{"id":4316,"date":"2019-06-14T01:30:25","date_gmt":"2019-06-13T23:30:25","guid":{"rendered":"https:\/\/demdlx704as001.ad.harman.com\/?p=4316"},"modified":"2024-03-07T07:05:20","modified_gmt":"2024-03-07T06:05:20","slug":"qls-quantum-logic-surround","status":"publish","type":"post","link":"https:\/\/audioworx.transfunnel.co\/old\/?p=4316","title":{"rendered":"QLS\/QLI"},"content":{"rendered":"

The QLI (Quantum Logic Immersion) is an up-mixing algorithm that converts the stereo or multichannel (5.1 or 7.1) input signals and up mixes it to 8 or 13 output channels (7.1 surround and 5 height channels) using signal extraction and reverb extraction techniques.<\/span><\/p>\n

QLI\u00a0 (Quantum Logic Immersion) also know as QLS (Quantum Logic Surround).<\/span><\/p>\n

Use Case:<\/em><\/strong> QLS object can be used as standalone QLi or in combination with Clarifi technology. CF needs to process raw audio signal. Hence, it must be placed before any equalization (volume, compressor etc) in the signal flow. CF works only for stereo inputs and generates a stereo output. When both CF and QLS are to be used, the stereo output of CF is used as a stereo input of QLI.<\/em><\/span><\/p>\n

QLS\/QLI Properties<\/strong><\/p>\n

Below table describes about the QLS\/QLI\u00a0audio object properties and functionality.<\/span><\/p>\n

<\/p>\n

In the default mode, QLS object has no control inputs. It has 2 or 6 or 8 inputs and 8 or 13 output channels. The number input and output channels for QLS can be controlled at design time by selecting the appropriate modes of the object.<\/span><\/p>\n\n\n\n\n\n
Properties<\/strong><\/span><\/td>\nDescription<\/strong><\/span><\/td>\n<\/tr>\n
Display Name<\/strong><\/span><\/td>\nDisplay the name of the QLS audio object in signal flow design. It can be changed based on the intended usage of the object.<\/span><\/td>\n<\/tr>\n
Object Mode<\/strong><\/span><\/td>\n\n
    \n
  • 2.0_to_7.1.5<\/span><\/li>\n
  • 5.1_to_7.1.5<\/span><\/li>\n
  • 7.1_to_7.1.5<\/span><\/li>\n
  • 2.0_to_7.1<\/span><\/li>\n
  • 5.1_to_7.1<\/span><\/li>\n
  • 7.1_to_7.1<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    Mode<\/strong><\/p>\n

    There are total six mode in QLS object.<\/span><\/p>\n\n\n\n\n\n\n\n\n\n
    Name<\/strong><\/span><\/td>\nDescription<\/strong><\/span><\/td>\n<\/tr>\n
    2.0_to_7.1.5<\/span><\/strong><\/span><\/td>\nSupports stereo input and generates 7.1 output plus 5 height channels.<\/span><\/td>\n<\/tr>\n
    5.1_to_7.1.5<\/span><\/strong><\/span><\/td>\nSupports stereo and 5.1 input and generates 7.1 output plus 5 height channels.<\/span><\/td>\n<\/tr>\n
    7.1_to_7.1.5<\/span><\/strong><\/span><\/td>\nSupports stereo, 5.1 and 7.1 input and generates 7.1 output plus 5 height channels.<\/span><\/td>\n<\/tr>\n
    2.0_to_7.1<\/span><\/strong><\/span><\/td>\nSupports stereo input, and 21 Control inputs and generates 7.1 output.<\/span><\/td>\n<\/tr>\n
    5.1_to_7.1<\/span><\/strong><\/span><\/td>\nSupports stereo and 5.1 input, and 21 Control inputs and generates 7.1 output.<\/span><\/td>\n<\/tr>\n
    7.1_to_7.1<\/span><\/strong><\/span><\/td>\nSupports stereo, 5.1 and 7.1 input, and 21 Control inputs and generates 7.1 output.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    The input channel modes are:<\/span><\/p>\n

      \n
    • Stereo<\/span><\/li>\n
    • Multichannel_5_1<\/span><\/li>\n
    • Multichannel_7_1<\/span><\/li>\n
    • Stereo_Ctrl<\/span><\/li>\n
    • Multichannel_5_1_Ctrl<\/span><\/li>\n
    • Multichannel_7_1_Ctrl<\/span><\/li>\n<\/ul>\n

      The QLI creates a 7.0.5 surround upmix from a stereo (or dual mono), 5.1, or 7.1 input audio signal using signal extraction and reverb extraction techniques.<\/span><\/p>\n\n\n\n
      The input channel order is:<\/span><\/p>\n
        \n
      1. Left Front<\/span><\/li>\n
      2. Right Front<\/span><\/li>\n
      3. Center<\/span><\/li>\n
      4. LFE<\/span><\/li>\n
      5. Left Surround\/Rear<\/span><\/li>\n
      6. Right Surround\/Rear<\/span><\/li>\n
      7. Left Side<\/span><\/li>\n
      8. Right Side<\/span><\/li>\n<\/ol>\n<\/td>\n
      		The output channel order is:<\/span><\/p>\n
        \n
      1. Left Front<\/span><\/li>\n
      2. Right Front<\/span><\/li>\n
      3. Center<\/span><\/li>\n
      4. LFE (Note: This output is muted when using 2 channel input<\/em>)<\/span><\/li>\n
      5. Left Side<\/span><\/li>\n
      6. Right Side<\/span><\/li>\n
      7. Left Rear<\/span><\/li>\n
      8. Right Rear<\/span><\/li>\n
      9. Left Front Height<\/span><\/li>\n
      10. Right Front Height<\/span><\/li>\n
      11. Center height<\/span><\/li>\n
      12. Left Rear height<\/span><\/li>\n
      13. Right Rear height<\/span><\/li>\n<\/ol>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

        Additional Parameters<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n
        Parameter<\/strong><\/span><\/td>\nDescription<\/strong><\/span><\/td>\nUnit<\/strong><\/span><\/td>\nRange<\/strong><\/span><\/td>\nDefault<\/strong><\/span><\/td>\n<\/tr>\n
        Max reverb delay<\/strong><\/span><\/td>\nupper limit for the reverb delay<\/span><\/td>\nms<\/span><\/td>\n0 – 50<\/span><\/td>\n50<\/span><\/td>\n<\/tr>\n
        Max lookahead delay<\/strong><\/span><\/td>\nupper limit for super user lookahead delay<\/span><\/td>\nms<\/span><\/td>\n0 – 75<\/span><\/td>\n75<\/span><\/td>\n<\/tr>\n
        Max early reflections delay<\/strong><\/span><\/td>\nupper limit for the early reflections<\/span><\/td>\nms<\/span><\/td>\n2 – 0<\/span><\/td>\n2<\/span><\/td>\n<\/tr>\n
        Enable\/Disable swoosh<\/strong><\/span><\/td>\n\n

        1 – swoosh enabled<\/span><\/p>\n

        0 – swoosh disabled<\/span><\/td>\n

        		–<\/span><\/td>\n<\/td>\n1<\/span><\/td>\n<\/tr>\n
        Enable\/Disable Reverb<\/strong><\/span><\/td>\n\n

        1 – Reverb enabled<\/span><\/p>\n

        0 – Reverb disabled<\/span><\/td>\n

        		–<\/span><\/td>\n<\/td>\n1<\/span><\/td>\n<\/tr>\n
        Enable\/Disable control inputs<\/strong><\/span><\/td>\n\n

        0 – Control Inputs disabled<\/span><\/p>\n

        1 – Control Inputs enabled<\/span><\/td>\n

        		<\/td>\n<\/td>\n0<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
          \n
        • supported block lengths of 512, 256<\/span><\/li>\n
        • supported sampling frequency of 48 kHz.<\/span><\/li>\n
        • this audio object supports a block length of 256 for reduced MEM and MIPS consumption.<\/span><\/li>\n<\/ul>\n

          Cross gains to x (front, center, side) are not applied on the dedicated multi-channel inputs (from input multi-channel signal), but only on the extracted channels as the result of \u201cFront signal extraction\u201d feature, which needs to be enabled in the GUI. Currently the original signals with cross gains are only applied to front left and front right.<\/span><\/p>\n

          Memory allocation for optimized MCPS on GUL.<\/span><\/p>\n

          QLS algorithm uses FFT algorithm. There are six buffers used by FFT. For FFT to work these buffers must be allocated in internal memory.\u00a0 There are also memory alignment requirements.<\/span>
          \nPlease refer below table for memory records and alignment.<\/span><\/p>\n\n\n\n\n\n\n\n\n\n
          Memory record Label<\/strong><\/span><\/td>\nAlignment in bytes<\/strong><\/span><\/td>\n<\/tr>\n
          FFT real Input signal critical for MCPS”<\/span><\/td>\n\n

          4096 for Block size = 512<\/span><\/p>\n

          2048 for Block size = 256<\/span><\/td>\n<\/tr>\n

          FFT imaginary input signal critical for MCPS<\/span><\/td>\n\n

          4096 for Block size = 512<\/span><\/p>\n

          2048 for Block size = 256<\/span><\/td>\n<\/tr>\n

          FFT temporary buffer1-critical for MCPS<\/span><\/td>\n8<\/span><\/td>\n<\/tr>\n
          FFT temporary buffer2-critical for MCPS<\/span><\/td>\n8<\/span><\/td>\n<\/tr>\n
          FFT Twiddle real part critical for MCPS<\/span><\/td>\n8<\/span><\/td>\n<\/tr>\n
          FFT Twiddle imaginary part critical for MCPS<\/span><\/td>\n8<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

          For better MCPS performance allocate these buffers to lower memory latency levels.<\/span>
          \nMCPS can be further improved if these buffers are placed in different block of lower memory latency.<\/span><\/p>\n

          In xAF design:<\/span><\/p>\n

            \n
          • Level1 latency is mapped to L1 memory Block 0<\/span><\/li>\n
          • Level2 latency is mapped to L1 memory Block 1<\/span><\/li>\n
          • Level3 latency is mapped to L1 memory Block 2<\/span><\/li>\n<\/ul>\n

            Below is example of memory allocation for improved MCPS performance.<\/span><\/p>\n

            \"A<\/p>\n

            Tuning Parameters<\/strong><\/p>\n

            The following table lists all the tuning parameters for QLS. These parameters can be tuned from GTT.<\/span><\/p>\n