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Peter Frampton-Frampton Comes Alive (DTS ) disc 1

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Peter Frampton-Frampton Comes Alive (DTS ) disc 1
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Music / Unsorted
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Size:

474 MB
Seeds/Leechs:

3/0 Check it now
Added:

06/30/2006
Last check:

2009-06-11 13:06:10
Tracker:

http://tpb.tracker.prq.to
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Files

File	Size
Frampton Comes Alive-disc 1( 5.1 DTS).rar	474 MB
Torrent downloaded from Demonoid.com.txt	0 KB

External comments

2008-02-21 17:20 CET by DerHansie (thepiratebay.org)
Has anybody gotten this image to work? I burned it (and the Disc 2 image) to CD and all I got was 95 minutes of static. Anyway, I bought the 2CD. If the static wasn't just me, let me know and I'll upload the images, working. I did a test and can compress them to about 750MB.
2008-03-21 05:22 CET by starterman (thepiratebay.org)
bogus file...just noise shit.
2008-04-07 05:46 CET by leannenude (thepiratebay.org)
This DTS CD works great and sounds excellent. Don't worry about the static junkies, if you REALLY know what a DTS CD is, this works fine.
2008-04-14 23:24 CET by Granchy (thepiratebay.org)
lol I always laugh when I see a DTS CD listing and people say it's just static and warn people not to DL. I haven't gotten the DL finished yet but thanks for the upload!
2008-04-25 19:44 CET by bhobson333 (thepiratebay.org)
These DTS discs DO work if you have a working DTS system and they sound GREAT!!! Where did this come from???? Listening to the talk-box solos in "Do You Feel Like We Do?" sent chills up my spine. Thanks for the post!
2009-03-07 20:02 CET by biteme235 (thepiratebay.org)
History One of the company's initial investors was film director Steven Spielberg, who felt that theatrical sound formats up until the company's founding were no longer state of the art, and as a result were no longer optimal for use on projects where quality sound reproduction was of the utmost importance. Work on the format started in 1991, four years after Dolby Labs started work on its new codec, Dolby Digital. The basic and most common version of the format is a 5.1 channel system, similar to a Dolby Digital setup, which encodes the audio as five primary (full-range) channels plus a special LFE (low-frequency effect) channel, for the subwoofer. Note however that encoders and decoders support numerous channel combinations and stereo, four-channel and four-channel+LFE soundtracks have been released commercially on DVD, CD and Laserdisc. Other newer DTS variants are also currently available, including versions that support up to seven primary audio channels plus one LFE channel (DTS-ES). DTS's main competitors in multichannel theatrical audio are Dolby Digital and SDDS, although only Dolby Digital and DTS are used on DVDs and implemented in home theater hardware. Spielberg debuted the format with his 1993 production of Jurassic Park, which came slightly less than a full year after the official theatrical debut of Dolby Digital (Batman Returns). In addition, Jurassic Park also became the first home video release to contain DTS sound when it was released on LaserDisc in January 1997, two years after the first Dolby Digital home video release (Clear and Present Danger on Laserdisc) which debuted in January 1995. A photo of a print featuring all four audio formats (or "quad track")- from left to right, SDDS (blue area to the left of the holes), Dolby Digital (grey area between the sprocket holes), analog sound (the two white lines to the right of the Dolby Digital track), and the DTS timecode (the dashed line to the right of the analog track.)In theatrical use, information in the form of a modified time code is optically imaged onto the film. An optical LED reader reads the timecode data off the film and sends it to the DTS processor which uses this timecode to synchronize the projected image with the soundtrack audio. The actual audio is recorded in compressed form on standard CD-ROM media at a bitrate of 1,103 kbit/s. The processor also acts as a transport mechanism, as it holds and reads the audio discs. Newer units can generally hold three discs, allowing a single processor/transport to handle two-disc film soundtracks along with a third disc containing sound for theatrical trailers. In addition, specific elements of the imprinted timecode allow identifying data to be embedded within the code, ensuring that a certain film's soundtrack will only run with that film. DTS and Dolby Digital (AC-3), DTS's chief competitor in the cinema and home theater market, are often compared due to their similarity in product goals. In theatrical installations, AC-3 audio is placed between sprocket holes, leaving the audio content susceptible to physical damage due to film wear and mishandling. DTS audio is stored on a separate set of CD-ROM media, whose greater storage capacity affords the potential to deliver better audio fidelity. However, the separation of print film and audiotrack is both a blessing and a curse. AC-3 (and SDDS) reside entirely on the 35 mm film itself, simplifying distribution by eliminating an extra (optional) deliverable. But DTS's CD-ROM media is not subject to the usual wear and damage suffered by the film print during the normal course of the movie's theatrical screening. Disregarding the separate CD-ROM assembly as a potential point of failure, the DTS audiopath is comparatively impervious to film degradation, excepting that the film-printed timecode is completely destroyed. In the consumer (home theater) market, AC-3 and DTS are close in terms of audio performance. When the DTS audio track is encoded at its highest legal bitrate (1,536 kbit/s), technical experts rank DTS as perceptually transparent for most audio program material (i.e., indistinguishable to the uncoded source in a double blind test.) Dolby claims its competing AC-3 codec achieves similar transparency at its highest coded bitrate (640 kbit/s). However, in program material available to home consumers (DVD, broadcast and subscription Digital TV), neither AC-3 nor DTS run at its highest allowed bitrate. DVD and broadcast (ATSC) HDTV cap AC-3 bitrate at 448 kbit/s. But even at 448 kbit/s, consumer audio gear already enjoys better audio performance than theatrical (35 mm movie) installations, which are limited to even lower bitrates. When DTS-audio was introduced to the DVD specification, studios authored DVD-movies at DTS's full bitrate (1,536 kbit/s). Later movie titles were almost always encoded at a reduced bitrate of 768 kbit/s, ostensibly to increase the number of audio-tracks on the movie disc. At this reduced rate (768 kbit/s), DTS no longer retains audio transparency. AC-3 and DTS are sometimes judged by their encoded bitrates. DTS proponents claim that the extra bits give higher fidelity and more dynamic range, providing a richer and more lifelike sound. But no conclusion can be drawn from their respective bitrates, as each codec relies on different coding tools and syntax to compress audio. When the DTS and AC-3 audiotracks on the same DVD are compared, some movies exhibit noticeable differences. A DTS track is often louder with less hiss, even at the same relative playback volume.[1] [edit] DTS as a codec On the consumer level, DTS is the oft-used shorthand for the DTS Coherent Acoustics codec, transportable through S/PDIF and used on DVDs, CDDAs, LDs and in wave files. This system is the consumer version of the DTS standard, using a similar codec without needing separate DTS CD-ROM media. There are significant technical differences between commercial/theatrical and home variants: the former being a traditional ADPCM derived compression system called APTX-100, and the latter a sophisticated hybrid perceptual and signal-redundancy compressor. [edit] DTS playback Both music and movie DVDs allow delivery of DTS audio tracks. But DTS was not part of the original DVD specification (1997), so early DVD players did not recognize DTS audio tracks at all. The DVD specification was revised to allow optional inclusion of DTS audio tracks. The DVD title must carry one or more primary audio tracks in AC-3 or LPCM format (in Europe, MPEG-1 Layer 2 is also an allowed primary track format). The DTS audio track, if present, can be selected by the user. Modern DVD players can now decode DTS natively with no problem, or pass it through to an external decoder. Nearly all standalone receivers and many integrated ("home theater in a box") DVD player/receivers manufactured today can decode DTS. For PC playback, many software players support the decoding of DTS. The VideoLAN project has created a decoding module for DTS called libdca (formerly libdts), which is the first open source implementation of DTS.[2] The Sony PlayStation 3 and Xbox 360 are capable of DTS decoding and output via Toslink or HDMI as LPCM. However, HDMI output on the Xbox 360 is only found on the "Elite" model and newer models available since mid-2007 with the release of the 'falcon' chipset. Only the PlayStation 3 console has the ability to decode DTS-HD Master Audio or High Resolution since the newest firmware update, ver. 2.30 and up. [edit] DTS variants In addition to the standard 5.1 channel DTS Surround codec, the company has several other technologies in its product range designed to compete with similar systems from Dolby Labs. The primary new technologies are: [edit] DTS 70 mm This is a process designed specifically for playback in motion picture theaters equipped with 70mm projection and 6-track stereophonic surround sound. 70mm DTS prints do not have 6-track magnetic striping, so there is no analog backup should the digital sound fail. The timecode track on the film is many times wider than the 35mm version, since it can occ

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