The first channel is the stereo difference (left minus right), used to add stereophonic sound to the existing monophonic (the left plus right stereo sum) audio track. The stereo information is dbx-encoded to increase the signal-to-noise ratio, to aid in noise reduction. Because of the use of dbx companding, every TV device that uses analogcircuitry to decode MTS costs somewhat more because a royalty must be paid to THAT Corporation, until its patent runs out. These patents do not apply to some digital circuits, however.
A third PRO (professional) channel is provided for internal use by the station, and may handle audio or data. It is normally used with electronic news gathering during newsbroadcasts to talk to the remote location (such as a reporter on-location), which can then talk back through the remote link to the TV station. Receivers for this channel may not be sold to the public.
External link
MTS FAQ at THAT Corp. (http://www.thatcorp.com/tvfaqs.html)
Design considerations for the sound system were determined by the noise levels and their spectra, and by various types of interference involved in stereo TV transmission/reception.
Because the noise levels in all the proposed television transmission systems were potentially high, dbx designed a new process for the system, called "spectral compression." Specifically, the company elected to dynamically vary the preemphasis characteristics in order to match the input signal spectrum to the transmission channel.
This stereosound system, along with Zenith's transmission system, was selected by EIA's MultichannelTelevisionSound Subcommittee following more than four years of exhaustive testing and deliberation that culminated a broadly based industry-wide effort to settle on a single, national system.
This latter technique allows a sound editor to work offline on a workstation while the mixer is adjusting overall EQ and level in automation and playing back from another copy (often on multitrack tape).
Film sound slang (popularized in Northern California) for when a director will request a change in the sound and will give his or her approval to what in fact was no change at all (either accidentally or deliberately) on the part of the mixers.
Hollywood slang for the act of playing a sound effect at a lower level in a vain attempt to hide the fact that it is not in sync.