1、 Copyright 2009 by THE SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS 3 Barker Ave., White Plains, NY 10601 (914) 761-1100 Approved July 23, 2009 Table of Contents Page Foreword . 2 Intellectual Property 2 Introduction 2 1 Scope . 3 2 Conformance Notation . 3 3 Normative References . 3 4 Definit
2、ions 4 5 General Specification . 5 5.1 DTRs with a One-to-One Correspondence Between I/O Connections and Audio Tracks 5 5.2 Audio Channel to Audio Track Assignments . 5 5.3 DTRs with Four Audio Tracks and Four AES3 I/O Connections . 10 6 Identifying Track Assignments in Descriptive Metadata 10 Annex
3、 A Commonly Used Audio Channel and Audio Signal Connection Assignments for Multichannel Audio Programs (Informative) 11 Annex B Advisory Notes on Package Labels (Informative) . 12 Annex C EBU R-123 on Track Allocation for File Exchange (Informative) 13 Page 1 of 13 pages SMPTE 2035-2009 Revision and
4、 Consolidation of SMPTE 320M-1999 and EG 26-1995 SMPTE STANDARD Audio Channel Assignments for Digital Television Recorders (DTRs) SMPTE 2035-2009 Page 2 of 13 pages Foreword SMPTE (the Society of Motion Picture and Television Engineers) is an internationally-recognized standards developing organizat
5、ion. Headquartered and incorporated in the United States of America, SMPTE has members in over 80 countries on six continents. SMPTEs Engineering Documents, including Standards, Recommended Practices and Engineering Guidelines, are prepared by SMPTEs Technology Committees. Participation in these Com
6、mittees is open to all with a bona fide interest in their work. SMPTE cooperates closely with other standards-developing organizations, including ISO, IEC and ITU. SMPTE Engineering Documents are drafted in accordance with the rules given in Part XIII of its Administrative Practices. SMPTE Standard
7、2035 was prepared by Technology Committee 10E. Intellectual Property At the time of publication no notice had been received by SMPTE claiming patent rights essential to the implementation of this Standard. However, attention is drawn to the possibility that some of the elements of this document may
8、be the subject of patent rights. SMPTE shall not be held responsible for identifying any or all such patent rights. Introduction This section is entirely informative and does not form an integral part of this Engineering Document. This document replaces SMPTE 320M (Channel Assignments and Levels on
9、Multichannel Audio Media) and SMPTE EG 26 (Audio Channel Assignments for Digital Television Tape Recorders with AES/EBU Digital Audio Input. This document combines the information in SMPTE 320M and SMPTE EG 26 with that in EBU R48 (Allocation of Audio Channels in the D-1 Digital Television Tape-Reco
10、rding Format) and with ITU Recommendation ITU-R BS.775-2 (Multichannel Stereophonic Sound System with and without Accompanying Picture). It also includes several other recent operating practices, so becomes a more comprehensive document than any of its antecedents. The audio track capacity of digita
11、l TV recorders has expanded beyond that of the early machines; this document extends specific assignments to twelve tracks. Each case reflects a current or prior broadcast practice or convention, and in some cases the same set of audio channels may be arranged in more than one layout in order to acc
12、ommodate existing practice. There are several reasons to use the AES/EBU signal to transport non-PCM audio data, such as rate reduced audio data, so these assignments are included as well. SMPTE 2035-2009 Page 3 of 13 pages 1 Scope This Standard specifies the allocation of audio channels to the audi
13、o tracks of a digital television recorder for purposes of identification, program distribution and interchange. These allocations are depicted as track layout “cases” in Table 1, such that a track layout may be uniquely specified by stating the case number and letter referenced in Table 1 of this st
14、andard. The specifications below are suitable for use in applications such as program delivery specifications. In cases where there is a one to one correspondence between the audio tracks and the AES3 input and output connections, this Standard specifies the allocation of the audio signals within th
15、e AES3 I/O signal pairs to the audio tracks, depending on the operating mode of the AES3 I/O as indicated by its Channel Status data. This allocation also applies when AES3 I/O is via embedded audio as specified in SMPTE 272M and SMPTE 299. This standard covers practices that have evolved in both th
16、e entertainment and news / sports environments 2 Conformance Notation Normative text is text that describes elements of the design that are indispensable or contains the conformance language keywords: “shall“, “should“, or “may“. Informative text is text that is potentially helpful to the user, but
17、not indispensable, and can be removed, changed, or added editorially without affecting interoperability. Informative text does not contain any conformance keywords. All text in this document is, by default, normative, except: the Introduction, any section explicitly labeled as “Informative“ or indiv
18、idual paragraphs that start with “Note:” The keywords “shall“ and “shall not“ indicate requirements strictly to be followed in order to conform to the document and from which no deviation is permitted. The keywords, “should“ and “should not“ indicate that, among several possibilities, one is recomme
19、nded as particularly suitable, without mentioning or excluding others; or that a certain course of action is preferred but not necessarily required; or that (in the negative form) a certain possibility or course of action is deprecated but not prohibited. The keywords “may“ and “need not“ indicate c
20、ourses of action permissible within the limits of the document. The keyword “reserved” indicates a provision that is not defined at this time, shall not be used, and may be defined in the future. The keyword “forbidden” indicates “reserved” and in addition indicates that the provision will never be
21、defined in the future. A conformant implementation according to this document is one that includes all mandatory provisions (“shall“) and, if implemented, all recommended provisions (“should“) as described. A conformant implementation need not implement optional provisions (“may“) and need not imple
22、ment them as described. Unless otherwise specified the order of precedence of the types of normative information in this document shall be as follows. Normative prose shall be the authoritative definition. Tables shall be next, followed by formal languages, then figures, and then any other language
23、forms. 3 Normative References The following standards contain provisions which, through reference in this text, constitute provisions of this recommended practice. At the time of publication, the editions indicated were valid. All standards are subject SMPTE 2035-2009 Page 4 of 13 pages to revision,
24、 and parties to agreements based on this recommended practice are encouraged to investigate the possibility of applying the most recent edition of the standards indicated below. AES3-2003, AES Standard for Digital Audio Engineering Serial Transmission Format for Two-Channel Linearly Represented Digi
25、tal Audio Data SMPTE 272M-2004 Television Formatting AES/EBU Audio and Auxiliary Data into Digital Video Ancillary Data Space SMPTE 299-2009, 24-Bit Digital Audio Format for SMPTE 292 Bit-Serial Interface SMPTE 337-2008, Format for Non-PCM Audio and Data in an AES3 Serial Digital Audio Interface 4 D
26、efinitions Some of the terms defined below come from entertainment practice, while others come from news or sports practice. Audio Channel: A single channel of audio that may represent a monophonic program or may be part of a multi-channel audio program. Audio Program: An Audio Program is composed o
27、f one or more Audio Channels. It may also be called a Complete Mix. Audio Signal: The representation of one Audio Channel applied to the input and output of a digital television recorder. Audio Track: The space on the storage media or device assigned to a specific Audio Channel Commentary: A primari
28、ly speech or dialog-centric program element, that may also contain music and or effects specific to a single broadcaster or distributor, which is intended to be combined with an International Sound element to form a Complete Mix. Complete Mix: A mix consisting of all the elements (e.g. music, effect
29、s and dialog) required to form a stand alone Audio Program. Dialog: The primary speech element of a program Effects: Sound effects. Element: One component of a complete program, such as speech or music. It may utilize one or more audio channels. International Sound: A mix consisting of all the eleme
30、nts required to form a stand alone Audio Program, except for the Commentary element. This may also be called Natural Sound. Left total, Right total (Lt/Rt): A two channel baseband encoded signal intended to be decoded to a four or five channel (surround) signal by a matrix type decoder. The Lt/Rt si
31、gnal is compatible with a two channel (stereo) signal infrastructure. Low Frequency Effects (LFE): Sounds intended to be carried by the reduced bandwidth “.1” channel of a 5.1 channel program, which are typically reproduced by a subwoofer. In the ATSC system, the LFE channel is restricted to 120 Hz
32、bandwidth. Music and Effects (M&E): A complete mix, but without the dialog element(s). SMPTE 2035-2009 Page 5 of 13 pages Muted: Digital silence Secondary Audio Program (SAP): An alternate (mono) program, usually a second language Video Descriptive Services (VDS): Either a mono or stereo mix of the
33、program including a narrative description of the video, or a verbal description of the visual scene, with embedded control information. The requirement for one or the other will vary by country. These services are intended for use by the visually impaired. 5 General Specification Table 1 lists a var
34、iety of Audio Program types and the shows the Audio Channel to Audio Track assignments for each program type. Non-PCM audio data may carry more than one Audio Channel in a single encoded data stream. In this case, the entire stream shall be assigned to a single Audio Track or Track pair. 5.1 DTRs wi
35、th a One-to-One Correspondence Between I/O Connections and Audio Tracks The assignment of Audio Signals to Audio Tracks in DTRs with a single AES3 input and or output for each pair of Audio Tracks shall follow Tables 1 and 2. Audio Tracks 1 and 2 shall be assigned to the first AES3 I/O connection wi
36、th the Audio Signal of Audio Track 1 assigned to AES3 subframe 1 and the Audio Signal of Audio Track 2 assigned to AES3 subframe 2. Additional Audio Signal pairs shall be assigned to the remaining AES3 I/O connections in a similar manner. In the case of digital audio signals embedded in the ancillar
37、y data space of an associated video signal, Audio Tracks 1 and 2 shall be assigned to SMPTE 272 channel pair 1, Audio Tracks 3 and 4 to SMPTE 272 channel pair 2, etc. up to the maximum number of available SMPTE 272 audio channels, based on available ancillary data space in a given format. 5.2 Audio
38、Channel to Audio Track Assignments Note: The case numbers in Table 1 are historical in nature and have evolved from those used in EBU R48-1988. The case numbers in Table 2 use the same naming conventions for consistency, even though EBU R48 did not extend beyond eight tracks. SMPTE 2035-2009 Page 6
39、of 13 pages Table 1 Audio Channel to Audio Track assignments by Audio Program type Case Program Type Tracks 1 2 3 4 5 6 7 8 1a Mono Program 2 Complete Mono mix International Sound (if any) All unlabelled tracks either dont exist or are Muted 1b Mono Program 4 Complete Mono mix Mute International Sou
40、nd (if any) 1c Mono Program 8 Complete Mono mix Mute International Sound (if any) 2a Stereo Program 2 Complete Mix Left Complete Mix Right 2b Stereo Program 4 Complete Mix Left Complete Mix Right Intnl Sound Left Intnl Sound Right 2c Stereo Program 8 Complete Mix Left Complete Mix Right Intnl Sound
41、Left Intnl Sound Right 3a 2 Stereo Programs 4 First program Complete Mix Left First program Complete Mix Right Second pgm Complete Mix Left Second pgm Complete Mix Right 3b 2 Stereo Programs 8 First program Complete Mix Left First program Complete Mix Right Second pgm Complete Mix Left Second pgm Co
42、mplete Mix Right 4a Mono 2 Commentary Intnl Sound 4b Mono 4 Commentary Mute Intnl Sound 4c Mono 8 Commentary Mute Intnl Sound 5a Stereo Intnl Sound 4 First Commentary Second Commentary Intnl Sound Left Intnl Sound Right 5b Stereo Intnl Sound 8 First Commentary Second Commentary Intnl Sound Left Intn
43、l Sound Right 6a Stereo Program 4 Commentary Left Commentary Right Intnl Sound Left Intnl Sound Right 6b Stereo Program 8 Commentary Left Commentary Right Intnl Sound Left Intnl Sound Right 7a Mono Program 4 Dialog Music Effects 1 Effects 2 7b Mono Program 8 Dialog Music Effects 1 Effects 2 SMPTE 20
44、35-2009 Page 7 of 13 pages Table 1 Audio Channel to Audio Track assignments by Audio Program type (continued) Case Program Type Tracks 1 2 3 4 5 6 7 8 8a Mono Pgm + SAP 2 Complete Mono Mix SAP All unlabelled tracks either dont exist or are Muted 8b Mono Pgm + SAP 4 Complete Mono Mix SAP Intnl Sound
45、Left (if any) Intnl Sound Right (if any) 8c Mono Pgm + SAP 8 Complete Mono Mix SAP Intnl Sound Left (if any) Intnl Sound Right (if any) 8d Mono Pgms + VDS & SAP 4 Mono Mono VDS SAP 8e Mono Pgms + VDS 4 Mono Mono VDS Mono 8f Mono Pgms + SAP 4 Mono Mono Mono SAP 8g Mono Pgms 4 Mono Mono Mono Mono 9a S
46、tereo Pgm + SAP 4 Complete Mix Left Complete Mix Right SAP 9b Stereo Pgm + SAP 8 Complete Mix Left Complete Mix Right SAP 9c Stereo Pgm + VDS & SAP 4 Complete Mix Left total (Lt) Complete Mix Right total (Rt) VDS SAP 9d Stereo Pgm + VDS & Mono 4 Complete Mix Left total (Lt) Complete Mix Right total
47、(Rt) VDS Mono 9e Stereo Pgm + Mono & SAP 4 Complete Mix Left total (Lt) Complete Mix Right total (Rt) Mono SAP 9f Stereo Pgm + 2 x Mono 4 Complete Mix Left total (Lt) Complete Mix Right total (Rt) Mono Mono 10a Multichannel Coded audio 2 Non PCM audio data per 337M Non PCM audio data per 337M 11a St
48、ereo Pgm + Multich Coded audio 4 or 8 Complete Mix Left or Left total (Lt) Complete Mix Right or Right total (Rt) Non PCM audio data per 337M Non PCM audio data per 337M 11b Multich Pgm + Stereo Pgm 8 Complete mix Left Complete mix Right Left Right Center Low Freq Effects Left Surround Right Surroun
49、d 11c Multich Pgm + Stereo Pgm 8 Left Right Center Low Freq Effects Left Surround Right Surround Complete mix Left Complete mix Right 11d Multich Pgm + Lt Rt Surround 8 Left Right Center Low Freq Effects Left Surround Right Surround Left Total (Lt) Right Total (Rt) SMPTE 2035-2009 Page 8 of 13 pages Table 1 Audio Channel to Audio Track assignments by Audio Program type (continued) Case Program Type Tracks 1 2 3 4 5 6 7 8 11e Multich Pgm + Multichannel Coded audio 8 Left Right Center Low Freq Effects Left Surround Righ
