3.2 Configurations Menu

Select and Manage Your Encoding Configuration Sets

The Configurations Menu in version 2.1.0 introduces an entirely new paradigm in the
management of encoding presets. It is now possible to create Configuration Sets, each
containing one or multiple individual encoding configurations. This new system dramatically improves the
workflow, enabling better organization and batch manipulation of encoding settings across projects. The
interface now resembles the Source Menu structure, featuring a Main View with a unified List
Tab, and a dedicated Edit View divided into three tabs: Configs,
Shared, and ABR.




Figure 3.2.0 – 1 | Configurations Menu Overview

Creating a new configuration set typically begins with the definition of one or more
encoder configurations in the Configs Tab (A), which may include Auro-CX,
Auro-Codec, Auro-Headphones, or Convert encoders. Each configuration includes its own set of parameters tailored
to specific encoding requirements. The Shared Tab (B) provides access to
global settings that apply across all encoders within the set, such as loudness normalization targets, ensuring
consistency throughout the configuration set. Finally, the optional ABR Tab
(C) enables the creation of adaptive streaming outputs by combining multiple Auro-CX
configurations into a single ABR-ready stream, with options for format selection, segment duration, and more.

1. Main View




Figure 3.2.1 – 1 | Main View with Configuration Set List

The Main View provides a clear table-based interface to manage all configuration
sets. Each row corresponds to a configuration set and shows the included encoders and output modes.

1.1 Management Buttons:

• The “+” Button is located at the top right of the
Configurations Menu in Main View. Clicking it switches to the Edit View with a blank new
Configuration Set, allowing the addition and configuration of new configuration set according to the
desired settings.
 
• The Import Button allows the loading of one or more configuration sets from
external .json files. This enables quick reuse of previously saved presets or the integration of
shared configurations from other systems or projects.
 
• The Edit Buttons switches the Configuration Menu from the Main View to the Edit
View, enabling modification of the selected configuration set. This includes editing the
Configuration Set Name, managing the list of included encoders and their individual settings,
adjusting shared parameters that apply across all encodings, and configuring optional Adaptive Bit
Rate (ABR) output settings. If the configuration set is currently in use by any active encodings in
the Queue List, a “CONFIGURATION IN USE” label
appears in the top-left corner of the Edit View, and a padlock icon replaces the edit icon in the
Main View’s configuration table to prevent modifications.
This design prevents accidental changes or deletions of sources involved in
ongoing encoding tasks.

1.2 Select Buttons

In addition to the selection checkboxes within the Configuration Sets Table
in the Configurations Main View, a set of Select Buttons is available to facilitate more advanced
selection methods:

• Select Invert Button: Unselects the currently
selected configuration sets in the Configuration Sets Table and selects the currently unselected
ones.
 
• Select All Button: Selects all existing configuration sets in the
Configuration Sets Table.
 
• Select Clear Button: Unselects all existing configuration sets in the
Configuration Sets Table.
 
• Select Filtered Button: Selects the configuration sets that match the current
name set in the Filters Field.

1.3 Filters Field

The Filters Field allows for filtering of existing configuration sets in the
Config Table within the Main View. Currently, the available filter is the Name Filter, which can be
activated by selecting the checkbox next to the ‘Name’ label under the Filters section. Once the
Name checkbox is selected, a custom word can be entered in the Filter Field, and upon pressing the
‘Select Filtered’ button, only configuration set matching the specified name will be displayed in
the Config Table.

1.4 Configuration Sets Table

The Configuration Sets Table provides functionality to select, edit, and
delete existing configuration sets. Its simple interface facilitates the encoding workflow, enabling
quick and efficient addition of selected configuration sets to the encoding process via the
prominent ‘ADD’ button in the Control Section. In combination with the current configuration in the
Configurations menu, these added configuration sets create new sessions in the Encoder Queue list,
awaiting encoding initiation by pressing the large ‘START’ button in the Control Section. The
Configuration Sets Table consists of five columns, each serving a distinct purpose:




Figure 3.1.1.1.4 – 1 | Configuration Sets Table in the Main View

• 1.4.1 Select Column: Allows selection of configuration sets to be added to
the Queue List. Selected configuration sets can also be deleted or duplicated via the Bulk
Actions.
 
• 1.4.2 Edit Column: Opens the Edit View of the corresponding configuration
sets. If the selected configuration sets is currently in use by any encodings in the Queue List,
a “CONFIGURATION IN USE” label is displayed
at the top left corner within the Edit View, along with a padlock icon replacing the edit icon
in the Configuration Sets Table in the Main View.
These visual indicators highlight that the configuration set is currently
inaccessible for deletion or modification until it is no longer in use in the Queue List. This
design feature prevents accidental alterations or deletions of configuration sets engaged in
ongoing encoding tasks.
 
• 1.4.3 Config Set Name Column: Displays the custom configuration sets names.
 
• 1.4.4 Configs Column: Displays all configurations included in the selected
configuration set, each represented by its corresponding icon.
 
• 1.4.5 Delete Column: Displays bin shaped button for each configuration set.
Pressing a bin button enables the permanent deletion of the corresponding configuration set.

1.1.5 Bulk Actions

Bulk Actions allow the application of specific actions to multiple selected
configuration sets simultaneously.

• The Delete Button enables the permanent deletion of all selected
configuration sets in the Configuration Sets Table. Note that configuration sets currently
marked as “CONFIGURATION IN USE” cannot be
deleted until they are no longer in use.
• The Duplicate Button allows the duplication of all selected configuration
sets. Each duplicated configuration set will be added to the Configuration Sets Table with a new
identifier, preserving the original data while creating a copy for further modification or
use.
• The Export Button exports one or more selected configuration sets to external
JSON files, which can later be re-imported into the software using the Import Button available
in the Main View.

2. Edit View

The Configuration Edit View becomes accessible when creating a new configuration
set via the “+” Management Button, or when editing an existing set by pressing the Edit Button located
in the Configuration Table in the Main View. The top left corner of the Edit View includes the
Configuration Set Name Field, used to define a clear and identifiable name for the configuration set.
Once saved, the configuration set appears as an item in the Configuration Table in the Main View.




Figure 3.2.2 – 1 | Configuration Menu – Edit View – Set Name Field

A configuration set is structured into three functional sections, accessible via
dedicated tabs: the Configs Tab (A), the Shared Tab
(B), and the optional ABR Tab (C):




Figure 3.2.2 – 2 | Configuration Menu – Edit View Tabs

Creating or modifying a configuration set typically involves adding and
customizing one or more encoder configurations in the Configs Tab (A),
setting global parameters such as loudness targets in the Shared Tab
(B), and optionally defining adaptive streaming behavior using the ABR
Tab (C), where compatible Auro-CX configurations can be grouped into a
single ABR output.

2.1 Configs Tab

Each configuration set includes one or more encoder configurations, which are
managed and edited within the Configs Tab. This tab provides a clear overview of all included
configurations in the set, along with their respective parameters. Each configuration can be added,
removed, or duplicated using the controls in the sidebar. New configurations can be added by pressing
the large “+” button located in the Configs Tab within the Configuration Menu in Edit View:




Figure 3.2.2.1 – 1 | Adding a New Encoder Configuration

• Auro-Codec: Produces immersive multichannel outputs using the legacy Auro-Codec.
Outputs are encoded as PCM in WAV or FLAC formats.
 
• Auro-CX: Designed for scalable adaptive bitrate (ABR) delivery and streaming
scenarios. Supports multiple encoding modes including Lossless, Transparent, and ACC. Auro-CX
configurations can optionally be grouped for ABR output in the ABR Tab.
 
• Auro-Headphones: Encodes content optimized for binaural headphone playback using
virtualized Auro-3D rendering. Includes presets for spatial tuning and LFE adjustment.
 
• Convert to WAV: A utility configuration that rewraps audio content to standard
pure channel-based WAV format. Useful for output standardization or for preparing material for
external processing pipelines.

Multiple configurations can be added to a single configuration set as needed.
Once a configuration set has been created and selected—along with one or more existing sources—a new
encoding session can be initiated by pressing the large Add Button located in the Control Section. All
Auro-CX configurations within the set will be grouped into a single encoding session, while Auro-Codec,
Auro-Headphones, and Convert configurations will each generate separate, dedicated sessions.
Remarks: Only one Auro-Headphones configuration can be included per configuration set. If both an
Auro-CX and an Auro-Headphones configuration are present within the same set, the Auro-Headphones
configuration will be automatically merged into the Auro-CX session.




Figure 3.1.2.1 – 2 | Adding a New Media in a Source

Encoder Types

There are currently four Encoder Types available in the Auro Encoder Service:


2.1.1 Auro-Codec Encoder





Figure 3.2.3.1 – 1 | Auro-Codec Configuration Parameters




⚠️ Note: The “Measured Output Loudness” checkbox shown in this
figure has been moved to the Shared Tab (see section 2.2 – Loudness).

The renowned Auro-Codec enables distribution of immersive mixes via a single
file, supporting 2D + 3D formats in a single carrier. Uncompressed PCM quality is available for 5.1
Surround and 7.1 mixes, and systems equipped with an Auro-Decoder can playback the original AURO-3D®
mix. The Auro-Codec parameters provide the ability to configure and define specific behaviors to be
applied to the currently selected sources:

• Output File Type Drop Down Menu: This feature allows you
to select the desired format for the output file.
There are four available options:

• multi channel WAV: Select this option if you want the
output file to be in a multi-channel WAV format, which supports multiple audio channels in a
single file.
• FLAC: Select this option if you want the output file to be in FLAC format,
which is a lossless audio compression format known for its high-quality audio reproduction.
• FLAC + WAV: Choose this option if you want to generate both FLAC and WAV
versions of the output file, with FLAC being a lossless compressed format and WAV being an
uncompressed format.

Remarks about the FLAC Export Option:
The FLAC export option allows users to encode audio files in the FLAC format, which is a
lossless audio compression format known for its high audio quality and small file size. However,
in order for the FLAC export option to work, the “flac” Application must be installed on the
user’s system. If the “flac” Application is not installed, the FLAC export option will not
function properly.
Checking for FLAC Application Existence:
To determine if the “flac” Application is installed on your system, you can use the following
method:
On macOS:
Open a terminal window.
Type “flac -v” in the terminal window and press Enter.
If the “flac” Application is installed, the version information for “flac” will be displayed in
the terminal window, confirming its existence on your system.
On Windows:
Open a command prompt window.
Type “flac -v” in the command prompt window and press Enter.
If the “flac” Application is installed, the version information for “flac” will be displayed in
the command prompt window, confirming its existence on your system.
Note: If the “flac” Application is not installed on your system, you will need to install it in
order to use the FLAC export option provided by the 3D Audio Encoder software. You can download
and install the “flac” Application from the official FLAC website or through package managers
available on your operating system.
Flac version 1.3.4 is recommended
How to Install the FLAC Application:
Click HERE to learn how to enable the FLAC
Export Options in the AURO-3D® Encoder by installing the FLAC Application.

• Output Mono WAVs: When enabled, this option ensures that
individual mono WAV files are generated for each channel of the resulting Auro-Codec encoded mix,
providing greater flexibility for post-processing or archival purposes.

• Output Channel Order Drop Down Menu: The Output Channel
Order Drop Down Menu is only visible when the Output File Type “multi-channel WAV” is selected. This
parameter determines the organization of audio channels within the resulting interleaved WAV file.

The Channel Order within a multi-channel WAV-file has an important impact
on the correct channel mapping during playback. It should be chosen carefully depending on the
target playback system or device, which can expect or support different channel orders.
When the Encoder Type is set to “Conversion”, you can choose between ITU and SMPTE channel
orders. For a multi-channel WAV file in Auro 13.1 format, the ITU and SMPTE channel orders are
as follows:
When the Encoder Type “Auro-Codec” is selected, the Output Channel Order is automatically set to
the “ITU” channel order. This is because Auro-Codec encoded content must follow the ITU channel
order to ensure proper playback on most devices.
For both 5.1-based and 7.1-based Auro-Codec encoded surround carriers, the ITU channel order is
as follows:
• ITU Channel Order for 5.1-based Auro-Codec encoded surround carriers:
L, R, C, LFE, Ls, Rs.
• ITU Channel Order for 7.1-based Auro-Codec encoded surround carriers:
L, R, C, LFE, Lb, Rb, Ls, Rs.
(Note that the channel orders of all other formats with fewer channels can be easily deducted
from the example provided above by simply omitting the unused channels from the list, as they
follow the same channel order sequence).

• Low Pass Filter Drop Down Menu: The Low-pass filter
dropdown menu allows you to apply a low-pass filter to the output of the mix. It offers cut-off
frequencies of 0 Hz, 18 kHz, 19 kHz, and 20 kHz to choose from. This filter is disabled by default
and set to 0.

• Pre roll Button: When activated, a pre-roll of silence
will be included at the beginning of the encoded file. The length of this early silence can be
adjusted using the Pre roll Time parameter. Many playback systems require around 300 to 500 ms to
start decoding encoded content, and this pre-roll ensures smooth decoding performance for the
starting samples of the encoded file. By including a period of silence before the actual audio
content begins, potential decoding issues or audio artifacts that may occur during the initial
playback can be mitigated, resulting in a more seamless listening experience for the end-user.

• Pre roll Time Parameter: The Pre roll Time parameter
allows to specify the duration of the Pre roll in milliseconds. This parameter determines the length
of the silence that will be included at the beginning of the encoded file when the Pre roll Button
is activated.


2.1.2 Auro-CX Encoder





Figure 3.2.3.2 – 1 | Auro-CX Configuration Parameters




Auro-CX is a next-generation audio codec specifically designed for high-quality
streaming of immersive and interactive audio. It builds on the foundational features of Next Generation
Audio (NGA) codecs by providing scalable audio coding from lossless to low-bitrate perceptual coding.
Auro-CX supports multiple audio formats, including channel-based, object-based, and scene-based audio,
making it versatile for home entertainment, broadcast, and more.
Some of its key features include dynamic object rendering, support for personalized and interactive
audio, and integration with advanced Auro-3D technologies such as binaural rendering (Auro-Headphones)
and adaptive bit-rate streaming. Additionally, it supports a wide range of formats, including stereo,
surround, and immersive speaker configurations, up to Auro 13.1. With its advanced bitstream handling
and scalability, Auro-CX is designed to provide high-quality sound while maintaining flexibility for
various streaming environments, making it a robust codec for future multimedia applications.

⚠️ Important Limitation in the Auro Encoder Service:
Although the current version of the Auro-3D Encoder Service allows for the creation, retrieval, and
modification of object elements within Sources, it is crucial to note that all encoders, at this stage,
output only pure channel-based content. Object-based audio is not yet supported in the final output, but
future updates aim to address this limitation and enable full object-based audio encoding.

Note that all Auro-CX configurations within a configuration set can optionally be
grouped in the ABR Tab to enable Adaptive Bit Rate (ABR) output. This feature allows
the creation of a single streaming-ready output that seamlessly combines multiple Auro-CX encodings at
different bitrates. Leveraging standard protocols such as HLS and MPEG-DASH, the ABR stream ensures
optimal playback quality across varying network conditions and device capabilities.

The Auro-CX parameters provide the ability to configure and define specific
behaviors to be applied to the currently selected sources:

• Encoder Mode: The Encoder Mode defines the type of
compression or encoding applied to the audio content. The Auro-CX encoder offers four different
modes to accommodate various use cases and quality requirements:

• Lossless: This mode preserves the original audio quality without any
compression loss. It is ideal for high-fidelity use cases where maintaining the full dynamic
range and detail of the source audio is crucial, such as in professional or archival
environments.
• ACC (Auro-Codec Legacy): This mode ensures backward compatibility with older
Auro-Codec encodings. It provides good sound quality with moderate compression, making it a
reliable choice for traditional media delivery with Auro-Codec compatibility.
• Transparent: Offers a balance between compression and audio quality.
Transparent mode uses advanced compression techniques to reduce file size while maintaining
perceptual audio quality that is indistinguishable from the original to most listeners. It is
ideal for high-quality streaming scenarios where file size and bandwidth efficiency are
important.
• Lossy: This mode applies maximum compression, sacrificing some audio quality
to achieve a smaller file size. It is suitable for environments where low bandwidth or storage
constraints are critical, such as mobile streaming or low-data streaming services.

• Quality Drop Down Menu: This menu allows the selection of
the desired quality level when using the “Transparent” or “Lossy” Encoder Modes. The selected
quality level affects the balance between file size and audio quality. The Quality Drop Down Menu is
only available when “Transparent” or “Lossy” modes are selected:

• Low: Provides maximum compression, resulting in smaller file sizes at the
expense of some audio quality. This option is ideal for low-bandwidth environments or when
storage efficiency is a priority.
• Medium: Balances compression and audio quality, offering a middle ground
between file size and perceptual audio fidelity. This is suitable for general streaming purposes
where a compromise between quality and file size is acceptable.
• High: Minimally compresses the audio, preserving nearly all perceptual
quality while slightly reducing file size. This is best for situations where audio quality is
important, but some compression is still necessary to manage bandwidth or storage.


2.1.3 Convert Encoder





Figure 3.2.3.3 – 1 | Convert Configuration Parameters




⚠️ Note: The “Measured Output Loudness” checkbox shown in this
figure has been moved to the Shared Tab (see section 2.2 – Loudness).

The Convert Encoder allows conversion of an input file format into a different
output file format by specifying the Output File Type value. For example, converting an ADM file into a
multi-channel WAV file (objects will be printed into the channel-based bed), or converting a
multi-channel WAV file into multi-mono WAV files (all channels will be extracted from the original
interleaved file), and so on. The Convert parameters provide the ability to configure and define
specific behaviors to be applied to the currently selected sources:

• Output Mono WAVs: When enabled, this option ensures that
individual mono WAV files are generated for each channel of the resulting Auro-Codec encoded mix,
providing greater flexibility for post-processing or archival purposes.

• Output File Type Drop Down Menu: This feature allows you
to select the desired format for the output file.
There are four available options:

• multi channel WAV: Select this option if you want the
output file to be in a multi-channel WAV format, which supports multiple audio channels in a
single file.
• mono channel WAV: Choose this option if you prefer the output file to be in a
mono-channel WAV format, where each audio channel is saved as a separate file.

• Output Channel Order: The Output Channel Order Drop Down
Menu is only visible when the Output File Type “multi-channel WAV” is selected. This parameter
determines the organization of audio channels within the resulting interleaved WAV file.

The Channel Order within a multi-channel WAV-file has an important impact
on the correct channel mapping during playback. It should be chosen carefully depending on the
target playback system or device, which can expect or support different channel orders.
When the Encoder Type is set to “Conversion”, you can choose between ITU and SMPTE channel
orders. For a multi-channel WAV file in Auro 13.1 format, the ITU and SMPTE channel orders are
as follows:
When the Encoder Type “Auro-Codec” is selected, the Output Channel Order is automatically set to
the “ITU” channel order. This is because Auro-Codec encoded content must follow the ITU channel
order to ensure proper playback on most devices.
For both 5.1-based and 7.1-based Auro-Codec encoded surround carriers, the ITU channel order is
as follows:
• ITU Channel Order for 5.1-based Auro-Codec encoded surround carriers:
L, R, C, LFE, Ls, Rs.
• ITU Channel Order for 7.1-based Auro-Codec encoded surround carriers:
L, R, C, LFE, Lb, Rb, Ls, Rs.
(Note that the channel orders of all other formats with fewer channels can be easily deducted
from the example provided above by simply omitting the unused channels from the list, as they
follow the same channel order sequence).


2.1.4 Auro-Headphones Encoder





Figure 3.2.3.4 – 1 | Auro-Headphones Configuration Parameters




The Auro-Headphones Encoder enables high-quality binaural rendering of immersive
audio content for playback on standard stereo headphones. Within the Auro-3D Encoder Service,
Auro-Headphones processing is powered by the Auro-CX encoder engine, delivering exceptionally fast
rendering performance. If an Auro-CX encoder is also present in the configuration set, the
Auro-Headphones encoding will be automatically grouped within the same encoding session in the Queue
List. After encoding, all parameter values applied to the Auro-Headphones configuration can be reviewed
in detail via the Inspector by selecting the corresponding configuration from the Config drop-down menu.

• Head Size Parameter: The Head Size Parameter allows to
adjust the size of the listener’s head in order to obtain an optimal disposition of all audio
sources within the virtual 3D environment.

• Room Preset Drop Down Menu: The Room Preset Drop Down
Menu lets specify the characteristics of the virtual room. Each Room Preset automatically sets the
corresponding values of the Rotary Parameters. There are four Room Presets:

• Home Cinema: Preset to simulate the acoustic of
medium size home cinemas.
• Lounge: Preset to simulate the acoustic of
smaller and more reverberant rooms.
• Cinema: Preset to simulate the acoustic of
larger cinema halls.
• Concert: Preset to simulate the acoustic of
very large concert halls.

Note that it is perfectly possible to customise the acoustic behaviour of the
virtual room by manually setting the values of each Rotary Parameter. When that is the case, the
Room Preset Drop Down Menu indicates “Custom”.

• Rotary Parameters: There are six rotary parameters:

• Rotary Parameter: Room
Size: Defines the size of the room and the corresponding RT60.

• Rotary Parameter: Speaker
Distance: Defines the distance between the listener and the speakers within the virtual
room. This parameter modifies the balance between direct signals and diffused field.

• Rotary Parameter: LFE
Level: Adjusts the level of the LFE channel present in the binaural mix.

• Rotary Parameter: ER
Level: Adjusts the level of the early reflections.

• Rotary Parameter: Reverb
Level: Increases the amount of reverberation.

• Rotary Parameter:
Damping: Adjusts the clarity of the reverberation. Increasing the Damping value
causes the high frequency harmonics to be more subjected to damping.

2.2 Shared Tab

The Shared Tab consolidates several parameters that apply uniformly
across all encoders in a configuration set. These parameters ensure consistency and simplify configuration
management:




Figure 3.2.3.4 – 1 | Auro-Headphones Configuration Parameters




• General: This section includes profile and frame rate settings
that define the structural behavior of the encoding process, as well as options for applying immersive
upmixing (Auro-Matic) and binaural rendering (Auro-Headphones) uniformly across all configurations in the
set.

• Profile Drop Down Menu: When the Encoder Type is set to
Auro-Codec, you are presented with the option to select either the Music or the Movie profile.
The Movie profile provides the ability to specify a specific fps (frames per second) value for the
encoding process, while the Music profile grants access to additional Pre-Roll parameters to ensure
proper encoding at the start time of the resulting encoded file.

• Use FPS From Video Checkbox: When enabled, the encoder
automatically extracts and applies the frame rate from any video element present in the source. This
parameter eliminates the need for manual frame rate specification when synchronizing audio to video
content. If the source contains no video element, this option has no effect, and the frame rate must be
specified manually through the Frame Rate Drop Down Menu. This automation ensures frame-accurate
synchronization between audio and video streams during the encoding process.

• Frame Rate Drop Down Menu: Provides the option to select
different frame rates for encoding Auro-Codec encoded content in the Movie profile. There are eight
available values to choose from:

• 23.976 fps
• 24 fps
• 25 fps
• 29.97 fps
• 30 fps
• 48 fps
• 60 fps
• 72 fps

• Rendering Layout Mode Drop Down Menu: Determines the source
of
the rendering layout specification applied during encoding. Two modes are available:

• From Source: The encoder uses the rendering layout value
specified individually for each source in the Source Menu. This mode preserves per-source rendering
layout definitions and is appropriate when different sources require different output
configurations.
• Custom: Overrides all source-level rendering layout specifications with a single
uniform value defined in the Rendering Layout Drop Down Menu. This mode applies the same rendering
layout to all selected sources, streamlining batch processing when consistent output format is
required. The custom rendering layout is written to each source at the moment the source is combined
with this configuration and added to the queue list, creating the corresponding session. Note that
this override is applied only when the rendering layout is applicable to the source’s audio content.

• Rendering Layout Drop Down Menu: Specifies the target
rendering
layout to be applied across all selected sources when the Rendering Layout Mode is set to “Custom”. This
parameter defines the speaker configuration and channel arrangement for the encoded output. The
available
rendering layouts correspond to the standard Auro-3D configurations, including but not limited to
stereo,
5.1 surround, 7.1 surround, and various immersive formats up to Auro 13.1. This centralized control
enables efficient configuration management for projects requiring uniform output specifications across
multiple sources.

• Auro-Matic: Auro-Matic is the proprietary upmixing algorithm used
to enhance non-immersive audio content and create a more immersive listening experience when played back
through an Auro-3D configuration. This section allows you to configure the Auro-Matic settings, either by
using predefined presets or by customizing the effect. The strength of the effect can also be adjusted.

• Settings: You can choose between two settings: Default or Custom. The default option
applies a preset configuration, while the custom setting allows for more personalized control over the
parameters.
• Auro-Matic Preset Drop Down Menu: This menu provides a choice of five presets that
tailor the Auro-Matic upmixing effect to the type of content. The available presets are:
  • Small: Applies a subtle upmixing effect, ideal for music or other audio where
minimal enhancement is required.
  • Medium: Provides a moderate upmixing effect, suitable for content where more
pronounced immersion is desired.
  • Large: Maximizes the upmixing effect, creating an expansive 3D audio
environment.
  • Movie: Optimized for movies, this preset enhances the cinematic experience by
immersing the listener in a 3D audio space.
  • Speech: Designed for dialog-heavy content, this preset optimizes clarity and
spatial positioning for speech-based audio.
• Strength: This slider adjusts how strongly the Auro-Matic effect is applied, with
values ranging from 0 to 15. A higher value increases the intensity of the upmixing effect.

• Auro-Headphones: Auro-Headphones is a binaural audio rendering
technology that provides an immersive spatial audio experience through standard stereo headphones. This
feature allows the configuration of how audio is processed for headphone playback, ensuring that listeners
experience 3D sound without requiring a multi-speaker setup. You can customize the settings or use default
presets.

• Settings: Choose between Default or Custom settings. The default configuration
applies a preset, while the custom option allows users to adjust specific parameters for the desired
headphone experience.
• Preset Drop Down Menu: The Auro-Headphones preset menu provides three options for
adjusting the spatial effect to the listener’s preference:

• Small: Applies a subtle spatial effect, providing a closer, more intimate audio
  environment.
• Medium: Offers a balanced spatial effect, suitable for most audio content and
  providing a natural sense of space.
• Large: Maximizes the spatial effect, creating a more expansive and immersive sound
  environment, ideal for highly immersive content.

• LFE Level: This parameter controls the amount of
Low-Frequency Effects (LFE) incorporated into the binaural mix. Adjusting the LFE level influences the
bass and sub-bass frequencies, which are important for creating a fuller, more impactful listening
experience.

• Loudness: Provides tools to enforce loudness compliance during
encoding by selecting a standard, reviewing target levels, and applying optional normalization to match
delivery specifications.

• Measured Output Loudness Checkbox: Controls the loudness
measurement method applied after encoding. By default, the encoder calculates loudness values
algorithmically based on the encoding parameters without analyzing the output file. When this checkbox
is
activated, the system performs an additional measurement pass on the resulting encoded file to verify
that
the loudness levels conform to the selected standard. This measurement-based approach provides higher
accuracy than the calculation method, particularly for validating compliance with broadcast or streaming
delivery specifications. The measured loudness values appear in the Statistics Panels alongside the
input
file measurements. Note that activating this option extends the total encoding duration due to the
additional analysis pass required after encoding completes.

• Standard Drop Down Menu: Selects the loudness standard used
to
evaluate compliance during encoding. The chosen standard determines the target integrated loudness (PLI)
and
true peak (TP) levels that the encoder uses for validation and normalization. Common standards include
EBU R128 for broadcast, ATSC A/85 for North American television, and various streaming platform
specifications. When a standard is selected, the Statistics Panel displays compliance feedback for all
loudness measurements. Values that exceed the standard’s limits are highlighted in red to indicate
non-compliance. This validation applies to both input and output files for each encoding session. The
list of
available loudness standards displayed in this drop-down menu is configured in the Global Settings,
where
custom loudness standards can also be created to accommodate specific delivery requirements or client
specifications not covered by the predefined industry standards.

• Target Indicators: Displays the target integrated loudness
(PLI)
and true peak (TP) values defined by the currently selected loudness standard. These reference values
represent the compliance thresholds that the encoded output should meet. The PLI value typically
specifies
the target program loudness in LUFS (Loudness Units relative to Full Scale), while the TP value defines
the
maximum allowable true peak level in dBTP to prevent clipping during playback. These indicators serve as
the
reference points for both the compliance validation displayed in the Statistics Panel and the
normalization
process when the Normalize option is enabled.

• Normalize Drop Down Menu: Determines whether loudness
normalization is applied during encoding and defines the scope of that normalization. Three modes are
available:

• Off: No loudness normalization is applied. The encoder
preserves the original loudness levels of the input content. Compliance validation still occurs if a
standard is selected, but non-compliant levels are not corrected.
• Track: Normalization is applied independently to each track. Each encoded track
is
adjusted to comply with the selected loudness standard individually, ensuring that every track meets
the
target levels on its own. This mode applies a uniform gain adjustment across the entire track to
bring
the integrated loudness to the target value. Note that this is a simple trim adjustment rather than
dynamic processing. If the true peak value is too high while the integrated loudness is too low, the
normalization will reduce all levels to ensure true peak compliance, which may result in integrated
loudness below the target. This mode is appropriate for single-track deliveries or scenarios where
each
track must be independently compliant.
• Album: Normalization is applied at the album level. The loudness measurement
considers all tracks in the album as a continuous program, and a uniform gain adjustment is applied
to
achieve compliance across the entire album rather than per individual track. This mode preserves the
relative loudness relationships between tracks, maintaining the artistic intent of the album’s
dynamic
structure. Album mode is suitable for multi-track programs intended for sequential playback where
maintaining loudness variation between tracks is essential.

• Downmix: Controls the level adjustments applied when encoding
immersive multichannel content to compatibility formats. The downmix parameters determine how the vertical
layers of an Auro-3D mix (Lower, Height, and Top) are folded into the two-dimensional surround carrier that
can be decoded dynamically on non-immersive playback systems. These gain values directly affect the
signal-to-noise ratio and spatial balance of the downmixed output.

• Downmix Gains Drop Down Menu: Determines the source of the
downmix gain values applied during encoding. Two modes are available:

• From Source: The encoder applies the downmix gain values
defined individually for each source in the Source Menu’s Bed Element parameters. This mode
preserves
per-source downmix specifications and is appropriate when different sources have been pre-configured
with specific downmix characteristics.
• Custom: Overrides all source-level downmix gain values with the uniform values
specified in the Lower Gain, Height Gain, and Top Gain parameters below. This mode enables
centralized
downmix control across multiple sources and is suitable for batch processing or standardized output
requirements. The custom downmix values are applied at the moment the source is combined with this
configuration and added to the queue list, creating the corresponding session. Note that this
override
is applied only when the downmix parameters are relevant to the source’s audio layout.

• Lower Gain: Specifies the attenuation applied to the lower
layer channels when downmixing an immersive mix into the encoded surround carrier. The lower layer
constitutes the traditional surround bed (front left, front right, center, surround left, surround
right,
and LFE in a 5.1 configuration, with additional back channels in 7.1). The gain range spans 0 dB to -24
dB.
In most production scenarios, a maximum attenuation of -9 dB is recommended to avoid degrading the
signal-to-noise ratio in the encoded surround channels. Excessive attenuation reduces the effective bit
depth available for the lower layer during encoding, potentially introducing quantization artifacts
during
playback on non-immersive systems. This parameter is active only when Downmix Gains is set to “Custom”.

• Height Gain: Specifies the attenuation applied to the height
layer channels when downmixing an immersive mix into the encoded surround carrier. The height layer
comprises the elevated speakers positioned above the listener plane (height left, height right, height
center, and height surround channels in Auro-3D configurations). The gain range spans 0 dB to -24 dB.
Similar to the Lower Gain parameter, a maximum attenuation of -9 dB is typically recommended to maintain
adequate signal-to-noise ratio in the height channel encoding. The height layer downmix contributes
spatial information to the surround carrier, enabling Auro-3D decoders to reconstruct the vertical
dimension during playback. This parameter is active only when Downmix Gains is set to “Custom”.

• Top Gain: Specifies the attenuation applied to the top layer
channel when downmixing an immersive mix into the encoded surround carrier. The top layer is present
only
in Auro-3D configurations that include a voice-of-god or overhead channel (such as Auro 10.1, 11.1, and
13.1). The gain range spans 0 dB to -24 dB. The top channel carries overhead or zenith audio content,
and
its downmix level affects the prominence of this vertical component in the encoded surround
representation.
As with other downmix gains, a maximum attenuation of -9 dB is generally recommended to preserve
encoding
fidelity. This parameter is active only when Downmix Gains is set to “Custom” and the source contains a
layout with a top layer channel.

2.3 ABR Tab

The ABR Tab (Adaptive Bit Rate Tab) is designed to group and manage
all Auro-CX configurations intended for adaptive bitrate streaming. This tab makes it possible to include
multiple Auro-CX encoder variants at different quality levels, enabling seamless bitrate switching during
playback. This functionality is essential for delivering high-quality immersive audio experiences across a
wide range of network conditions and playback environments. The ABR settings work in conjunction with
standard streaming protocols such as HLS and MPEG-DASH.




Figure 3.2.3.4 – 2 | ABR Configuration Parameters




• Encoder Selection: This section allows you to select which
Auro-CX encoders will be included in the ABR output. Only Auro-CX encoders within the current configuration
set are eligible to be grouped under ABR. The following actions are available:

• Add: Adds the selected Auro-CX encoder to the list of included ABR encoders.
• Add All: Adds all available Auro-CX encoders in the configuration set to the ABR
group.
• Remove: Removes the selected Auro-CX encoder from the ABR group.
• Remove All: Clears the entire list of included ABR encoders.

• General: This section defines key parameters that govern how the
ABR content is formatted and packaged for streaming. These settings apply globally to the resulting adaptive
bitrate output:

• Segment Duration: Determines the duration of each segment in the resulting ABR stream.
  The value is expressed in milliseconds and typically defaults to 1000 ms (1 second),
  which balances encoding efficiency and streaming performance.
• Format: Defines the output container format for the ABR stream. Two options are
  available:
  • HLS: HTTP Live Streaming, ideal for Apple ecosystem and broad device
    compatibility.
  • DASH: MPEG-DASH, widely used in adaptive bitrate delivery across various
    platforms and devices.
• Zip: When enabled, this option compresses all resulting segment and manifest files into
  a single zip archive for easier distribution or archiving.
• Force Common Sample Rate ID: When activated, this forces all encoders in the ABR set to
  embed a common sample rate metadata value in their respective MP4 files. This is particularly useful for
  ABR configurations that include mixes with different sample rates, ensuring compatibility during
  playback by signaling a uniform maximum sample rate.