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Looking for audio drivers for Dolby Home Theater® v4, Dolby Advanced Audio™ v2, Windows® 8, or Windows 10? You can find them by visiting the support section of your PC or tablet manufacturer's website. Every manufacturer's computer or tablet model is custom-tuned to deliver an optimized audio experience for the device. Please contact your. The driver package is compatible with Home Theater or Advanced Audio tools and ensures compatibility with common media files. Updates are released regularly. Dolby Pcee Drivers Packages 7.2 is available as a free download on our software library. Learn about Dolby careers and the benefits of working with our team. Dolby jobs offer a collegial culture, challenging projects, and excellent compensation and benefits. Dolby Atmos Home Theater. Equip your home theater with the latest products, and learn how to set them up for the best sound. Dolby Atmos Home Theater Products. Dolby Atmos Speaker Setup. Dolby Atmos Movies on Blu-ray.

DUBLIN--(BUSINESS WIRE)--The '3D Audio - Global Market Trajectory & Analytics' report has been added to ResearchAndMarkets.com's offering.

The publisher brings years of research experience to the 9th edition of this report. The 173-page report presents concise insights into how the pandemic has impacted production and the buy side for 2020 and 2021. A short-term phased recovery by key geography is also addressed.

Global 3D Audio Market to Reach US$13.7 Billion by the Year 2027

Amid the COVID-19 crisis, the global market for 3D Audio estimated at US$4.8 Billion in the year 2020, is projected to reach a revised size of US$13.7 Billion by 2027, growing at a CAGR of 16.1% over the analysis period 2020-2027.

Hardware, one of the segments analyzed in the report, is projected to grow at a 15.4% CAGR to reach US$7.1 Billion by the end of the analysis period. After an early analysis of the business implications of the pandemic and its induced economic crisis, growth in the Software segment is readjusted to a revised 17.2% CAGR for the next 7-year period. This segment currently accounts for a 28.9% share of the global 3D Audio market.

The U.S. Accounts for Over 29.6% of Global Market Size in 2020, While China is Forecast to Grow at a 15.6% CAGR for the Period of 2020-2027

The 3D Audio market in the U.S. is estimated at US$1.4 Billion in the year 2020. The country currently accounts for a 29.58% share in the global market. China, the world second largest economy, is forecast to reach an estimated market size of US$2.4 Billion in the year 2027 trailing a CAGR of 15.6% through 2027. Among the other noteworthy geographic markets are Japan and Canada, each forecast to grow at 15% and 13.7% respectively over the 2020-2027 period. Within Europe, Germany is forecast to grow at approximately 11.6% CAGR while Rest of European market (as defined in the study) will reach US$2.4 Billion by the year 2027.

Services Segment Corners a 17.2% Share in 2020

In the global Services segment, USA, Canada, Japan, China and Europe will drive the 16.2% CAGR estimated for this segment. These regional markets accounting for a combined market size of US$664.9 Million in the year 2020 will reach a projected size of US$1.9 Billion by the close of the analysis period. China will remain among the fastest growing in this cluster of regional markets. Led by countries such as Australia, India, and South Korea, the market in Asia-Pacific is forecast to reach US$1.7 Billion by the year 2027.

Competitors identified in this market include, among others:

  • 3D Sound Labs
  • Auro Technologies
  • Barco Audio Technologies (ISONO Sound)
  • Comhear Inc.
  • Core Sound LLC
  • Dear Reality GmbH
  • Dolby Laboratories, Inc.
  • DTS, Inc.
  • Dysonics
  • Hooke Audio
  • Sennheiser Electronics GmbH & Co. KG
  • VisiSonics Corporation
  • Waves Audio Ltd.

Key Topics Covered:

I. INTRODUCTION, METHODOLOGY & REPORT SCOPE

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II. EXECUTIVE SUMMARY

1. MARKET OVERVIEW

  • Impact of Covid-19 and a Looming Global Recession
  • Global Competitor Market Shares
  • 3D Audio Competitor Market Share Scenario Worldwide (in %): 2018E

2. FOCUS ON SELECT PLAYERS

3. MARKET TRENDS & DRIVERS

4. GLOBAL MARKET PERSPECTIVE

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III. MARKET ANALYSIS

IV. COMPETITION

  • Total Companies Profiled: 43

For more information about this report visit https://www.researchandmarkets.com/r/j19xmh

The following guidelines offer commonly accepted practices for setting up multichannel audio monitoring systems for game creation.

Front Speakers

Multichannel sound systems add a Center speaker to the Left/Right (L/R) pair used in stereo systems. To promote good imaging, all three speakers should be identical, just as conventional Left and Right stereo speakers must be matched. If all three cannot be the same model, the Center speaker may be a smaller model from the same product line.

The front speakers should be equidistant from the listener, with their acoustic centers in the horizontal plane—that is, on-axis to the ear.

The Center speaker needs to be positioned below a video monitor, forcing the acoustic centers of the three front speakers out of alignment. If this occurs, attempt to situate the speakers so the tweeters are in as close to a horizontal straight line as possible. This may require either an inverted or lateral orientation of the Center speaker, as well as rotating the tweeter (when possible) to maintain the proper dispersion characteristic.

If the Center speaker is not equidistant with the L/R pair, signal delay may be used to obtain coincident arrivals.

All front speakers must exhibit the same acoustic polarity. It is highly recommended that electronic signal polarity be maintained throughout the entire monitoring system.

Surround Speakers

Whenever possible, use the same speakers all around to achieve uniformity. If this is not feasible, the surround speakers may be smaller than the front speakers but should maintain the same character—for example, they might be smaller speakers from the same manufacturer.

The front and surround speakers should be equidistant from the listener, with their acoustic centers in the horizontal plane that is on-axis to the ear.

The surround speakers should achieve coincident arrival with the front speakers either as a result of equal path lengths or through alignment with signal delays.

The Surround speakers must exhibit the same acoustic polarity as the front speakers. It is highly recommended that electronic signal polarity be maintained throughout the entire monitoring system.

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Ceiling Speakers

For Dolby Atmos® configurations, there are two options for speaker types that can be used to playback the height channels; discrete and Dolby Enabled. Discrete speakers are just as described, a physical speaker mounted on or in the ceiling, one for each height channel. Discrete speakers are required for Home Entertainment and Games studios in a control room. Dolby Enabled speakers are speakers that use licensed technology from Dolby that are positioned on the listener’s horizontal plane but reflect sound off of the ceiling, again one for each height channel.

Again, it is generally recommended for a control room to use discrete overhead speakers whenever possible. Dolby Enabled speakers have the potential of creating a more diffuse image at the listening position depending on placement and ceiling height. While this is very complimentary for playback in the consumer’s living room, it may not be suitable if more positional precision is required for content creation. Discrete speakers offer more precision when mixing and panning, which allows for a more controlled final mix that will playback great for the consumer on any Dolby Atmos renderer.

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Whenever possible, use the same speakers all around to achieve uniformity. If this is not feasible, the ceiling speakers may be smaller than the front speakers but should maintain the same character—for example, they might be smaller speakers from the same manufacturer.

The height speakers should achieve coincident arrival with the front speakers either as a result of equal path lengths or through alignment with signal delays.

The height speakers must exhibit the same acoustic polarity as the front speakers. It is highly recommended that electronic signal polarity be maintained throughout the entire monitoring system.

Subwoofer(s)

The LFE channel requires the use of at least one subwoofer in the monitor system.

The bass from any channel that is not reproduced in the main speaker for that channel must be redirected to the subwoofer(s). There are now various products and techniques that handle bass management (crossover filters, bass mixing, and combining with the LFE channel in the proper mixing ratio) that can help achieve a proper monitor setup in the studio.

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It is essential to correctly integrate the subwoofer(s) with the main speakers to ensure a wide, smooth, and uniform frequency response from all five main channels. In addition, it is critical to have the LFE channel reproduced in the proper relation to the other channels.

Positioning the subwoofer(s) often can be an arduous task and the relative location(s) will not be the same for all rooms. A certain amount of experimentation should be expected particularly when retrofitting an existing production room.

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Initially, place the subwoofer(s) near the listening position. Play program material with significant low frequency content and listen at likely subwoofer locations in the room. Locations delivering the smoothest bass response are apt to be the best choice for final subwoofer placement.

Room Layout

The International Telecommunications Unit, Radiocommunication Sector (ITU-R) has specifications for a listening room layout designed for the critical evaluation of multichannel programs. These recommendations are a good starting point for a mixing room setup as well. Aside from signal alignment, a specific geometry is described. With the Center speaker directly in front, position the L/R speakers 30 degrees from center (forming a 60 degree angle) and the Surround speakers 110 degrees off center.

Discrete overhead speakers should be mounted between 2 and 3 times the vertical position of the main listening-level speakers. The angle of elevation from the listening position to the Ltf/Rtf and Ltr/Rtr overhead speakers in a 7.1.4 reference layout should be between 30 and 55 degrees. This will tend to be the case when the front-to-back separation of the overheads about half the length of the room layout. If the mounting height is so high that the angle of elevation exceeds this range, the overhead speakers should be moved further apart (towards the front and back walls) until the angle of elevation is in the recommended range and delays should be set for all speakers to ensure coincident arrival. If the ceiling height is very low, it is still recommended to keep the front-to-rear separation of the overhead speakers at half the length of the room.

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Dolby Enabled speakers with upward firing drivers are available as separate modules or integrated into the cabinet of the listening-level speakers. Modules should be placed on top of the front Left/Right speaker cabinets for the corresponding Ltf/Rtf channels. Modules should be placed on top of the Left/Right Back surround speaker cabinets for the corresponding Ltr/Rtr channels. Whether using separate modules or speakers with integrated upward-firing drivers, the top of the Dolby Enabled speakers must be at or above “ear level” at the listening position. This ensures that the listener is receiving more of the reflected sound from the ceiling and not the direct sound from the driver itself.

Each studio design has its own unique approaches and sets of challenges. Contact us to consult with our team about how best to meet your goals.