HDMI 2.0: Connecting in HD
I hate HDMI connections. If there ever was a poorly designed connecter, HDMI has them. No locking mechanism, so they fall out easily, the fit is usually quite loose, and they stick out a lot from the back of the piece of equipment that they’re connecting. And it doesn’t get much better when you think about the electrical/data specifications associated with HDMI. Most of the equipment designers that I know have chosen to avoid the format all together because of the cost of licensing is so high. There HDMI spec seems to change quite often and the feature set is confusing. Who wants to be upgrading their gear every year?
I haven’t followed all of the nitty gritty details but I do know that the 1.0 specification was designed to handle both high-definition video and high-resolution audio…up to 8 channels at 192 kHz/24-bits. That specification is more than enough to pass the best high-resolution audio in multichannel from a source player to your preamp or A/V receiver.
I use a KANEX Pro de-embedder to extract the high-resolution, multichannel audio from my Blu-ray player when I want to use an external DAC. If I simply connect an S/P DIF or TOS Link connector the sample rate is lowered to 48 kHz and the word lengths shortened to 16-bits thanks to the RIAA and the major labels.
Well now HDMI 2.0 has arrived. I got am email this morning highlighting the new functionality of HDMI 2.0. It listed the following enhancements:
• 4K or UHD at 50/60 Hz (2160), which is 4 times the clarity of 1080p/60 video resolution
• Up to 32 audio channels for a multi-dimensional immersive audio experience
• Up to 1536 kHz audio sample rate frequency for the highest audio fidelity
• Simultaneous de3livery of dual video streams to multiple users on the same screen
• Simultaneous delivery of multi-stream audio to multiple users (up to 4)
• Support for the wide angle theatrical 21:9 video aspect ratio
• Dynamic synchronization of video and audio streams
• CEC extensions provides expanded command and control of consumer electronics devices through a single control point
The HDMI 2.0 specification doesn’t require you to repurchase new cables or connectors. If you have high-speed cables already, you can use them with the new data streams.
As you can probably already guess, seeing the 1536 kHz sample rate made me look twice. This is the first time I’ve seen that number actually in print. Some of you might remember the joke AX-1000 DAC that I wrote up some months ago (click here to revisit that post). It uses 1.536 MHz sampling and now there’s an HDMI standard the meets that standard.
Never mind that there are no microphones, no converters, no digital processors, and no DACs that operate at that level, the people behind the HDMI 2.0 standard are paving the way forward. If video can advance from standard definition to 2K and 4K and eventually 8K then why not drag high-resolution audio along too?
And 32 audio channels? I’m having a hard time getting customers to get used to 5.1 surround music. Among audiophiles, stereo still reigns supreme. The 32 channels will service the interconnected home with discrete surround in a variety of rooms, but you can bet that someone will hook up 32 amps and speakers for the ultimate in immersive surround sound.
I’m ready…are you?
Off topic: I see you’ve come to the darkside over at the Pono site…
Yep, I did sign up over at the Pono community. There’s no better way to spread the word about real high-resolution audio or learn what Pono supporters are thinking.
32 channel audio????
I want the ability to easily create my own surround mixes so I can hear and understand/appreciate specific sounds/instruments/performances. I appreciate Mark’s “aggressive” surround mixes because it’s as close I can get to what I really want… But one day I might agree with his sound stage/mix and another day I might be upset because I heard something I want to focus upon but can’t change the soundstage/mix.
The 32 channels that Gus was talking about is the total numbers of tracks at Immersive Studios. Their Sony Sonoma System is equipped with 32 inputs and outputs as well as 32-simlutaneous tracks. My Pro Tools system for comparison can handle easily twice that amount at 96 kHz/24-bits. I pass around digital signals and the Sonoma DSD system acts like an older analog multichannel deck and takes analog signals in and outputs analog signals.
32 channels for Dolby Atmos and Auro..
Can’t wait. Really looking forward the new generation of live shows being recorded with proper rigs taking in the hemispherical data of an epic concert!