-Audio release where the 5.1 Adv'd Res was encoded as LPCM rather than PPCM/MLP (Al Green Greatest Hits) but i'd need to double check so don't quote me on that until its verified!
I was gonna say.... but as I did not know for sure, I refrained. Thanks.This set was done on an ultra-low budget. There was not enough money for more encode licenses.
A friend of mine was offered the art gig for this set, putting all the graphics together for the printers and box sssembly. When he heard what the budget for this set was, he was forced to turn down the work.
Be grateful they were able to get this one off the ground at all.
Eddie solicited orders before his box was even assembled...you recall the contents kept changing as time went on. He also got more creative with different 'tiers' of product (I think the highest included sheet music or something?)I would never expect this kind of box set to have the budget that the King Crimson and Yes releases have, but still, what I don't understand is how could Eddie Jobson (Bruford's UK bandmate) manage to release a box set with 4 Blu-Ray Audio discs but yet this box can't even include 2 DVDA-V discs.
I am guessing that when you can put a "DTS' label on your product there is tech licensing cost involved? And MLP is owned by Meridian. It might be that if you use official encoding software you already ahve that license, but I don't really know.From what I know, authoring DVDA-V discs is a little more expensive than authoring DVD-V discs, but the difference is not that great at all, and it sure is a heck of a lot cheaper than authoring Blu-ray Discs.
Another 'ask the producer' question. You might ask him why Steve Wilson wasn't the remixer too.Did the team putting this box set together even bother to see what Neil Wilkes would have charged to author these two DVDs as DVDA-V discs?
Sorry to hear that , rt...I'm sure that if they had contacted NW he'd have NOT let it go anywhere else!!!!
It IS quite unbelievable that someone from the KC camp would have released something like this...either he did not consult anyone or his team was clueless...
Dialnorm is an integral part of Dolby Digital standardization, so I'd be surprised if hardware licensing allowed it to be turned off. But I haven't dug into hardware player settings in a long time. And there's really no need to turn it off. Just turn up the volume a little. I doubt many listeners set their playback volume and never adjust it.I think most players these days allow the user to defeat the dialnorm, and I imagine most on here turn it off when listening to music. Therefore, the level should be comparable assuming a lossless and lossy encode were created from the same master without level changes.
Dude, take any release you have that offers both. Do you have the old ELP 'Brain Salad Surgery' DVD-A? That'll do. Set up am properly level-matched and bias-controlled DBT, with someone there who can proctor the answers and report the process back to me.Probably every time anyone has tried to take you seriously and asked for an example of one your claims when you just want to try to prove someone wrong about something rather than engage in a discussion.
Could be!Figured you would come up empty handed. Yeah, that's it. My perception bias is so strong that when I level match two sources within .1db I'm just not able to do it.
What 'tools' are these? Lossy and lossless versions are measureably different, for sure.And all my tools lie.
Are the folks at Dolby Labs not part of the industry?And everyone else in the industry... their tools lie to them too. There's just really no one else out there besides you that has any clue about any of this.
Hey, want to share one of your 5.1 mixes you've engineered (or point me to something for purchase) and just school me? Sounds like I could learn a lot!
PS. Don't worry. I'll refrain from any further conversations.
Can we play nicely please.
It doesn't no. On the one hand, making a format that's backwards compatible and lets people play something (or even just kinda almost play something) is a better option than silently spitting the disc back out with a question mark or error message. Some artists will appreciate that while others might prefer that it be all or nothing and that's a fair debate.5.1 LPCM does not work on the specs for DVD-V, does it? Unless there has been a change.
ABSOLUTELY, POSITIVELY, RIGHT ON THE MONEY, FROGMORT!Just to get in on this side-tangent, regardless of how imperceptible the difference is, I would always prefer to have an exact copy of the original audio, or a losslessly compressed equivalent thereof, than a lossy mix, even if it's supposedly transparent. Wouldn't everyone?
Yes, of course; but once it is released - and with a decent mix - get over it and enjoy the music!Just to get in on this side-tangent, regardless of how imperceptible the difference is, I would always prefer to have an exact copy of the original audio, or a losslessly compressed equivalent thereof, than a lossy mix, even if it's supposedly transparent. Wouldn't everyone?
Most players have a "DRC"—dynamic range compression—setting that can be switched on or off. This is not a traditional compressor as used in recording/mixing/mastering, but the very algorithm triggered by Dolby dialnorm metadata. It is activated by this metadata and it dynamically lowers and raises the volume of all channels in accordance with the dialnorm specifications, and may also be used by the player for non-Dolby material (without the metadata) triggered by actual program level. This will, of course, change the dynamic relationships from one section of program material to another. It is therefore usually best to turn it off for music playback so that the intended dynamics are kept intact. I'm surprised you don't know this, given your seemingly extensive knowledge of AC3.Dialnorm is an integral part of Dolby Digital standardization, so I'd be surprised if hardware licensing allowed it to be turned off. But I haven't dug into hardware player settings in a long time. And there's really no need to turn it off. Just turn up the volume a little. I doubt many listeners set their playback volume and never adjust it.
Ummmmm...I'm more than positive that JJ knows how to mix drums...now, ANOTHER THING is whatever BB might have told him to do...Perhaps Jakko should've listened to Audio Fidelity's 5.1 SACD of drummer Billy Cobham's 1973 jazz/fusion recording of SPECTRUM to hear how drums should be properly reproduced.