Yamaha DSP-100 Owner's manual

 You are the proud owner of a Yamaha DSP-100 Digital
Sound Field Processor—an extremely sophisticated audio
component.
The DSP-100 takes full advantage of Yamaha's undisputed
leadership in the field of digital audio processing to bring you a
whole new world of aural experience. Follow the instructions
given in this manual carefully when setting up your system, and
the DSP-100 will let you “sonically” transform your room into
a vast range of high-quality listening environments—large and
small. Hear a Beethoven symphony the way it actually sounds
at a famous concert hall, enjoy your favorite trio in the cozy
acoustic environment of a jazz club, experience the power of
rock in a huge hall... In short, you can simply select the
acoustic environment that most ideally suits you and your
music. And, of course, since all signal processing is digital, the
sound is simply superb.
Rather than tell you about the wonders of the DSP-100,
however, let's get right down to the business of setting up the sys-
tem and trying out the basic programs. Please read this operation
manual carefully, and store it in a safe place for later reference.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
sExplanation of Graphical Symbols
The lightning flash with arrowhead symbol,
within an equilateral triangle, is intended to
alert you to the presence of uninsulated
“dangerous voltage" within the product's
enclosure that may be of sufficient magni-
tude to constitute a risk of electric shock
to persons.
The exclamation point within an equilateral
triangle is intended to alert you to the pres-
ence of important operating and maintenance
(servicing) instructions in the literature
accompanying the appliance.
WARNING
To reduce the risk of fire or electric shock, do not
expose this appliance to rain or moisture.
1 Read Instructions—All the safety and
operating instructions should be read
before the appliance is operated.
2 Retain Instructions—The safety and
operating instructions should be retained
for future reference.
3 Heed Warnings—All warnings on the
appliance and in the operating instructions
should be adhered to.
4 Follow Instructions—Ali operating and
other instructions should be followed.
5 Water and Moisture— The appliance
should not be used near water—for exam-
ole, near a bathtub, washbowl, kitchen
sink, laundry tub, in a wet basement, or
near a swimming pool, etc.
6 Cart and Stands—The appliance
should be used only with a cart or stand
that is recommended by the manufacturer.
6A An appliance and cart combination
should be moved with care. Quick stops,
excessive force, and uneven surfaces may
cause the appliance and cart combination
to overturn.
7 Wall or Ceiling Mounting— The appli-
ance should be mounted {0 a wall or ceiling
only as recommended by the manufacturer.
8 Ventilation—The appliance should
be situated so that its location or position
does not interfere with its proper ventila-
tion. For example, the appliance should
not be situated on a bed, sofa, rug, or
similar surface that may block the ventila-
tion openings; or cabinet that may impede
the flow of air through the ventilation
openings.
9 Heat—The appliance should be
situated away from heat sources such as
radiators, stoves, or other appliances that
produce heat.
10 Power Sources—The appliance
should be connected to a power supply
only of the type described in the operating
instructions or as marked on the appliance,
11 Power-Cord Protection—Power-
supply cords should be routed so that they
are not likely to be walked on or pinched
by items placed upon or against them,
paying particular attention to cords at
plugs, convenience receptacles, and the
point where they exit from the appliance.
12 Cleaning— The appliance should be
cleaned only as recommended by the
manufacturer. |
13 Nonuse Periods—The power cord of
the appliance should be unplugged from
the outlet when left unused for a long
period of time.
14 Object and Liquid Entry—Care
should be taken so that objects do not fall
into and liquids are not spilled into the in-
side of the appliance.
15 Damage Requiring Service—The
appliance should be serviced by qualified
service personnel when:
The power-supply cord or the plug
has been damaged; or
“Objects have fallen, or liquid has been
spilled into the appliance; or
The appliance has been exposed to
rain; or
The appliance does noi appear to
operate normally or exhibits a marked
change in performance; or
E. The appliance has been dropped, or
the cabinet damaged.
og 0 >
16 Servicing—The user should not
attempt to service the appliance beyond
those means described in the operating
instructions. Ali other servicing should be
referred to qualified service personnel.
17 Power Lines—An outdoor antenna
should be located away from power lines.
18 Grounding or Polarization—
Precautions should be taken so that
the grounding or polarization of an
appliance is not defeated.
19 This equipment generates and uses
radio frequency energy and if not installed
and used properly, that is, in strict accord-
ance with the manufacturer s instructions,
may cause interference to radio and tele-
vision reception. It has been type tested
and found to comply with the limits for a
Class B computing device in accordance
with the specifications in Subpart J of Part
15 of FCC Rules, which are designed to
provide reasonable protection against such
interference in a residential installation.
However, there is no guarantee that inter-
ference will not occur in a particular in-
stallation. If this equipment does cause
interference to radio or television recep-
tion, which can be determined by turning
the equipment off and on, the user is en-
couraged to try to correct the interference
by one or more of the following measures:
Reorient the receiving antenna
Relocate the DSP-100 with respect
to the receiver
Move the DSP-100 away from the
receiver
Plug the DSP-100 into a different
outlet so that the DSP-100 and
receiver are on different branch
circuits. |
If necessary, the user shouid consult the
dealer or an experienced radio/television
technician for additional suggestions.
The user may find the following booklet
prepared by the Federal Communications
Commission helpful: “How to identify
and Resolve Radio-TV Interference
Problems”.
This booklet is available from the U.S.
Government Printing Office, Washington,
DC 20402, Stock No. 004-000-00345-4.
IMPORTANT! |
Please record the serial number of your
unit in the space below.
Model: DSP-100
Serial No.:
The serial number is located on the rear
of the unit.
Retain this Owners Manual in a safe
place for future reference.
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to be expos-
ed to high temperatures or humidity—such as near radiators,
stoves, etc. Also avoid locations which are subject to excessive
dust accumulation or vibration which could cause mechanical
damage.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage. Handle It
with care. |
3. DO NOT OPEN THE UNIT OR ATTEMPT REPAIRS OR
MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer all
maintenance to qualified Yamaha service personnel. Opening
the unit and/or tampering with the internal circuitry will make
servicing difficult and will endanger you and your DSP-100.
4. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or disconnect-
ing cables. This is important to prevent damage to the unit itself
as well as other connected equipment. |
5. HANDLE CABLES CAREFULLY
Always plug and unplug cables—including the AC cord—by
gripping the connector, not the cord.
6. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean the unit.
Wipe clean with a soft, dry cloth.
7 ALWAYS USE THE CORRECT POWER SOURCE
Make sure that the power source voltage specified on the rear
panel matches your local AC mains supply.
8. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY
YOURSELF
If the backup battery in the main unit should need replacement
(“EE” appears on the LED display), have the job done by quali
fied Yamaha service personnel.
. GETTING STARTED nin en eee
4
1-1 4
1-3. ОРПОМАГ СОММЕСТЮМЗ......нннееенненеееее 15
1-4. CONTROLS & ADJUSTMENTS... 17
een 22
2-1. INPUT SOURCE SELECTION... DO
2-2. PROGRAM AND MEMORY CONFIGURATION... 23
2-3. SELECTING THE PRESET
SOUND FIELD PROGRAMS... 23
2-4. MUTING THE EFFECT SOUND 24
2-5. DESCRIPTIONS OF THE PRESET SOUND
НЕГО РВОСВАМУ........нененененеенеененееее 25
2-6. SUPERIMPOSED VIDEO PROGRAM/
PARAMETER DISPLAY coool 3
3-1. SELECTING & EDITING PROGRAM PARAMETERS .... 32
3-2. EFFECT LEVEL & BALANCE... 85
3-3. STORING AN EDITED PROGRAM |
IN THE USER MEMORY .................0..000 36
3-4. DESCRIPTIONS OF THE SOUND
FIELD PARAMETERS ........eeeenemean Y
4-1. PROGRAM PARAMETER TABLE. 4
4-2. USER PROGRAM TABLE ………………...…..…… 43
4-3. TROUBLESHOOTING... 4
4-4. SPECIFICATIONS ................eee 45
4-5. BLOCK DIAGRAM.................0eeennnna 46
If you haven't already done so, carefully remove the DSP-100
and its accessories from the box and wrapping material. You
should find the DSP-100 itself, a remote control unit, a pair of
batteries for the remote control unit, four pairs of stereo audio
cables and a video cable.
Check that you have the following 4 items:
Remote control
(RS-DSP100)
Pin cable, video (1)
Remote Control Unit Batteries
Installing the F
Since the remote control unit will be used for almost all
DSP-100 control operations, you should begin by installing the
supplied batteries.
1. Turn the remote control unit over and pull down on the bat-
tery compartment cover clip while pulling the compartment
cover outward, as shown in the accompanying illustration.
2. Insert the two batteries (SUM-3 or AA types), being careful to
align them with the polarity markings on the inside of the battery
compartment.
3. Close the battery compartment cover.
se When you notice that remote control operation has become
erratic, or the distance from which the remote control will func-
tion has decreased markedly, it's time to replace the batteries.
Always replace both batteries with new ones at the same time.
This remote control uses an advanced, highly directional infrared
beam. | |
Be sure to aim the remote control directly at the infrared receiver
on the main unit when operating. The remote control will not
operate properly if aimed away from the receiver or if strong
light falls on the receiver.
Infrared
receiver
4-channel or 6-channel Operation?
The DSP-100 was designed to provide the best sound-field
quality with a full six-channel amplifier and speaker configura-
tion, using two stereo power amplifiers in addition to the main
stereo amplifier, and two extra pairs of speakers (two main
speakers and four effect speakers). We therefore recommend
that you use a six-channel setup, and well base our system
setup instructions on the six-channel configuration. A four-
channel system using only one extra stereo power amplifier and
one pair of speakers for the effect sound will still provide impres-
sive ambience and effects, however, and may be a good way to
begin with your DSP-100. You can always upgrade to the full
six channels later. In the 4-channel mode, the full 6-channel
processing is still performed, but with the front speakers used
both for the main channels and the front effect channels.
ACH
-% Notes on four-channel setup will be given alongside the
“ACH” symbol shown here.
A/D SENSITIVITY T
NORM. HIGH MONO OUT
FULL BAND TAPE FR
O ©
GFF ON
Gch Ach
MAIN LEVEL
07
+68 OdB -101B
LOW PASS FRONT
REAR ic’ 200Hz
LEVEL
A/D Sensitivity Switch
Can be used to increase the input sensitivity of the internal
analog-to-digital convertor. Usually set to the NORM position,
but can be set to HIGH to increase sensitivity. This is useful
when for some reason you find it desirable to turn down the
volume using the volume control on your preamplifier.
Front and Rear Effect Level Controls
Used for adjusting the volume level from the effect speakers
when there is no volume level on the effect channel power
amplifier. Set to the center position when not being used.
20 VOLTS ZOWATTS 60 Hz
YAMAHA CORPORATION
MADE IN JAPAN
Comples with the hmits for
a {llass B computing device
pursuant. бо Subpart Jo af
Part 15 of FCC Ruies.
АНА. 2539
CAUTION
OUT ATTENTION:A:soue De choc 20у ВОН?
NTSC] | ELECTAQUENE PAS CUVAI, 200
WARNING: TO REoucE THE ASK OF FIRE OR Е ЕСТАС SHOCK 100 NOT EXPOSE THIS ABPUANCE TO
Mono Auxiliary Amp/Speaker Outputs
Output to optional center-channel or subwoofer auxiliary
power amplifiers and speakers. Separate terminals are pro-
vided for FULL BAND (all frequencies) and LOW PASS
(frequencies below 200 Hz only).
Front and Rear Effect Outputs
Output to the FRONT and REAR effect power amplifiers
(REAR only in the case of a 4-channel system).
Main Outputs
Output to the main power amplifier or to the "MAIN IN”
terminals on an integrated amplifier.
Front Mix Switch
Set to “6ch” when setting up a full 6-channel system, or to
“4ch” when using only four speakers in a 4-channel system.
Main Level Switch
Can be used to reduce MAIN output level by 10 dB to
maich the MAIN and EFFECT speaker levels.
Tape Rec Out and Playback Terminals —
Accept the inputs and outputs of a stereo tape deck for con-
venient recording and playback via the DSP-100 (the effect
sound cannot be recorded).
© Input Terminals
Accept input from a preamplifier, the “PRE OUT" or “TAPE
REC” outputs from an integrated amplifier, or direct input
from a line-level source.
Input Balance Control
Used for adjusting the input balance for optimum Dolby sur-
round decoding if the source being used is out of balance.
Set to the center position when not being used.
Video Input and Output Terminals
These terminals connect the DSP-100 between your VCR or
video disc player and video monitor, allowing DSP-100 pro-
grams and data to be displayed on the video monitor
screen.
Y Auxiliary AC Outlet
This AC outlet may be used to power other components in
your audio system as long as the total power consumption
of the connected equipment does not exceed 200 wats.
vitch and Control Setting
$
rear-Panel Sv
There are several switches and controls on the DSP-100 rear
panel that you'll have to check before operating your system,
and its a good idea to do it before you connect cables. Locate
the “MAIN LEVEL” @ and “FRONT MIX” @ slide switches
on the right hand side of the OUTPUT terminal group. Make
sure that the “MAIN LEVEL” switch is set to its “0 dB” position
and the “FRONT MIX” switch is set to “6ch” for six-channel
operation.
ACH
Sa In a 4-channel system, set the FRONT MIX switch to “4ch””
Next, be sure that the A/D SENSITIVITY switch is set to
the NORM position. This switch should only be set to HIGH if
for some reason you find it necessary to reduce volume by
turning down the volume control on your preamplifier. Finally,
make sure that both EFFECT LEVEL controls @ and the
INPUT BALANCE control «Ut
) are set to their center positions.
Speakers & Speaker Placement
Your six-channel system will require three speaker pairs: the
MAIN SPEAKERS (your normal stereo speakers), the FRONT
EFFECT SPEAKERS, and the REAR EFFECT SPEAKERS. Use
your best speakers for the MAIN SPEAKERS—that is, the ones
with the best overall frequency response, sound quality, and
highest power handling capacity. The other four speakers (the
FRONT EFFECT pair and the REAR EFFECT pair) do not have
“to be of such high quality, but they should at least have a
reasonably broad, flat frequency response, and be able to han-
dle the maximum power output of the effect power amplifiers
without distortion or damage.
The MAIN SPEAKERS should be placed where you would
normally place your stereo speaker system. They should be far
enough apart to produce good stereo imaging, and should be
equal distances from your listening position. The only difference
IS that, if possible, the MAIN SPEAKERS should be placed 3 to
6 feet away from the front wall of the listening room.
The FRONT EFFECT SPEAKERS should be placed further
apart than the MAIN SPEAKERS. They should be placed on
either side of, a few feet above and behind the MAIN
SPEAKER pair (that's why the main speakers should be a few
feet from the wall).
The REAR EFFECT SPEAKERS should be placed behind
and facing the listening position, at about the same distance
apart and height as the FRONT EFFECT SPEAKER pair.
Since the DSP-100 digitally synthesizes a variety of
acoustic environments for you, a better effect is obtained if your
listening room is as acoustically “dead” as possible. That is, it
should have a minimum of hard, reflective surfaces. A carpeted
floor is better than a hard wood or tile floor, large areas of win-
dow glass should be covered by curtains, etc. These precau-
tions are not absolutely essential, but they will let you enjoy the
maximum possible performance from the DSP-100.
ACH
52 A four-channel system requires only two speaker pairs: the
MAIN SPEAKERS and the REAR EFFECT SPEAKERS. Use
your best speakers for the MAIN SPEAKERS.
The MAIN SPEAKERS should be placed where you would
normally place your stereo speaker system. They should be far
enough apart to produce good stereo imaging, and should be
equal distances from the listening position.
The REAR EFFECT SPEAKERS should be placed behind
and facing the listening position. They should be a little further
apart and a few feet higher than the MAIN SPEAKER pair.
: Main Speaker (7: Effect Speaker
Main Speaker
(For source sound reproduction)
Effect Speaker
(For effect sound reproduction)
(Place the speakers in a
high place.)
Main Speaker
(For source sound +
effect sound reproduction)
Effect Speaker |
(For effect sound reproduction)
(Place the speakers in a
high place.)
Using an Integrated Amplifier or Stereo Receiver with “PRE
OUT” and ‘MAIN IN” Terminals
Some integrated amplifiers and stereo receivers have PRE
OUT and MAIN IN terminals which permit the preamplifier and
power amplifier sections to function independently. If your in-
tegrated amplifier or stereo receiver has these terminals, begin
by removing the jumpers that connect the PRE OUT and MAIN
IN terminals (or de-couple the preamplifier and power amplifier
using the appropriate switch—refer to your amplifier or receiver
operation manual).
- Connect the amplifier's PRE OUT terminals to the leftmost pair
of DSP-100 INPUT terminals with a stereo pin cable. Make sure
the “L” output from the amplifier is connected to the “L input
on the DSP-100, and that the “R” output from the amplifier is
connected to the “R” input on the DSP-100.
- Connect the MAIN OUTPUT terminals on the DSP-100 to the
MAIN IN terminals on your integrated amplifier or receiver with
a second stereo pin cable—making sure to connect the left and
right channels correctly.
- Connect the MAIN speakers to the speaker output terminals of
your integrated amplifier or receiver.
Main Speaker
Main Quit
Integrated Amp
DSP-100
Using an Integrated Amplifier or Stereo Receiver that Does Main Speaker
NOT Have PRE QUT” and ‘MAIN IN” Terminals
If your integrated amplifier or stereo receiver is NOT equipped
with PRE QUT and MAIN IN terminals, the DSP-100 must be
connected to the amplifier or receiver tape record and playback
terminals. The DSP-100 provides a second tape monitor loop
so you wont lose record and tape playback capability by con-
necting the DSP-100 to your amplifiers tape terminals.
- Connect the amplifier or receiver TAPE REC (or TAPE OUT)
Main Speaker
terminals to the leftmost pair of DSP-100 INPUT terminals with a
stereo pin cable. Make sure the “L’” output from the amplifier or
receiver is connected to the “L” input on the DSP-100, and that
the “R” output from the amplifier or receiver is connected to the
“R” input on the DSP-100.
- Connect the MAIN OUTPUT terminals on the DSP-100 to the
TAPE PLAY (or TAPE IN) terminals on your amplifier or receiver
with a second stereo pin cable—making sure to connect the left
and right channels correctly.
- Connect the MAIN speakers to the speaker output terminals of
the amplifier or receiver. |
TE: If your system includes a tape deck which has been
“displaced” by connecting the DSP-100 to the TAPE terminals,
reconnect your tape deck to the DSP-100 TAPE PB and TAPE
REC OUT terminals. TAPE REC OUT from the DSP-100 goes
to the INPUT terminals on your tape deck, and the DSP-100
TAPE PB terminals should be connected to the tape decks
OUTPUT terminals. See “Selecting a Tape Deck Connected
to the DSP-100 TAPE Terminals” on page 22. |
Integrated Amp
DSP-100
Tape Deck
Using a Component Preamplifier and Power Amplifier Main Speaker
- Connect the preamplifier's PRE QUT terminals to the leftmost
pair of DSP-100 INPUT terminals with a stereo pin cable. Make
sure the “L" output from the preamplifier is connected to the “I
input on the DSP-100, and that the “R” output from the
preamplifier is connected to the “R” input on the DSP-100.
- Connect the MAIN OUTPUT terminals on the DSP-100 to the
INPUT terminals on your power amplifier with a second stereo
pin cable—making sure to connect the left and right channels
correctly.
- Connect the MAIN speakers to the speaker output terminals of
the power amplifier. Power Amplifier
Pre Out
CONNIE!
SPEAKEI
If you will be using separate stereo power amplifiers for the
FRONT and REAR effect speakers, simply connect the FRONT
OUTPUT terminals on the DSP-100 to the INPUT terminals of
the FRONT power amplifier, and the REAR OUTPUT terminals
on the DSP-100 to the INPUT terminals of the REAR power
amplifier. The FRONT and REAR effect speakers should be
connected to the appropriate speaker terminals of the FRONT
and REAR power amplifiers.
Front Effect Front Effect
Speaker Speaker
Power Amplifier
Power Amplifier
Rear Effect Rear Effect
Speaker Speaker
It Is also possible to use a four-channel power amplifier to
drive both the front and rear effect speakers. In this case you
would normally use the first two channels of the power amplifier
(channels “1” and “2” or "A” and “B”) for the FRONT effect
speakers, and the second two channels (“3"” and “4” or “C”
and “D") for the REAR effect speakers.
Front Effect Front Effect
Speaker Speaker
WA ate deeds AUS A-channei
Power Amplifier
Input Input
Rear Processing Out
Rear Effect
Speaker
Rear Effect
Speaker
4CH
S°5 In a four-channel system connect the effect stereo power
amplifier to the DSP-100 REAR OUTPUT terminals. Connect
the speaker output terminals of the REAR power amplifier to the
REAR EFFECT speakers.
DSP-100
Rear Processing Out
Power Amplifier
Tama
[] :
j
Rear Effect Rear Effect
Speaker Speaker
fie
CAUTION: Make absolutely sure that all line-level connections
are made between the correct channels (L—L, R—R), and that
all speaker connections are phased properly (that is, the red or
“+” terminal on the amplifier goes to the red or “+” terminal
on the speaker, and the black or “ —” terminal on the amplifier
goes to the black or “ —” terminal on the speaker). Use phase-
coded speaker cable (one of the two wires in the cable is a
different color or marked with a stripe) to facilitate proper speak-
er wiring.
This section deals with:
a Adding center auxiliary speakers to your system.
e Using the DSP-100 video superimpose capability.
If you do not plan to use any of these capabilities skip ahead to
the “CONTROLS & ADJUSTMENTS” section which follows.
In particularly large listening rooms you may wish to add
auxiliary speakers to “fill in” the overall sound field and reinforce
the low-mid frequencies. The DSP-100 provides two independ-
ent mono output terminals which can be used with appropri-
ate amplifiers to add center channel speakers in front of the
listening room. The FULL BAND terminal outputs a signal
which is a combination of the left and right effect channel
signals, and can be used with a standard speaker system or
woofer (normally placed at the front of the listening room). The
LOW PASS output is similar, but contains only frequencies
under 200 Hz. This can be used with a woofer or subwoofer.
Front Effect
Speaker
Rear Effect
Speaker
Front
Auxiliary
Speaker
és
a
Front Effect
Speaker
Main Speaker
Power Amplifier
DSP-100
Rear Effect
Speaker
SE
If your DSP-100 will be used in conjunction with a video
system, this connection allows the DSP-100 to display program
titles and parameter data on your video monitor screen,
superimposed over the video image. Refer to “2-6. SUPERIM-
POSED VIDEO PROGRAM/PARAMETER DISPLAY” on page
31 for operational details.
Connect the composite video output from your video
cassette recorder or video disc player to the DSP-100 VIDEO
IN terminal. The DSP-100 VIDEO OUT terminal should then
be connected to the composite video input of your video monitor
or TV. |
TE: The video signal from your video cassette deck or
video disc player will not be sent to the video monitor via the
DSP-100 VIDEO terminals when the DSP-100 power is OFF
: The General Model and Canadian model use the NTSC
television system, while other models use the PAL system.
Video Deck, etc
2: da
UNE
3
Video Out
— VIDEO y
TV Monitor
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Power Switch
Remote Control Receiver Window
Receives the infra-red data beam from the remote control unit (do not
obstruct).
Effect Mute Indicator
Show when the EFFECT MUTE function is ON.
Parameter Display
Normally shows whether program Type A or Type B has been
selected. When a program parameter is being viewed or altered,
shows the name of that parameter.
Preset and User Prog. Indicators
) Program Number Display
Shows the number of the currently selected preset or user program.
When a program parameter is being viewed or altered, displays its
value.
show whether the PRESET or USER programs are currently selected.
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Test Switch
Used for setting the volume levels of the effect speakers for best
balance with the main speakers. Sends a test signal to the main, front
effect and rear effect speakers ir In turn, for easy comparison of level
settings.
Tape Monitor Switch
Allows selection of a tape deck source connected to the TAPE IN
terminals.
Program Name Display
Shows the name of the program currently in effect.
) Program Selector
Sequentially selects the preset and user programs in the UP or DOWN
direction.
Master Volume Control
Adjusts the master volume level.
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Memory Store (MEMO) Key
Stores an edited sound field program in the user memory.
Program Select Keys (1 through 12)
select either PRESET or USER programs 1 through 12.
Parameter Down, Up Keys
Select program parameters.
On Screen Display Key
Selects whether or not to display the program name and parameters
on the connected monitor screen.
Effect Mute Key
Mute the EFFECT speakers for comparison and souna- checks.
Preset and User Program Selector Keys
Select either the PRESET or USER program groups.
Parameter Increment and Decrement Keys
Edit program parameters.
Effect Rear and Front Balance Keys
Adjust the balance between the FRONT and REAR EFFECT speaker
levels.
Effect Level Up and Down Keys
Increase (UP) or decrease (DOWN) the level of the EFFECT sound in
relation to the MAIN speaker sound.
Master Volume Up and Down Keys
Increase (UP) or decrease (DOWN) the master volume level,
1. Set all volume controls—on the main amp (preamp) and ef-
fect power amplifiers—to their MINIMUM positions.
2. Turn on the power to all system components. The DSP-100 is
turned ON by pressing the POWER switch on the front panel.
Front Panel
| POWER
3. Use the MASTER VOLUME control on the DSP-100 front
panel or the MASTER VOLUME keys on the remote control unit
to set the master volume to its lowest level.
Front Panel
ez CM
Remote Control
13
Or
4. Select the desired input source on your preamplifier, integrated
amplifier or receiver.
* If you intend to use your tape deck as a source, and it's con-
nected to the DSP-100 TAPE terminals, depress the TAPE
MONITOR key on the DSP-100 panel.
TAPE
MONITOR
& OFF
ON if tape, OFF otherwise
5. Begin playback of the selected source
6. Increase the setting of the volume
control on your preamplifier,
integrated amplifier or receiver
to about the halfway point.
Minimum SZ Maximum
“Depending on the particular model of preamplifier, integrated
amplifier, or receiver you are using, a slightly different volume
control setting may be necessary. If there is distortion on loud
passages, try reducing the volume control setting slightly.
7. Use the MASTER VOLUME control on the DSP-100 front
panel or the MASTER VOLUME keys on the remote control
unit to set the master volume to a comfortable listening level.
Remote Control Front Panel
22, 1 a
DOWN UP
or
For optimum performance—minimum noise and maximum
dynamic range—it is desirable to set the volume control of your
preamplifier, integrated amplifier or receiver to its center position,
making any necessary adjustments to the listening level by
changing the MASTER VOLUME control setting on the
DSP-100.
This operation uses an internal pink-noise generator to
balance the levels of the MAIN and front and rear EFFECT
speakers. It is most convenient to perform this operation using
two people, one to adjust the controls of the DSP-100 and
amplifiers, and another to sit at the normal listening position and
check the balance.
1. Depress the TEST switch on the front panel to enter test
mode. A hiss-like calibration signal should be heard from the
main speakers, front effect speakers, and rear speakers in turn.
_ | Repeat
Main — 3 times
y | time
Rear Left Rear Right Front Right Front Left
This sequence repeats 3 times, and is followed by another
sequence of front left effect, front right effect, rear right effect,
and rear left effect (see diagram). Adjust the MASTER VOLUME
to a normal listening level.
2. Adjust the volume controls of the amplifiers for the front (for a
6-channel system) and rear effect speakers so that the sound
coming from these speakers seems to be at the same level as
that from the main speakers when you are at the normal listen-
ing position.
3. Adjust the balance controls on the amplifiers so that the left
and right speakers are the same volume for each of the main,
front, and rear speaker pairs.
Note: If the effect speaker level cannot be made loud enough
to match the level from the main speakers, set the MAIN LEVEL
switch on the DSP-100 rear panel to the —10 dB position and
repeat the calibration process from step 2. If the DSP-100 is
connected to the TAPE terminals of an integrated amplifier or
receiver, use the amplifier or receiver volume control to
decrease the main speaker output level.
4. Press the TEST switch to release it and leave test mode.
Although it's best to adjust the effect power amplifier level using
controls on the amplifiers themselves, some amplifiers are not
equipped with level controls. In this case, use the following alter-
native level adjustment method.
In the test mode (with the hiss-like calibration signal being out-
put), use the FRONT and REAR EFFECT LEVEL controls on
the rear panel of the DSP-100 to adjust the volume of the front
and rear effect speakers to be the same as that heard from the
main speakers. If the effect level signal cannot be increased
enough to match the main speaker output level, set the rear-
panel MAIN LEVEL switch to the —10 dB position and try
again.
For optimum performance—minimum noise and maximum
dynamic range—it is desirable to set the volume control of your
preamplifier, integrated amplifier or receiver to its center position,
making any necessary adjustments to the listening level by
changing the MASTER VOLUME control setting on the
DSP-100. However, some DSP-100 listeners will find it more
convenient to adjust the preamplifier, integrated amplifier or
receiver volume control instead. To do this, use the following
procedure:
1. Set the A/D SENSITIVITY switch (1) on the rear panel to the
HIGH position.
2. Set the MASTER VOLUME control to its MAXIMUM © dB)
position.
3. Make all volume adjustments using the volume control on
your preamplifier, integrated amplifier, or receiver.
“Changing the setting of the A/D SENSITIVITY does not
change the level of the sound heard from the speakers.
*Using the HIGH position causes a reduction in signal-to-noise
ratio on the effect channels. If this is bothersome, use the NOR-
MAL position as described on page 8.
1. Selecting a Source Connected to Your Preamplifier,
Integrated Amplifier or Receiver
If the source you wish to hear is connected to your preampli-
fier, integrated amplifier or receiver then all you need to do is
select the desired source using the preamplifier, integrated am-
plifier or receiver controls.
TAPE
MONITOR
a OFF
- ON
NOTE: When selecting one of the sources described
above, make sure that the DSP-100 TAPE MONITOR ON/OFF
switch is OFF.
2. Selecting a Tape Deck Connected to the DSP-100 TAPE
Terminals
To select a tape deck connected to the DSP-100’s TAPE ter-
minals, depress the front-panel TAPE MONITOR switch to turn
the it ON.
TAPE
MONITOR
a OFF
The DSP-100 has two groups of 12 memory locations: 12
preset sound field programs, and 12 user memory locations.
You can edit the preset programs to create original sound fields,
then store the results in any of the 12 user memory locations for
instant recall when needed. The PRESET memory locations
cannot be written to or altered in any way.
When the DSP-100 is originally shipped from the Yamaha
factory, USER memory locations 1 through 12 contain the same
data as in the PRESET memory locations 1 through 12.
1. Press the remote control unit PRESET key to ensure that you
will select a preset program rather than a user memory location.
NW,
PRESET USER
MAS
2. Select the desired sound field program by pressing the ap-
propriate key on the remote control unit. The selection keys
numbered 1 through 12 on the remote control unit allow direct
access to the desired program.
PROGRAM
=
* The front-panel PROGRAM UP/DOWN key provides sequen-
tial access to both the PRESET and USER programs. Pressing
the UP or DOWN end of the PROGRAM key increments (in-
creases) or decrements (decreases) the selected program
number, respectively. Hold down the UP or DOWN end of the
key for continuous incrementing or decrementing.
PROGRAM
[ HALT || HALL2 || HALL3 || CHURCH |
| CHAMBER | | ROCK CNCT | | JAZZ CLUBI | | JAZZ CLUB? |
| Disco || MOVIE] MOVIE 2 DOLBY SUR |
3. All preset sound field programs except CHURCH,
CHAMBER, and DOLBY SURROUND have two “sub-
programs” (see “2-5. DESCRIPTIONS OF THE PRESET
SOUND FIELD PROGRAMS," below). The sub-programs are
selected using the PARAMETER DEC and INC keys on the
remote control unit. The CONCERT HALL 1 program, for ex-
ample, contains the sub-programs “Hall A in Europe” and “Hall
B in Europe” When the CONCERT HALL 1 program is first
selected, the “Hall A in Europe” sub-program will be selected
and “TYPE A” will be displayed on the front panel. To select
“Hall B in Europe,” press the PARAMETER INC key. To return
to Hall A in Europe, press the PARAMETER DEC key.
The same selection procedure applies to all other programs
which have sub-programs.
The EFFECT MUTE key on the remote control unit makes it
simple to compare the normal stereo sound (MAIN) with the
fully processed effect sound.
To mute the EFFECT sound and monitor only the MAIN
sound, press the MUTE EFFECT key on the remote control
unit. The red EFFECT MUTE indicator on the DSP-100 display
will light to remind you that the effect sound is muted. Press the
EFFECT mute key a second time to restore normal operation.
What is it that makes live music so good? Today's advanced
sound reproduction technology lets you get extremely close to
the sound of a live performance, but chances are you'll still
notice something missing, the acoustic environment of the live
concert hall. Extensive research into the exact nature of the
sonic reflections that create the ambience of a large hall has
made it possible for Yamaha engineers to bring you this same
sound In your own listening room, so you'll feel all the excite-
ment of a live concert. What's more, our technicians, armed
with sophisticated measuring equipment, have even made it
possible to capture the acoustics of a variety of actual concert
halls, jazz clups, theaters, efc. from around the world, to allow
you to accurately recreate one of a large variety of actual live
performance environments, all in your own home.
The following list gives brief descriptions of the sound field
produced by each of the DSP-100 preset programs. Keep in
mind that most of these are precise digital recreations of actual
acoustic environments, and the data for them was recorded at
the locations described using sophisticated Yamaha digital
sound field data acquisition equipment.
1.
CONCERT HALL 1
TYPE A
Hall A In =urope:
ТУРЕ В
Hall B in Europe:
This is a fairly common type of concert hall
in Europe. It has approximately 2400 seats
and features a very beautiful (and acousti-
cally active) wood-panel interior. The overall
sound is rich but reserved.
Another wood-interior concert hall that
seats a little less than 2500. Polished reflec-
tive panelling above the stage produces
strong frontal reflections which tend to rein-
force the direct sound from the stage. This
hall has a very solid, powerful sound.
Preset Parameter
INIT DLY 30ms
ROOM SIZE 1.0
LIVENESS 5
2. CONCERT HALL 2
TYPE A
Hall C in Europe: À classic 1700-seat concert hall with pillars
and ornate carvings that, by creating an
extremely complex field of reflections arriv-
ing from all directions, produces a very full,
rich sound.
ТУРЕ В
Hall D in U.S.A.: Another large 2600-seat American hall. This
one features a dome over the stage, anc
seating relatively close to the stage. The
sound in this hall is remarkably crisp and
precise.
Preset Parameter
INIT DLY 30ms
ROOM SIZE 1.0
LIVENESS 5
3. CONCERT HALL 3
TYPE A
Live Concert; A round concert hall with a rich “surround”
effect and pronounced echo
ТУРЕ В
Hall E in Europe: A smaller 1300-seat hall which uses marble
for most interior surfaces. The crisp, clean
acoustics of this hall make it a popular
location for recording live orchestra
performances.
Preset Parameter
INIT DLY 30ms
ROOM SIZE 10
LIVENESS 5
4. CHURCH
This program recreates the acoustic environment of a
modern church with a high pointed dome and columns
along the sides. This interior produces very few primary
reflections.
Preset Parameter
INIT DLY 40ms
REV TIME 25s
HIGH 09
5. CHAMBER
This is the “chamber” that goes with ‘chamber music” It is a
large regularly shaped room with a high ceiling. A perfect
environment for small renaissance and classical ensembles.
Preset Parameter
(INIT DLY 15ms
REV TIME 1.55
HIGH 0.7
6. ROCK CONCERT
TYPE A
Arena: A big, powerful sound suited to rock
MUSIC.
TYPE B
The Roxy Theatre: The ideal program for lively, dynamic
rock music. The data for this program
was recorded at LAs “hottest” rock live
Spot.
Preset Parameter
INIT DLY | 15ms
ROOM SIZE 10
LIVENESS 9
7. JAZZ CLUB 1
TYPE A
Village Gate:
ТУРЕ В
A jazz club in New York. lt isin a
basement and has a relatively spacious
floor area. The reflection pattern is similar
to that of a small hall.
Village Vanguard: A traditional New York jazz club located on
7th Avenue. This room has a low ceiling,
and the “stage” is located in a corner. This
program does not produce nearly as many
reflections as the concert hall or church
programs, but creates an intimate “close-
to-the-music” feel.
Preset Parameter
INIT DLY 20ms
ROOM SIZE 10
LIVENESS 5
8. JAZZ CLUB 2 a 9. DISCO
TYPE A TYPE A
Cellar Club: This is a small, cozy jazz club with a low ceiling. ‘New York: Discos tend to have a high-energy, “immediate”
The sound is very close and intimate. sound. This one is no exception. The room itself
is circular, approximately 20 meters (65 feet) in
ТУРЕ В diameter.
Cabaret: The large size of this environment in relation to
the other jazz clubs gives it a fuller, richer | TYPE
sound. — Tokyo: A lively disco in the heart of a very lively city. The
sound is dense and highly concentrated.
Preset Parameter
INIT DLY 20ms Preset Parameter |
ROOM SIZE 10 INIT DLY 10ms
LIVENESS | ROOM SIZE 1.0
LIVENESS
10. MOVIE THEATER 1
TYPE A
Adventure: A sound field ideally suited to viewing action-
packed adventure movies.
ТУРЕ В
Standard: This is the sound field most commonly en-
countered In standard movie theaters.
Preset Parameter
INIT DLY
ROOM SIZE
LIVENESS
11ms
1.0
5
11. MOVIE THEATER 2
TYPE A |
Live: By providing ciean projection of music and dia-
logue, this program produces an excellent acoustic
environment for viewing live films.
TYPEB
Concert: Projects reverberations over a wide area. Ideal for
films of concert scenes.
Preset Parameter
INIT DELAY 20ms
ROOM SIZE 10
LIVENESS 5
12. ON DOLBY SURROUND”
A stunning, surrounded-by-sound effect for reproducing
video discs, video tapes and similar sources which are
Dolby Surround encoded and bear the “00 DOLBY
SURROUND” logo.
* U0 DOLBY SURROUN
Manufactured under license from Dolby Laboratories Licens-
ing Corporation. Additionally licensed under one or more of the
following patents: U.S. numbers 3632886, 3746/92 and
3959590; Canadian numbers 1004603 and 1037877. “Dolby”
and the Double-D symbol are trademarks of Dolby Laboratories
Licensing Corporation.
Preset Parameter
DELAY 200ms
NOTE: Dolby Surround is ineffective with mono sources.
With a 6-channel system, there is no sound from the front effect
speakers.
If you have connected your video cassette player or video
disc player and video monitor to the DSP-100 as described in
the “OPTIONAL CONNECTIONS” section on page 17, you can
take advantage of the D5P-100's capability to provide a more
comprehensive display of program and parameter data.
1. With the video monitor properly connected to the DSP-100
VIDEO OUT terminal and turned ON,
press the ON SCREEN DISPLAY key on the remote control
unit. ON SCREEN
DISPLAY
The current program name and its parameters will be
displayed on the monitor screen. The arrow-shaped cursor
points to the currently selected parameter. Parameters are
selected and edited using the PARAMETER UP/DOWN and
INC/DEC keys as described previously.
WHAT IS A SOUND FIELD?
In order to explain the impressive functions of the DSP-100
lets go where it all begins, and find out what a sound field
really is.
What really creates the rich, full tones of a live instrument are
the multiple reflections from the walls of the room. In addition to
making the sound “live” these reflections enable us to tell where
the player is situated, and the size and shape of the room in
which we are sitting. We can even tell whether it is highly reflec-
tive, with steel and glass surfaces, or more absorbent—wood
panels, carpeting and curtains.
THE ELEMENTS OF A SOUND FIELD
In any environment, in addition to the direct sound coming
straight to our ears from the player's instrument, there are two
distinct types of sound reflections that combine to make up the
sound field:
(1) Early Reflections. Reflected sounds that reach our ears ex-
tremely rapidly (50 ms—80 ms after the direct sound), after
reflecting from one surface only—for example, from the ceiling -
or one wall. These reflections fall into specific patterns as shown
in the following diagram for any particular environment, and
provide vital information to our ears. Early reflections actually
add clarity to the sound.
(2) Subsequent Reverberations. These are caused by reflections
from more than one surface—walls, ceiling, the back of the
room—so numerous that they merge together to form a con-
tinuous sonic “afterglow” They are non-directional, and lessen
the clarity of any sound.
Direct sound, early reflections and subsequent reverberation
taken together indicate to us very clearly the subjective size and
shape of the room, and it is this information that the DSP-100
reproduces In order to create sound fields.
If you could only create the appropriate early reflections and
subsequent reverberations in your listening room, you would be
able to create your own listening environment. The acoustics in
your room could be changed to be those of a concert hall, a
dance floor, or virtually any size room at all. This ability to create
sound fields at will is exactly what Yamaha has done with the
DSP-100.
In addition to allowing you to recreate the sound fields of
famous listening environments from around the world, the
DSP-100 also allows you to create your own sound fields.
Starting with one of the built-in “preset” programs, you can
adjust such parameters as apparent room size, liveness of the
room, and distance from you to the performer. Up to 12 of your
own sound fields can be stored in the DSP-100's memory for
later use. The following pages detail how to make your own
sound fields.
Early Subsequent
Reflections Reverberations
Direct Sound | —
A 50-80 ms
>
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!
+ |
3 |
al
= ;
<C ! |
|
!
]
Direct Sound Early Reflections
Source Source
© ©»
Time
Subsequent
Reverberations
ie Source
AV
= ©
“I
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E
el
X
In addition to the “TYPE” parameter which selects the sub-
programs within each sound field program (eg. “Hall A in
Europe” and “Hall B in Europe” for program 1, CONCERT
HALL 1), each program also has a set of parameters which
allow you to change the characteristics of the acoustic environ-
ment to create precisely the effect you want. These parameters
correspond to the many natural acoustic factors that create the
sound field you experience in an actual concert hall or other
listening environment. The size of the room, for example, affects
the length of time between the “early reflections” —that is, the
first few widely spaced reflections you hear after the direct
sound. The “ROOM SIZE” parameter provided in many of the
DSP-100 programs alters the timing between these reflections,
thus changing the size of the “room” you hear. In addition to
room size, the shape of the room and the characteristics of its
surfaces have a significant effect on the final sound. Surfaces
that absorb sound, for example, cause the reflections and
reverberation to die out quicker, while highly reflective surfaces
allow the reflections to carry on for a longer period of time. The
DSP-100's parameters allow you to control these and many
other factors that contribute to your personal sound field, allow-
Ing you to essentially “redesign” the concert halls and rooms
provided to create custom-tailored listening environments that
ideally match your mood and music.
Refer to “3-4. DESCRIPTIONS OF THE SOUND FIELD
PARAMETERS” on page 37 for a description of what each
parameter does, how it affects the sound, and its control range.
1. With the desired program selected, press the PARAMETER
DOWN key on the remote control unit once. This will recall the
next parameter after the program type. In the case of the CON-
CERT HALL 1 program, for example, this would be the INIT
DELAY parameter. You can continue pressing the PARAMETER
DOWN key until you reach the “bottom” of the parameter list
and no more parameters appear. Press the PARAMETER UP
key to scroll upward through the parameter list.
PARAMETER
DOWN PRESET USER
NIT DELAY mS |
PRESET USER
PARAMETER
PRESET USER
L
=!
PARAMETER
LIVENESS
2. When the desired parameter has been recalled, use the
PARAMETER INC (increment) and DEC (decrement) keys to
change its value to create the effect you want. INC increases
the value of the selected parameter, and DEC decreases the
value of the selected parameter. In both cases you can hold the
key down for continuous incrementing or decrementing.
NOTE: Parameter edits made in this way will remain in effect
only for as long as the current program is selected. If you select
a different program and then re-select the edited program, al
parameters will have been reset to their preset values. In order
to save your edited program for instant recall later on, store it in-
to a user memory location as described in “3-3. STORING AN
EDITED PROGRAM IN THE USER MEMORY”
These parameters can be used to individually adjust the ef-
fect level and front/rear effect balance for each program.
LEVEL
Use the EFFECT LEVEL DOWN and UP keys on the remote
control unit to adjust the overall level of the effect signal (front
and rear). |
LEVEL
The balance between the front and rear effect speakers can
be adjusted using the EFFECT BALANCE REAR and FRONT
keys on the remote control unit. Pressing the REAR key
decreases the level of the front speakers in relation to the rear
speakers, while pressing the FRONT key decreases the level of
the rear speakers in relation to the front speakers.
REAR FRONT
BALANCE
NOTE: The EFFECT LEVEL and BALANCE parameters affect
only the selected program and NOT the overall system level and
balance.
Once you've edited the parameters of one of the preset pro-
grams and created the sound you want, you can store your
original program into one of the DSP-100's 12 USER memory
locations so you can recall it again later without having to re- edit
all the parameters individually.
1. After you've finished editing the preset program (do NOT
switch to a different program), press the MEMORY key on the
remote control unit. The USER program indicator and program
number display will begin to flash.
PRESET USER
{
!
2. The USER program indicator and program number display
will CO ntinue to i ash for a à few seconds WHILE THE IN
number key corresponding t to y the memory location you wish to
store the program to. If you press a program number key
AFTER the indicator and display have stopped flashing, all your
original parameter data will be erased and you'll have to re-edit
the entire program. If the indicator and display stop flashing
before you get a chance to press a memory number key, simp-
ly press the MEMORY key again.
MEMORY
USER PROG
3. To recall your original program, press the USER key followed
by the number key corresponding to the number of the
memory location to which you stored the edited program.
* The front-panel PROGRAM UP/DOWN key provides sequen-
tial access to both the PRESET and USER programs. Pressing
the UP or DOWN end of the PROGRAM key increments (in-
creases) or decrements (decreases) the selected program
number, respectively. Hold down the UP or DOWN end of the
key for continuous incrementing or decrementing.
NOTE: When you switch between the USER and PRESET pro-
grams, the DSP-100 automatically returns to the previously
selected program number and any parameter changes you
programmed.
tion which contains a previous program, the program originally
contained in the user memory location will be erased and
replaced with the new data.
E RY BACKUP: The DSP-100 user memory is maintained
by a special long-life backup battery even while the power is
OFF. The battery should last for approximately five years. When
the battery reaches a point where it can no longer safely main-
tain the user memory, “EE” will appear on the LED display
when the DSP-100 is initially turned ON. When this happens,
have the battery replaced by a qualified YAMAHA service
center. Its a good idea to record the parameter values of your
most important original programs in the “USER PARAMETER
TABLE” given in the last section of this manual, so you can
quickly re-program the DSP-100 should you lose your original
programs due to a battery failure.
The preset programs cannot be erased or lost.
If the backup battery in the main unit should need replacement,
have the job done by qualified Yamaha service personnel.
Not all of the following parameters are found in every program.
Refer to the “PROGRAM PARAMETER TABLE” on page 41 for
a complete list of the parameters contained in each program.
SIZE
How it Affects the Sound:
Changes the apparent size of the listening room. The larger
the value, the larger the simulated room will sound.
What it Does:
Adjusts the timing between the early reflections. Early reflec-
tions are the first group of reflections you hear before the ¢ subse-
quent, dense reverberation begins.
Control Range:
01—40.
Standard setting is 1.0.
Changing this parameter from 1 to 2 increases the apparent
volume of the room eight times (length, width, and height all
doubled).
Level Direct Sound Level Direct Sound Level Direct Sound
Early Reflections Early Reflections Early Reflections
Pe A
Small
|
Large i
|
i
- Time | Time Time
Small Space Large Space
e LIVENESS
How it Affects the Sound:
This parameter changes the apparent reflectivity of the walls
In the hall.
The early reflections from a sound source will lose intensity
(decay) much faster in a room with acoustically absorbent wall
surfaces than in one which has mostly reflective surfaces. A
room with highly reflective surfaces in which the early reflections
decay slowly is termed “live,” while a room with absorbent
characteristics in which the reflections decay rapidly is termed
“dead.” The LIVENESS parameter lets you adjust the early
reflection decay rate, and thus the “liveness” of the room.
What it Does:
Changes the rate at which the early reflections decay.
Control Range:
0—10.
Standard setting is 5.
Level . Level Direct Sound Level
"a
Time Time |
Dead Live
e INIT DELAY (Initial Delay)
How it Affects the Sound:
Changes the apparent distance from the source sound.
Since the distance of the sound source from a reflective sur-
face determines the delay between the direct sound and the
first reflection, this parameter changes the location of the sound
source within the acoustic environment.
What it Does:
Adjusts the delay between the direct sound and the first
reflection heard by the listener
Control Range:
1—50 milliseconds.
For a small living room this parameter would be set between
4 and 5. Between 15 and 30 for a big hall. Larger values pro-
duce an echo effect.
Level o Level Direct Sound Level
| * Early Reflections |!
i | |
| mall | Large |
| | |
A BTS | i
ol er OLY Time | ал DLY Time лы OLY Time
on Ti
o REV TI
E (Reverberati el
How it Affects the Sound:
The natural reverberation time of a room depends primarily
on its size and the characteristics of its inner surfaces. This
parameter, therefore, changes the apparent size of the acoustic
environment over an extremely wide range.
What it Does: |
Adjusts the amount of time it takes for the level of the dense,
subsequent reverberation sound to decay by 60 dB (@1 kHz).
Control Range:
0.1—80 seconds.
The reverb time in a standard living room would be about
03—1, in a small-to-medium size hall it would be between 1
and 2, and in a large hall it is normally between 2 and 3.
Level Direct Sound Level
Level ~~ Early Reflections 1
60dB
|
hy su д ны не тыл = aa
«= Time
REY TIME
Reverberations
„| Time
REY TIME
Reverberations
REV TIME
Reverberations
uency Reverberation Time Ratio)
How it Affects the Sound:
Varies the amount of the high-frequency components of the
reverberations.
What it Does:
Adjusts the cutoff frequency of the high-frequency reverberations.
Control Range:
01—1.0
ELAY
This parameter sets the time difference between the begin-
ning of the source sound and the beginning of the effect
sound. Simply adjust for the best effect.
Control Range:
15 ms—30 ms
o INPUT BALANCE Control (Rear Panel)
Normally the center (click) position is best, but for sources
that are out of balance (off center), the following adjustment
procedure will improve the Dolby Surround effect.
First, turn the volume of the main speakers and the front ef-
fect speakers (if you have a 6-channel setup) all the way down
so that only the surround channel can be heard coming from
the rear speakers (volume control on preamplifier; integrated
amplifier or receiver for main speakers, volume control on addr-
tional amplifier for front effect speakers). Next select a MONO
input such as AM radio or a MONO FM broadcast for the rear
effects speakers. Now, adjust the rear panel INPUT BALANCE
control for minimum surround channel output. Finally, restore
the volume controls to their original settings.
= Movie Theater
<
|
No. Program Name Parameter Name Minimum Preset Value Maximum Effect Type
TYPE Hall A in Europe/Hall B in Europe Sub-program select
+ CONCERT INIT DLY ims — 30ms > 50ms Apparent distance from sound source ER
HALL 1 ROOM SIZE 0.1 < 1.0 > 40 Apparent size of hall
LIVENESS 0 — 5 > 10 Apparent reflectivity of walls a
| TYPE Hall C in Europe/Hall D in U.S.A. Sub-program select
5 CONCERT INIT DLY ms < 30ms > 50ms Apparent distance from sound source ER
HALL 2 ROOM SIZE 0.1 < 1.0 > 4.0 Apparent size of hall
LIVENESS 0 < 5 > 10 Apparent reflectivity of walls a
TYPE Hall E in Europe/Hall F in Europe Sub-program select
3 CONCERT INIT DLY ims + 30ms > 50ms Apparent distance from sound source — ER
HALL 3 ROOM SIZE 0.1 1.0 > 4.0 Apparent size of hall _
LIVENESS 0 < 5 — 10 Apparent reflectivity of walls
| INIT DLY ms < 40ms ~> 50ms Apparent distance from sound source
4 CHURCH REV TIME 01s + 2.58 > 80s Reverberation time REV
HIGH 0.1 < 0.9 > 1.0 High-frequency reverberation time
INIT DLY ims + 15ms > 50ms Apparent distance from sound source
5 CHAMBER REV TIME 0.18 + 1.58 > 8.08 Reverberation time REV
HIGH 0.1 < 0.7 — 1.0 High-frequency reverberation time |
TYPE The Roxy Theatre/Arena Sub-program select
6 ROCK INIT DLY ims + 15ms > 50ms Apparent distance from sound source ER
CONCERT ROOM SIZE 0.1 — 10° — 4.0 Apparent room size
LIVENESS 0 + 9 > 10 Apparent reflectivity of walls
“Program types: ER = Early Reflection
REV = Reverberation
S = Surround
No. Program Name Parameter Name
Minimum Preset Value Maximum Effect Type
TYPE Village Vanguard/Village Gate Sub-program select
INIT DLY ims + 20ms — 50ms Apparent distance from sound source
7 JAZZ CLUB 7 ROOM SIZE 01 + 1.0 > 4.0 Apparent size of hall ER
LIVENESS О <— 5 — 10 Apparent reflectivity of walls
TYPE Cellar Club/Cabaret Sub-program select
, INIT DLY ms — 20ms > 50ms Apparent distance from sound source
6 JACZ CLUB 2 ROOM SIZE 0.1 — 1.0 > 4.0 Apparent size of hall ER
LIVENESS O — 5 > 10 Apparent reflectivity of walls
TYPE | New York! Tokyo I Sub-program select
9 DISCO INIT DLY ms + 10ms — 50ms Apparent distance from sound source ER
ROOM SIZE 0.1 — 1.0 > 40 Apparent room size |
LIVENESS О — 6 — 10 Apparent reflectivity of walls
TYPE Adventure/Standard Sub-program select
10 MOVIE INIT DELAY ms < ms — 50ms Apparent distance from sound source, center channel M
THEATER 1 ROOM SIZE 01 = 1.0 > 40 Apparent room size, center channel
LIVENESS 0 — 5 > 10 Apparent wall reflectivity, center channel
TYPE Live/Concert Sub-program select — |
1 MOVIE INIT DELAY 1ms <— 20ms — 50ms Apparent distance from sound source, center channel M
THEATER 2 ROOM SIZE 0.1 — 1.0 — 4.0 Apparent room size, center channel
LIVENESS 0 + 5 > 10 Apparent wall reflectivity, center channel
12 SUBRROUND DELAY 15.0ms + 20.0ms > 30.0ms Time until the rear delay sound is produced S
*Program types: ER Early Reflection
REV = Reverberation
S = Surround
М = Movie Theater
Use the chart below for writing user programs.
Program
No/
Program Name
Parameter (Name and value)
Program
No/
Program Name
Parameter (Name and value
CURE
SYMPTOM POSSIBLE CAUSE
Power does not come on. | AC cord not properly plugged in. Carefully plug AC plug into outlet.
Hum. Bad cable connection. Firmly plug in all connection cables.
No sound. | Bad or incorrect input connection. Check connections.
| | Incorrect input source selection. Check DSP-100 and amp switch settings.
No sound from MAIN speakers. Wrong amplifier settings. Check amplifier operation.
No sound from EFFECT speakers. EFFECT MUTE indicator is ON. Press EFFECT MUTE key to turn MUTE OFF
Wrong amplifier settings.
The DOLBY SURROUND program is being used
with a mono source. |
No front reflection sound. In a 4-channel system, the FRONT MIX switch is
| set incorrectly.
Reflection sound from the MAIN speakersina — The FRONT MIX switch is set Incorrectly.
6-channel system even when the effect sound is |
Check amplifier operation.
Use a different sound field program.
Set the FRONT MIX switch to “4ch”
Set the FRONT MIX switch to “6ch”
turned OFF.
The sound field cannot be recorded. It is not possible to record the sound field on a
tape deck connected to the DSP-100 TAPE
| terminals.
The remote control unit does not function Dead batteries. Replace batteries.
properly. | Wrong distance or angle. The remote control unit will function from a maxi-
| - mum range of 7 meters, no more than 30 degrees
| | off-axis from the DSP-100 front panel.
Noise from nearby TV or tuner. The DSP-100 is too close to the affected Move the DSP-100 further away from the affected
equipment. equipment.
INPUT/QUTPUT CHARACTERISTICS
e INPUT
Input Terminals
Max. Input
Input Impedance
s VIDEO INPUT
Input Terminal
Input sens./
Impedance
* QUTPUTS
Output Terminals
Max. Output
Output Impedance
e VIDEO OUTPUT
Output Terminal
Output Voltage
Output Impedance
* OTHERS
Output Gain
9 QUANTIZATION
* FEATURES
e QUANTIZATION
e SAMPLING
FREQUENCY
INPUT
TAPE PB |
25 V rms (1 kHz)
47 kQ
VIDEO IN
1 V p-p/75 9
TAPE REC
MAIN OUTPUT
EFFECT QUTPUT (FRONT/REAR)
MONO OUTPUT
(FULL BAND/LPF; fc=200 Hz)
25V rms (1 kHz) | |
600 © (MAIN, FRONT, REAR)
VIDEO OUT
1 V p-p (75 Y load)
759
O + 05 dB
16 bit linear
441 kHz
Independent L and R channels.
Internal dither circuitry.
16 bit linear
441 kHz
DSP PROGRAM
e PRESET 12 programs
e USER 12 programs
THD |
MAIN OUT 0002% (1 kHz, 25V)
o EFFECT OUT 0015% (1 kHz, 25 \/)
e EFFECT OUT
(REAR, DOLBY) 0,04% (1 kHz, 25 W
FREQUENCY CHARACTERISTICS
э МАМ 10 Hz—100 kHz +0, —3 dB
e EFFECT 20 Hz—20 kHz +05, —3 dB
— SN
e MAIN 110 dB (IHF/A NETWORK)
e EFFECT 92 dB (IHFHA NETWORK)
RESIDUAL NOISE |
o MAIN, EFFECT 5 uV (IHF/A NETWORK)
CHANNEL SEPARATION
e MAIN INPUT
(Input terminated |
with 5.1 kQ) 1 kHz, 65 dB (MAIN)
OTHERS
o POWER SUPPLY AC 120 V, 60 Hz
e POWER
CONSUMPTION 20 watts
e AC OUTLET Switchedx1 200 W Max.
DIMENSIONS
(WxHxD) 435 x 75 x 3195 mm
WEIGHT 45 kg
INPUT
TAPE TEST
MONI
INPUT
BALANCE
WIRELESS
REMOTE
|
|
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| | |
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x Ved > |
0, |
+10dB | L.P.F. L.P.F. Le L
A/D SENSITIVITY Ç à ON
| | N FRONT MIX
A/D A/D \ )
WITH WITH
DITHER| |DITHER a |
44.1K 44.1K
16bit 16bit — E —
|
TEST DSP |
TONE |
YM3413x2 |
2 A +6dB
| RAM256K x2 © ‘
| |
SUPER > |
IMPOSE [* -
| EH +6dB
| ий
|
D/A |
A |
|
A
| ЕВЕ
о Abit 8hit ROM RAM 38m
-- >| ceu CPU 32Kbyte 2Kbyte LED KEY ¡ESO
FRONT LVL
REAR LVL
© |
Sl
8 FRONT
| OUT
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+ |
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|
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81 REAR
| OUT
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