• We're here to help

    Video streams

    Want access to streaming content? Here is a list of streams that you as a developer can test with. The following streaming protocols are available: MP4, HLS, DASH, Smooth. Feel free to copy the URLs and paste them into your favorite media player.

    Universe Fury: Dolby Atmos - H.264

    Shattered: Dolby Atmos - H.264

    Dolby Digital Plus 5.1 – H.264

    Dolby Digital Plus 7.1 – H.264

    Technology Info

    Want More Streams?

    For a more extensive list, visit

    disc.dolbycustomer.com

    Get help from the developer community

    ask a question

    One of Dolby's goals is to work with the developer community. If you have questions, check out Stack Overflow. Hopefully you'll find your answer. If somehow you need help from us, we are here to help as well. You see that blue button that says "Ask a Question"? Go click on it and we'll get back to you ASAP.

    Popular on Stack Overflow:

    view on stack overflow

    Frequently Asked Questions

    ask a question

    Do you have a knowledge base or a forum that we can access to learn more about your technologies and platforms?

    Yes we do. Please visit us at http://kb.developer.dolby.com to access the content. We recommend you log in to see everything

    Specs


    We try to keep it simple by providing audio solutions that just work, but sometimes it's necessary to know some of the details about the technology that you are using.

    Below you'll see the benefits of Dolby Digital Plus™ (EAC-3) technology. As a reminder, Dolby Audio™ is integrated into PCs, mobile devices, and tablets today.

     

    Feature Dolby Digital Plus Dolby Digital Dolby TrueHD
    7.1 Channels
    5.1 Channels
    Streaming download support Limited
    Adaptive bit-rate streaming
    Multiple BonusView™ support for Blu-ray™
    Automatic stereo downmix
    Support for mobile networks Limited
    Scalable for bandwidth-constrained applications
    Compression Lossy Lossy Lossless
    Data rates supported: Mono-Multichannel 32 kbps - 6 Mbps 32 - 640 kbps Up to 18 Mbps

    Setting up your Home Studio

    Game Studio Services Program


    Our Dolby® Game Studio program can help ensure that you get the most successful results from Dolby technologies and your multichannel mix so that your audience receives the best audio experience possible.

    • Measurement and analysis of your development studios, and use of this data, with your input, to set a practical and achievable audio standard for such items as acoustic room tuning, reference recording levels, and reference SPL levels.
    • Consultation and referral services for acoustic design and audio hardware for your development studios.
    • Dolby Laboratories’ calibration for all completed facilities on an ongoing basis as determined by Dolby and you.
    • Please Contact Us for pricing and further information.

    Studio Design


    Bass Management

    Stereo requires the reproduction of signals from 20 Hz to 20 kHz. This is done with multi-way speaker systems, which use a combination of woofers and tweeters to achieve full-range response. These speakers are connected via a crossover network to route the appropriate frequencies to the various speakers in the system. This may be a two-way, three-way, four-way, or even-five way system, but in each case, the goal is to reproduce 20 Hz to 20 kHz evenly.

    read more

    Today's Dolby Digital consumer decoders include a bass management system to do just that. Just as with the old stereo and Dolby Surround systems, the goal is to be able to reproduce all frequencies within the system. The five main channels and extra LFE channel provide more possible combinations of speakers, including five full-range main speakers and a subwoofer for the LFE; five small speakers for the main channels and a subwoofer for both the LFE and bass redirected from all five main channels; and various combinations of the above examples.

    Studios must be able to reproduce all reasonable frequencies from each full bandwidth channel. Crossovers, subwoofers, and main speakers should work together to give flat response for each of the five main channels.

    Many manufacturers of near-field monitors make complementary subwoofers to complete the system. Larger rooms may dictate the need for more than one subwoofer to achieve adequate bass response.

    When using the LFE channel in a mixing situation, it is important to band-limit the information for this channel. During the Dolby Digital encoding process, the encoder will brickwall filter the LFE signal at 120 Hz. This is true for both professional Dolby Digital encoders, as well as the interactive encoders found in game consoles such as the Playstation 4 and Xbox One.

    Consumer decoders take the LFE signal and add any channels in need of bass management, as determined either by product design or user selection. The five main channels are then highpass filtered at either a fixed frequency of 80 Hz or a selectable frequency of 80, 100, or 120 Hz. The summation of the LFE and any other channels is lowpass filtered at the same frequency.

    While the Dolby Digital encoder and decoder together will handle bass management in decoding, it is often not feasible to use them in this way when mixing, due to the delay through the encoding and decoding process. Therefore, it is necessary to have a separate crossover system in place to handle the bass management. Many manufacturers now offer such devices for this purpose.

    To replicate what the consumer will hear, a third-order (minimum) 80 Hz filter in the LFE audio signal path to the recorder is recommended. It is advisable to include this filter in the console output before the monitor such that both the recorded information and the heard information are band-limited. Failure to include this filter will result in hearing substantial bass information above 80 Hz in the mix that will not be present in the Dolby Digital encoded version.

    Room Calibration

    Once the ability to reproduce all frequencies in each channel has been met (as described in the Bass Management section), the room must be calibrated. For each of the five main channels, pink noise is adjusted for 79 dB C-weighted slow. Many developers might find this level too loud, and may need to calibrate to a lower level.

    read more

    The LFE channel is calibrated such that each 1/3 octave band between 20 and 80 Hz is 10 dB higher than the equivalent 1/3 octave bands for any of the full-range speakers, assuming that the full-range speaker is ideally flat. This level is read from a real-time analyzer (RTA), rather than a sound pressure level (SPL) meter.

    If an RTA is not available, an SPL meter may be used to approximate the level. If an SPL meter is used with band-limited pink noise, then calibrate the subwoofer between 4 and 6 dB (C-weighted slow) higher than any of the full range speakers.

    A properly calibrated room will result in mixes that will sound correct when played back in a consumer environment. An improperly tuned room will result in mixes that will sound fine in the mixing facility, but will be incorrect in other situations. Using the guidelines above will result in a properly tuned room.

    Speaker Setup

    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.

    read more

    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 may need to be positioned above or 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.

    read more

    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.

    Subwoofer(s)

    The LFE channel requires the use of at least one subwoofer in the monitor system. It is equally important to include one or more subwoofers and bass management when some or all of the speakers may not cover the deepest bass in the game soundtrack.

    read more

    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.

    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.

    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.

    Using Dolby Logos

    Before you can acccess logos you must accept the logo usage conditions below, and fill out a little about yourself on the next page. Thanks!

    Consoles Mobile Browsers

    Using Dolby Mobile Logos

    Before you can acccess logos you must accept the logo usage conditions below, and fill out a little about yourself on the next page. Thanks!

    I accept the logo usage conditions cancel

    Using Dolby Console Logos

    Before you can acccess logos you must accept the logo usage conditions below, and fill out a little about yourself on the next page. Thanks!

    i accept the logo usage conditions cancel

    Using Dolby Browser Logos

    Before you can acccess logos you must accept the logo usage conditions below, and fill out a little about yourself on the next page. Thanks!

    i accept the logo usage conditions cancel

    Thanks, please let us know a little about yourself:

    Please enter your company name.  
    Please enter your Company Street Address 1.  
     
    Please enter your city name.  
    Please enter your State/Province.  
    Please enter a zip/postal code.  
    Please select a Country.  
    Please enter your contact name.  
    Please enter a valid Contact Email Address.  
    Please enter a valid Contact Phone Number.  
    Please enter your Company Phone Number  
     
    Please enter your Company Email Address  
    Please enter your Company Website URL  

    Please fix the errors above and re-submit.

    Mobile Logos | Go to Console Logos | Go to Browsers

    The Dolby Audio logo is available for use on mobile apps and games. We ask that you include the following text within your Keywords and Descriptions when submitting your app/game to an App Store.

     

    - Powered by Dolby on supported devices

    Logo Downloads

    Download All Logos

    Logo Usage

    Please refer to the following Brand Guidelines for logo parameters, sizing, color palette, and correct usage of Dolby trademarks and technology names.

    Download Brand Guidelines

    Console Logos | Go to Mobile Logos | Go to Console Browsers

    Overview

    The Dolby Audio (previously Dolby Digital) logo for console games is available for use on PlayStation or Microsoft titles.

    The Dolby Atmos logo is ONLY available for applicable Xbox One titles.  This logo may not be used on PlayStation titles.

    Logo downloads

    Download All Logos

    Logo Usage

    Please refer to the following Usage Guidelines for logo parameters, sizing, color palette, and correct usage of Dolby trademarks and technology names. Included in the *.zip file is a guideline for both PlayStation and Microsoft content.

    Download Usage Guidelines

    Browser Logos | Go to Mobile Logos | Go to Console Browsers

    Dynamic Logos

    When using Dolby technology on your website, you have the option to use the Dolby logo via script, which eliminates maintenance when Dolby makes changes to the image. This method is easy, and requires only two steps:

      1.   Add the following script to load a copy of the Dolby Audio where you usually would add a graphic:

    <script src='http://embed.synqy.net/smartbrand/gYcK6zhX' type='text/javascript'></script>

      2.   Add the following text to your page, preferably in close proximity to the logo graphic.
        Powered by Dolby®

     

    Logo Graphics

    As an alternative to the script, you may also download the simple graphics below as well. Please be sure you place Powered by Dolby® in close proximity to the logo graphic.

    Logo graphic downloads

    download all logos (.zip)

    Logo usage

    Please refer to the Usage guidelines .pdf for logo parameters, sizing, color pallete, and uses of Dolby Trademarks and Technology names.

    download usage guidelines (.pdf)

    Dolby Audio Encoding Utility

    In an effort to help developers start providing professional-level audio before committing to a more robust solution, Dolby Developer provides free encoding for registered Dolby Developer members in a lightweight, easy-to-use tool that's entirely cloud based. Powered by Encoding.com, our utility encodes most standard file video and audio types in Dolby Digital Plus (Also known as ec3) while you wait.

    Log in to get access to the Dolby Encoding Utility

    Dolby Audio Browser Validator

    Press the play button to see if your web browser supports Dolby Audio.

    No Dolby Audio Support
    Start Test
    Scanning...

    What is ec3?

    Dolby Digital Plus, or Enhanced AC-3 (ec3), is an advanced audio codec designed specifically for evolving media. It can be used in smartphone apps, online streaming services, PCs, tablets, smartphones and home theaters. Dolby Digital Plus defines high-fidelity audio even at low bit rates, employing exclusive compression algorithms to efficiently reduce the file size of digital audio programs. This allows for easier transmission and storage while delivering multichannel capability to bandwidth-constrained applications, mobile networks, and Internet-delivered entertainment.