Linear Acoustic UPMAX2251 User manual

UPMAX 2251
5.1-Channel Surround-Field Synthesizer
User Guide

UPMAX 2251
5.1-Channel Surround-Field Synthesizer
User Guide
Release Date: March, 2005
Software Version: 1.021 and Later
Linear Acoustic Inc.
Phone: [phone] (US)
FAX: [phone]
email: www.LinearAcoustic.com

Warranty Information
DISCLAIMER OF WARRANTIES: Products manufactured by Linear Acoustic Inc. are war-
ranted against defects in material and workmanship for a period of two (2) years from the date
of purchase. THERE ARE NO OTHER IMPLIED OR EXPRESS WARRANTIES AND
NO WARRANTY FOR MERCHANTABILITY OR FITNESS FOR A PARTICULAR
PURPOSE.
During the warranty period Linear Acoustic Inc. will repair, or at our discretion replace, com-
ponents which prove to be defective, provided the unit is returned, shipped pre-paid to us directly
with a return authorization (RA) number clearly marked on the packaging. Please note, this
RA number must be present or package will be refused and returned to sender.
All requests for repairs MUST include the unit serial number to ensure quick and accurate service.
DEFECTS CAUSED BY UNAUTHORIZED MODIFICATIONS, MISUSE OR ACCI-
DENTS, UNAUTHORIZED CUSTOMER REPAIRS, OR ANY FURTHER DAMAGE
CAUSED BY INADEQUATE PACKAGING FOR SERVICE RETURN ARE NOT COV-
ERED BY THIS WARRANTY.
PLEASE SAVE THE SHIPPING CARTON AND ALL PACKING MATERIALS. FAIL-
URE TO RETURN UNIT IN ORIGINAL SHIPPING CARTON AND PACKING
MATERIALS WILL RESULT IN A CHARGE FOR NEW SHIPPING MATERIALS.
LIMITATION OF PERIOD OF ACTION ON CONTRACT: No ac tion, regardless of form,
arising out of the transactions under this agreement may be brought by buyer, its successors,
agents and/or assigns, more than three years from date of purchase.
LIMITATION OF LIABILITY: It is understood and agreed that Linear Acoustic’s liability
whether in contract, in tort, under any warranty, in negligence or otherwise shall not exceed the
cost of repair or replacement of the defective components and under no circumstances shall
Linear Acoustic be liable for incidental, special, direct, indirect or consequential damages, or loss
of use, revenue or profit even if Linear Acoustic or its agents have been advised, orally or in
writing, of the possibility of such damages.

Linear Acoustic upMAX 2251 User Guide
v
Table of Contents
List of Figures...................................................................................................................... vi
Chapter 1: Introduction................................................................................................. 5
1.1 Principles of Operation ......................................................................... 5
1.2 Signals and Levels .................................................................................. 7
1.3 Downmix Compatibility....................................................................... 8
Chapter 2: Connections and Setup ......................................................................... 9
2.1 Unpacking and Inspection..................................................................... 9
2.2 Installation............................................................................................. 9
2.3 Rear Panel............................................................................................ 10
2.3.1 Connection Ports.................................................................. 10
2.4 Front Panel.......................................................................................... 11
2.4.1 What’s Behind Door #1?........................................................ 11
Chapter 3: Applications .............................................................................................. 13
3.1 Typical Scenarios................................................................................. 13
3.1.1 Two-Channel Commercials and Interstitial Programming... 14
3.1.2 Sporting Events ..................................................................... 16
3.1.3 Music Awards-Type Events................................................... 16
3.2 Factory Presets .................................................................................... 17
Chapter 4: Menus .......................................................................................................... 19
4.1 Main Menu .......................................................................................... 19
4.1.1 Modify Processing Menu....................................................... 19
4.1.2 Setup Menu............................................................................ 21
4.1.3 System Info............................................................................ 24
4.1.4 System Options ..................................................................... 24
4.1.5 Lock Front Panel................................................................... 25
Chapter 5: Specifications........................................................................................... 27

Linear Acoustic upMAX 2251 User Guide
vi
List of Figures
1-1 Audio Block Diagram .................................................................................................... 6
2-1 Rear Panel .................................................................................................................... 10
3-1 UPMAX 2251 in a commercial upmixing application ................................................. 14
3-2 UPMAX 2251 with Dolby DP572 Dolby E Decoder ................................................. 15
3-3 UPMAX 2251 in a live sports application ................................................................... 16
3-4 UPMAX 2251 in a music awards-type program .......................................................... 17
4-1 Main Screen showing level meters to the left and menus to the right. ........................ 19
4-2 Modify Processing menu; scroll down to access Ext L/R Mix (as shown on right menu)
20
4-3 Setup menu ................................................................................................................... 21
4-4 Save Preset menu before (left) and after (right) saving ................................................. 23

Linear Acoustic upMAX 2251 User Guide
5
Chapter 1: Introduction
The Linear Acoustic UPMAX 2251 produces a 5.1 channel audio signal that is perfect
for eventual transmission via Dolby Digital (also known as AC-3) to all consumers.
The unit accepts a 2-channel input and “upmixes” it to fill as many of the 5.1 output
channels as the user selects. Any input signal from mono to LtRt (Left Total/Right
Total) surround encoded audio can be applied to the Main Input and an output will
be produced that maintains consistency with other 5.1 channel programming.
Further, external discrete sources of audio such as announcer or stereo crowd can be
applied to the unit via its Mix Inputs and can be selectively mixed with the audio pro-
duced by the upmixing process. A subwoofer, or LFE channel can also be selectively
created from the Main Input audio or via the discrete LFE Mix Input.
The UPMAX 2251 provides the following features:
• Advanced upmixing algorithm for stable, convincing surround experience.
• Fully compatible with all surround formats including Dolby Digital
•Upmixed surround field is infinitely adjustable in width and depth.
•External inputs allow mixing of discrete audio signals with internal upmix.
• Relay bypassed digital inputs for “mission critical” broadcast applications.
• Built-in adjustable delays to compensate for video path processing.
• Simple front panel user interface and display.
1.1 Principles of Operation
The UPMAX 2251contains two paths for audio signals. The first path contains an up-
mixer, a bass extension filter to create the LFE (Low Frequency Effects) or subwoof-
er channel, and a simple but powerful set of mix controls to vary each element of the
surroundfield. The second path provides discrete inputs for the Center, LFE, Ls (Left
Surround), Rs (Right Surround), Lf (Left Front) and Rf (Right Front) channels. The
upmixed and discrete outputs are selectively combined to allow for the addition of
specific audio elements to the upmix-derived elements.
Please refer to Figure 1-1. It should be noted that this diagram is a general represen-
tation of signal flow. Please consult the appropriate section of this manual for an ac-
curate description of actual functionality.

Linear Acoustic upMAX 2251 User Guide Introduction
6
Main In
Lt/Rt
Left
Center
Right
UPMIXER
Surround
+
+
+
+
Mix In
Center
Ext Center
Level
Center
Width
Ext LFE
Level
80 Hz
+
Mix In
LFE
Surround
Width
+
+
Ext Ls
Level
Ext Rs
Level
Mix In
Ls
Mix In
Rs
Surround
Depth
Ext Lf
Level
Ext Rf
Level
Mix In
Lf
Mix In
Rf
Main
Out Rs
Main
Out Ls
Main
Out LFE
Main
Out C
Main
Out Rf
Main
Out Lf
Figure 1-1 Audio Block Diagram

Linear Acoustic upMAX 2251 User Guide Introduction
7
Two-channel audio is applied via the Lt/Rt Main Input. The audio is upmixed to pro-
duce Left, Right, Center, and Surround signals. The Left and Right outputs of the
upmixer are passed unmodified to the Left and Right Main Output.
The Center channel output of the upmixer is passed through the Center Width con-
trol which varies the amount of center channel audio present at the Center Main
Output versus how much is summed back into the Left and Right Main Output. A
setting of 100% indicates that all of the upmixed Center audio is being fed to the Cen-
ter Main Output, while 0% indicates that all of the upmixed Center audio is being
fed back into the Left and Right Main Output. The 0% setting is the same as “Phan-
tom Center” mode common on some decoders.
The Left, Right, and Center outputs of the upmixer are combined then 80Hz low
pass filtered and when selected via the LCR Sum To LFE switch are passed via the
LCR Sum Level control to the LFE Main Output.
The Surround output of the upmixer is passed through the Surround Depth control
which varies the amount of surround information present at the Ls/Rs Main Output
versus how much is summed back into the Left and Right Main Output. A setting of
100% indicates that all of the upmixed Surround audio is being fed to the Ls/Rs Main
Output, while 0% indicates that all of the upmixed Surround audio is being mixed
back into the Left and Right Main Output.
All outputs of the upmixer can also be selectively combined with signals applies to
the Mix Inputs. The Mix Inputs are available for all channels and have Mix Level
controls that vary from off to +6dB. Note that the +6dB range is provided for con-
venience, but a full-scale signal applied to these inputs can be increased to clipping,
so settings above 0dB should be used carefully and sparingly.
1.2 Signals and Levels
The Linear Acoustic UPMAX 2251 is calibrated for -20dBFS environments, but will
work fine with other reference levels with the minor caveat that the analog LtRt util-
ity output (on the LtRt/Aux DB-25 connector) is fixed at -20dBFS=+4dBu.
The sample rate of the UPMAX 2251 is nominally 48kHz, but the unit will run at oth-
er sample rates as determined by the signal applied to the AES REF input. Please note
that currently this causes the test tones to change slightly in frequency, but has no
effect on the program audio.
Below is a list of the inputs and outputs of the UPMAX 2251:
• Lt/Rt Main Input - Main input to upmixer
•Mix Inputs (C/LFE, Ls/Rs, Lf/Rf) - Direct mix inputs to the main output channels

Linear Acoustic upMAX 2251 User Guide Introduction
8
•Main Outputs (Lf/Rf, C/LFE, Ls/Rs) - Main audio outputs in SMPTE 320M format
• LtRt Main Output - A utility two-channel downmix of the 5.1 channel program (this
output is also available as an analog signal on the LtRt/Aux connector)
1.3 Downmix Compatibility
Downmixing is the process where the individual channels of a Dolby Digital signal
are combined in order to be reproduced from a given number of channels. For exam-
ple, a 5.1 channel program must be downmixed to be reproduced from a stereo speak-
er system and so the left and right channels are combined with the left and right
surround signals and an attenuated version of the center channel before being output
as a stereo signal. This type of signal is called LoRo (for Left only/Right only).
Downmixing may also produce an LtRt compatible signal by performing a pseudo-
surround encode. A 90-degree phase shift is applied to the surround signals in the
Dolby Digital encoder prior to the actual encoding stage so that after downmixing
from 5.1 to 2-channels in the consumer decoder the signal can be heard in surround
by the many consumers that only have a matrix surround decoder.
An extremely important design goal of the Linear Acoustic UPMAX 2251 was that
the output be downmix compatible. Not only stereo and surround, but also mono-
and it had to sound good in 5.1! A tall order that has been satisfied.
One important thing to remember is that to ensure widest compatibility, the Dolby
Digital encoder must be set to apply a 90-degree phase shift. Luckily, this is the de-
fault position for most of the presets, however please consult the encoders user man-
ual to find the menu location where this setting can be checked.

Linear Acoustic upMAX 2251 User Guide
9
Chapter 2: Connections and Setup
This chapter covers all required connections for the Linear Acoustic UPMAX 2251.
2.1 Unpacking and Inspection
Before unpacking the unit, inspect the outer carton for shipping damage. If the car-
ton shows damage, inspect the unit in those areas. Please save the carefully designed
shipping carton and packing materials. In the unlikely event that the unit needs to be
returned to the factory, alternate cartons or packing materials may not be adequate
and can cause damage not covered by warranty.
The following essential items are provided with the unit:
• Warranty information: Fill out and return the postage-paid warranty card (please) to
Linear Acoustic to ensure your software and documentation are kept up to date.
• Bag containing one power cord (style matches country unit is shipped to), a handy
“sharpie” with our name and logo conspicuously emblazoned on it, a quick start sheet
that is worth reading, and this manual.
2.2 Installation
UPMAX 225 installation requires:
• three standard rack space units with ADEQUATE VENTILATION; the unit
vents from the front right side and exhausts through the rear power supply;
•standard 75 BNC cables for digital signal connections;
• To connect to digital equipment with 110  XLR connectors, use impedance-
matching transformers (available from Canare, Neutrik and other manufactur-
ers).
• AES reference supplied to the AES REF input PRIOR to powering the unit on.
• a suitable monitoring system.
We recommend a multichannel listening environment with at least six speakers
to properly monitor a 5.1-channel program. An inexpensive system (less than
$400) available from Klipsch easily satisfies this requirement.

Linear Acoustic upMAX 2251 User Guide Connections and Setup
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2.3 Rear Panel
The rear panel of the UPMAX 2251 contains its electrical I/O.
WARNING: Before applying power, check the Voltage Selector switch.
2.3.1 Connection Ports
All of the UPMAX 2251’s connections are on the rear panel and are described in detail
below. See Chapter 5: Specifications for specific pinouts.
Figure 2-1 Rear Panel
•Main Audio Input: Connect the PCM signal which will be upmixed to create a 5.1 chan-
nel signals to this input.
•Mix Inputs: PCM signals connected to these inputs can be selectively mixed with the
output of the upmixing algorithm. These are useful for adding announcer via the C (cen-
ter) input, or stereo “natural,” “crowd,” or “ambience” audio via the Ls/Rs (Left sur-
round/Right surround) inputs. Lf/Rf (Left front/Right front) inputs are useful for
placing audio in the left and right main outputs with no additional processing.
•Main Audio Outputs: Main processed digital audio outputs with the SMPTE 320M
standard channel configuration: Left/Right, Center/LFE, Left Surround/Right Sur-
round. An Lt/Rt compatible downmix of the 5.1 channel output is always available on
the Lt/Rt output connector and is useful for monitoring or feeding systems such as
NTSC which support only two audio channels.
NOTE: The main audio inputs are hard-bypassed to the Main Audio Outputs during
boot and bypass (power off) conditions to support mission-critical applica-
tions. Under these circumstances, each input connector bypasses to the
output connector directly below it, passively maintaining audio continuity.

Linear Acoustic upMAX 2251 User Guide Connections and Setup
11
•AES REF: Connect an AES plant reference signal to this connector (not a video or word
clock reference). The signal may be an AES Black or AES signal containing audio.
NOTE: A valid AES signal is required on the AES REF connector for the system to
operate (not video or word clock).
•Lt/Rt/Aux Output: This is a combination balanced analog and AES compatible digital
output of the LtRt version of the main program audio.
•GPI/O: Connect to the GPI/O outputs of your automation system or routing or master
control switcher to control special processor functions and recall presets. Note that GPI
A and B require a held contact closure to ground for the duration of the function. How-
ever, GPI 1-6 require only a momentary contact closure to ground; if held, other numer-
ical GPIs cannot be selected.
•ETHERNET: Automatically senses 10 or 100BASE-T Ethernet connectivity. The UP-
MAX 2251 will appear on the network as: upMAX followed by the units serial number
(i.e. upMAX-04301 (your number will be different)). The units workgroup is defaulted
to WORKGROUP with no password. This connection is primarily used to support a
software remote control running on a standard PC clone via a standard network connec-
tion.
•Metadata In: Connect to the Professional Audio Metadata output of a VANC de-em-
bedder or Dolby E decoder to input external metadata (not currently supported, await-
ing public release of metadata specification by Dolby Laboratories).
• Metadata Out: Connect to the metadata input of a Dolby E or Dolby Digital encoder
(not currently supported, awaiting public release of metadata specification by Dolby
Laboratories).
2.4 Front Panel
The front panel of the UPMAX 2251contains a 5-inch color TFT display, four navi-
gation buttons (described in chapter 4, but reasonably simple to understand), a big
knob for changing various parameters, and a secret door disguised as our logo on the
left hand side.
2.4.1 What’s Behind Door #1?
Using a soft object (such as your finger), you can open the logo door from its left side,
and it will swing out revealing two very important features: a USB connection and a
red reset button.
The USB connector on the left is used for software upgrades. We will provide in-
structions and the memory card required for such a situation, but please do not con-
nect any other device to this connector without first contacting us.

Linear Acoustic upMAX 2251 User Guide Connections and Setup
12
The red reset switch on the right is included in case the unit experiences power dis-
turbances or incorrect shutdown (i.e. pulling the plug) and enters protection mode.
This mode causes the unit to stay in bypass and remain unpowered until someone
opens the door and briefly pushes the reset switch. This prevents brown- or black-
outs from causing audio interruptions and/or permanently damaging the unit.
To date, this feature has saved several units from complete destruction during bad
weather storms.

Linear Acoustic upMAX 2251 User Guide
13
Chapter 3: Applications
The UPMAX 2251 is intended to be used either in the production or distribution stag-
es of 5.1 channel programming, and also selectively in transmission environments.
Cable and satellite facilities may find it useful as the distribution and transmission
sections are usually very close together. For terrestrial emission (transmission) appli-
cations such as at DTV stations, the Linear Acoustic OCTiMAX 5.1 may be a more
appropriate choice as it contains requisite dynamic range processing and additional
useful features such as voice-over.
The Linear Acoustic UPMAX 2251 is not a substitute for a good, discrete multi-
channel mix (if one is available), rather it is a useful tool to create one!.
That being said, the UPMAX 2251 is an excellent tool useful in either creating a 5.1
channel version of a program when few or no other elements exist, and also for cre-
ating a solid foundation for a true discrete multichannel mix.
This chapter discusses several applications of the UPMAX 2251:
•Integrating 2-channel commercials into a 5.1 channel program
• Creating a 5.1 channel sports program from stereo plus natural sources
• Use for music programming
• Discussion of presets stored in the unit
3.1 Typical Scenarios
Below are some application examples to give users some guidance in real-world situ-
ations. However, before continuing, it is absolutely imperative that a proper multi-
channel monitoring environment be set up and calibrated before every mix. If the
mix cannot be heard properly, then it cannot be created properly. Users are advised
to obtain copies of the Dolby Surround Mixing Manual and the Dolby Digital Profes-
sional Encoding Manual, both available form the Dolby Laboratories web site
(www.dolby.com) for detailed, accurate information on both the monitoring and mix-
ing processes.
The Linear Acoustic UPMAX 2251 is useful almost anywhere a multichannel mix
must be created. From hands-on adjust-as-you-go environments like a music awards
program to set-and-forget applications like helping two-channel commercials fit into
5.1-channel programming, the UPMAX 2251 is the answer.

Linear Acoustic upMAX 2251 User Guide Applications
14
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
X
X
X
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
Two-Channel
Local Plant
3.1.1 Two-Channel Commercials and Interstitial Programming
One of the largest complaints viewers of digital and high definition television pro-
gramming is the annoying fact that stereo commercials don’t seem to “fit” into the
5.1-channel program. This is because in many cases, the commercials are simply
transmitted on the Left and Right channels of a 5.1-channel program. The net result
is that during the program, dialogue comes from the center speaker, but at commer-
cial or station breaks, all of the dialogue comes from the left and right speakers. It can
be a jarring experience.
The first application is one where the UPMAX 2251 processes the stereo material al-
lowing it to fit nicely within a 5.1 channel program. Figure 3-1 shows this scenario.
Figure 3-1 UPMAX 2251 in a commercial upmixing application

Linear Acoustic upMAX 2251 User Guide Applications
15
Note that the two channel material is simply input to the UPMAX 2251 and a 5.1
channel signal is available at the output. Either of the Commercial or Music presets
can be chosen, and are explained in detail at the end of this chapter.
A similar situation can arrise when the Dolby E system is in use, and can actually
help to automate the process of turning the upmixing process on and off with no user
intervention. The Status Port of a DP572 Dolby E Decoder provides a control signal
that is logic high (1) when the DP572 is decoding Dolby E material, and is logic low
(0) when two channel PCM audio is being passed through. By connecting the DP572
Status Port to the upMAX 2251 GPI input (A or B), the upmixing process will auto-
matically be turned on and off, and audio will be silently crossfaded between the two
modes. Figure 3-2 shows how this can be easily accomplished.
Figure 3-2 UPMAX 2251 with Dolby DP572 Dolby E Decoder
The result is a clean, consistent 5.1 channel program that is discrete when Dolby E
is present and is upmixed when PCM is present, but with no audible change apparent
to listeners or viewers. Note that while the upMAX 2251 AES Reference input is
driven from the PCM Delay Output of the DP572 for the sake of clarity in Figure 3-
2, this is a perfectly acceptable approach to use in practice.
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
X
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
DP572
Dolby E Decoder
1/2
3/4
5/6
7/8
Delay
Out
Status
(Pin 1,9)
GPI A
(Pin 2, 15)
Dolby E
or
PCM
Main
Input
Vref

Linear Acoustic upMAX 2251 User Guide Applications
16
3.1.2 Sporting Events
Figure 3-3 shows how a sporting event with a stereo mix, a stereo “natural” or ambi-
ence mix, and an optional dry announcer mix can be easily combined into a very con-
vincing 5.1-channel program.
Figure 3-3 UPMAX 2251 in a live sports application
Note that if the announcer is already present in the main stereo mix (applied to the
LtRt Main Input), then no additional announcer input is required as it will automat-
ically be upmixed into the Center channel output.
3.1.3 Music Awards-Type Events
Figure 3-4 shows how a music awards-type program can be greatly simplified by the
use of an UPMAX 2251. The main stereo or surround mix of the program is applied
to the LtRt Main Inputs, while crowd noise, reverb, ambience, and selective music
cues are selectively applied to the Ls/Rs and Lf/Rf Mix inputs. All announce micro-
phones can be either part of the main mix or applied as a separate feed to the Center
Mix Input.
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
A-to-D
Converter
(Optional)
A-to-D
Converter
C
LFE
X
Ls
Rs
Announcer
Stereo
"Natural" Sound
(Optional)
AES Ref
Two-Channel Mix
(LtRt or Stereo)

Linear Acoustic upMAX 2251 User Guide Applications
17
Figure 3-4 UPMAX 2251 in a music awards-type program
3.2 Factory Presets
To get users up and running as quickly as possible, a few basic presets have been cre-
ated for different situations. The name of the game with this unit is “play”. There is
no possible way that presets appropriate for every situation could be generated, so
we have included a few to get you started. By all means, make adjustments, listen,
store your new preset with a name of your choice when you get it just right (we even
have some Swedish characters in there).
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
A-to-D
Converter
A-to-D
Converter
C
LFE
X
Ls
Rs
Announcer
Crowd, Reverb,
Select Music
(Optional)
AES Ref
Standard
Two-Channel Mix
(LtRt or Stereo)
A-to-D
Converter
Ls
Rs
Select Music or
Background Vox

Linear Acoustic upMAX 2251 User Guide Applications
18
The UPMAX 2251 ships with the following factory presets:
•Reference Settings - Stock settings, a good place to start from scratch as all set-
tings are in a reasonable “detent” position. Start here if you are unsure.
•Music Cntr Spread - Straight two-channel to 5.1 channel upmixing, with the
center channel spread across the Left, Center, and Right outputs. This is very use-
ful for programming that either contains dialogue with music or is just mono di-
alogue as it nicely fills the front three channels, and feeds the surrounds when
appropriate.
•MUSIC FULLCENTER - Again, straight two-channel to 5.1 channel upmixing,
but with the Center channel kept discrete. Useful for film mixes and certain mu-
sic mixes. Two-channel mono programs will be reproduced from the Center
channel only.
•LIVE 4-CH to 5.1CH - Couples a straight two-channel to 5.1 channel upmix
with external surround information applied to the Ls/Rs Mix Inputs. Useful for
a sports mix where a two-channel main program and a 2-channel natural or am-
bience mix are available.
•LIVE 4-CH and ANNOUNCE - Again, couples a straight two-channel to 5.1
channel upmix with external surround information applied to the Ls/Rs Mix In-
puts, but also allows an announcer to be mixed into the Center channel via the
Center Mix Input.
•COMMERCIAL SHALLOW - Straight two-channel to 5.1 channel upmix with
the Surround audio positioned closer to the front channels. The Center channel
is spread by the standard 33%.
•COMMERCIAL DEEP - Straight two-channel to 5.1 channel upmix with the
Surround audio positioned all the way to the back and the Center channel spread
by the standard 33%