Product Review -
Millennium 2.4.6 DTS Decoder/Preamplifier - April, 1997
By John E. Johnson, Jr.
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Millennium 2.4.6 DTS
Decoder/Preamplifier; DTS decoder for 5.1 sound; Analog
inputs/outputs: Six pairs of RCA jacks; Digital inputs: one RCA
75 Ohm, one TOSLINK optical; One coaxial digital 75 Ohm RCA jack
output; DTS decoder: Motorola 56009 (upgradable); DACs: three
stereo 20 bit Delta Sigma; Digital filter: 8X; S/N 110 dB; Trim
± 15 dB; Master volume ± 30 dB; 12 DC power supply; Size
2"H x 17"W x 6 1/2"D; Weight 7 pounds; Black metal
chassis; $699; Millennium Technologies, P.O. Box 8359, Incline
Village, Nevada 89452-8359; Phone 888-551-6789; Fax 888-515-0123;
E-Mail [email protected];
Website http://www.fivepoint1.com/.
Well, if you have paid attention to our suggestions to purchase
receivers or processors that have a set of discrete 5.1 inputs
for outboard decoders, now comes the payoff. 5.1 Marketing and
Millennium Technologies have released their Millennium 2.4.6 DTS
Decoder, which can also serve as a preamplifier. The 2.4.6 means
that the six channels of 5.1 sound can be "downmixed"
to 4 or 2 channels if you don't have the necessary power
amplifiers to play each channel individually.
The Millennium is very compact and solidly built. It has an
external 12 V supply to keep the line AC away from the decoder.
This is also useful if you want to put DTS in your car, since all
you need to do is connect the decoder to the car battery. The
front of the unit has a small on/off toggle, a blue LED to
indicate power on, another blue LED to indicate lock on the DTS
digital bitstream, three small trim pots for center, rear
left/right, and subwoofer, a master volume control, and a toggle
for automatic or manual input sensing. The rear has all the
analog and digital input/output jacks, a jack for the 12 V DC
power supply input, and eight dip switches for setting the
default manner in which the unit operates, such as downmixing (we
used the factory default settings, with all switches in the up
position.)
Putting an outboard DTS processor into a home theater system can
be tricky. The Millennium has made the task easier, if you have
an outboard AC-3 processor (as we do), by the use of analog
input/output jacks that connect together when the AC-3 is being
used, and connect the output with the DTS of the Millennium when
DTS is being used. The RF output of the laserdisc player
continues to go to the RF AC-3 input on the AC-3 decoder, but the
six analog outputs of the AC-3 decoder now go to the six analog
input jacks on the Millennium. The six analog RCA jack outputs of
the Millennium go to the 5.1 inputs on the receiver. A Toslink
optical output of the laserdisc player is connected to the
Toslink optical input on the Millennium. (You can also connect a
dedicated CD transport to the digital coax input on the
Millennium if you want to play the CDs from a CD player instead
of the laserdisc player.) We set the auto/manual toggle on the
Millennium to "Manual". Now, when the laserdisc has an
AC-3 output, the six analog outputs from the AC-3 decoder trip
the solenoids on the Millennium, and the analog AC-3 outputs are
fed through to the receiver. When a DTS signal is detected by the
Millennium, the solenoids switch so that the analog DTS output is
sent to the receiver at the same 5.1 inputs. On the Yamaha
RX-V990, which we used for our tests, this allowed us to use Pro
Logic, and then 5.1 Discrete for AC-3 and DTS, with the
appropriate signal being detected and routed by the Millennium.
The trim pots on the Millennium work only with the DTS output.
This allows the user to set the volume of the DTS independently
of the AC-3, which means you won't get an unpleasant loudness
surprise when using AC-3 vs. DTS. (They can be set to the same
levels if you wish.)
The DTS software is pretty scarce right now (April, 1997), but it
is growing quickly, with both DTS laserdiscs and DTS CDs becoming
available. We had the following DTS CDs on hand for the test:
"Alan Parsons on Air", "Pavarotti & Friends
for War Child", Marvin Gaye - "Forever Yours",
Steve Miller Band - "Fly Like an Eagle", "The
Storm and the Sea", "Surround Sound for the
Millennium", and "DTS Music Demonstration and Set-Up
Disc". For laser, we used "Jurassic Park" DTS
version. The Yamaha RX-V990 receiver, DDP-1 AC-3 Decoder, Yamaha
CDV-W901 Laserdisc Player, McCormack Digital Transport, Audio
Alchemy Digital Transport, Carver AV-705 Power Amplifier,
AudioQuest Cables (including the OptiLink Z Toslink), Nordost
Flatline Cables, Krix Speakers, and Eminent Technology Speakers,
were utilized as the equipment package.
DTS provides six discrete channels of 20 bit audio: Front
left/right, Center, Rear left/right, and Low Frequency Effects
(LFE). We put on one of the DTS CDs, using the McCormack digital
transport, and . . . nothing! Around and around we went, trying
to figure out what was wrong. Finally, in a phone conversation
with Brad Miller at 5.1 Marketing, we discovered that digital
volume controls on CD transports work fine with regular CDs, but
NOT with the DTS bitstream. Any manipulation of the DTS bitstream
will result in the decoder not locking in on the signal (probably
true for any DTS decoder). So, if you have a transport with a
digital volume control, you have to put the CD into play and
adjust the volume on the transport controls until the point is
reached that the lock light on the Millennium illuminates. This
problem did not occur with the Audio Alchemy transport or the
Yamaha laserdisc player, because they are not equipped with a
digital volume control. The DTS output of both players resulted
in immediate lock-on with the Millennium.
The sound of DTS is really stupendous. Like AC-3, DTS gives the
listener a true sense of incredible involvement, but, of course,
a good part of this depends on the engineering of the recording.
All of the DTS albums we listened to had an excellent sound
quality, but the musical charm varied widely. Having the lead
singer come from the left rear was not particularly appealing,
but those sorts of vagaries will disappear as DTS goes from being
novel to being routine. In any case, the sound was clean, with no
obvious harshness. The thunderstorm album gave the entire system
a good workout. Both AC-3 and DTS tend to have powerful subwoofer
sound tracks, and this was certainly no exception. It sounded so
real, I intend to use the album for meditation! I just wish the
recording engineers had placed all the microphones a little
farther apart and not so close to the puddle that the rain was
pouring into. "Jurassic Park" was, of course,
spectacular. The Pro Logic version is good, but 5.1 DTS is
wonderful.
Perhaps the most revealing of the DTS CDs is the one that DTS
published for demonstration (DTS-CD 96091, which came with the
Millennium). When I heard it, I realized how important this new
technology is, and that I was completely sold on it. There are
numerous tracks on the disc, and my favorites are Track 2, which
is a chorale excerpt from Tchaikovsky's 1812 Overture, and Track
5, "A Touch of Surround Madness". Being surrounded by
discrete tracks of a huge chorus singing this fantastic piece of
music is absolutely phenomenal. I am telling you, "You are DEFINITELY going to want
DTS!" Track 5 is the most
demanding CD sound I have ever heard. Of course, it is meant to
impress the listener, but if the technology could not handle it,
the impact would not have come through. It opens with a deep
rumble and a sine wave that goes completely around in a circle.
Then, everything from Star Trek to Roy Rogers is excerpted in
short bursts. The Millennium performed flawlessly. Really superb
sound. And, it will get better. We need to remember that this is
just the first rung on a very tall ladder of performance
potential. Current DTS releases use a compression ratio of about
3:1, which is a lossy (some musical info is "lost")
scheme. However, DTS is capable of delivering 5.1 in a lossless
bitstream, up to about 96 kHz sampling with 24 bit word length.
This is much greater than current regular CDs with two channels
at 44.1 kHz and 16 bit word length. We just need the disc space
to put it on (perhaps on DVDs down the road). Audiophiles have
been searching for that "you are there" sensation ever
since the term hi-fi came into existence. Well, we just moved an
order of magnitude closer to realizing that dream with DTS, and
the Millennium is on the ground floor.
There are sure to be arguments as to the superior format: AC-3 or
DTS. Even though AC-3 uses a compression ratio of 11:1 and DTS is
3:1, I could not hear any consistent differences in our
preliminary tests, but again, this depends very much on the
software, and I reserve comments here until I have heard many
more examples, in particular, a number of sound tracks produced
in both AC-3 and DTS. Somewhere down the road, there will
probably be double blind experiments that indicate listener
preferences, and maybe a demo disc made by an independent
producer, with the same music in both formats for everyone to
play with. Frankly, I like them both to the extent I don't really
care which one wins on the newsgroups. Some laserdiscs will be
released with AC-3 and some with DTS. DVDs are AC-3 now, with DTS
on the horizon. The CDs will probably stick with DTS. DSS
Satellite will use AC-3 and DTS, and HDTV will have AC-3, with
DTS as an alternative standard. I plan to get them all.
I am really pleased that DTS sounds so good, and that one of the
first decoders, the Millennium, performs so well. DTS has a very
promising future, and I feel that it is the best thing to happen
to CDs since the CD itself. For outboard decoding, the Millennium
is an important contribution to this new format, and can be used
with any receiver that has 5.1 inputs. Its upgradability (DTS has
the ability to decode much higher bit rates than is presently
being used on the DTS laserdiscs and CDs), quality of
construction, and high performance make it a very competive piece
of electronics. Ours joins the reference lab here at Secrets.
John E. Johnson, Jr.
© Copyright 1995, 1996, 1997
Secrets of Home Theater & High Fidelity
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