Yamaha | DSP -A780 | Owner's Manual | Yamaha DSP -A780 Operation Manual

DIGITAL SOUND FIELD PROCESSING AMPLIFIER
DSP-A780
OPERATION MANUAL
NATUR
AL SOU
ND
DIGITA
L SOU
ND FIE
LD
PRO
CES
SING
AMPLI
FIER
DSP
-A780
PRO
LOGIC
DSP
CONTENTS
PRECAUTIONS & SAFETY INSTRUCTIONS ....................Inside Front Cover
SETUP & ADJUSTMENT..................................................................................3
1-1. GETTING STARTED.................................................................................3
1-2. SETUP .......................................................................................................8
1-3. CONTROLS & ADJUSTMENTS.............................................................16
1-4. ADJUSTMENT.........................................................................................20
GENERAL OPERATION.................................................................................24
2-1. PLAYING A SOURCE .............................................................................24
2-2. RECORDING A SOURCE TO AUDIO/VIDEO TAPE
(OR DUBBING FROM A TAPE TO ANOTHER)....................................25
2-3. DIGITAL SOUND FIELD PROGRAMS ..................................................28
2-4. SELECTING SOUND FIELD PROGRAMS............................................28
2-5. MUTING THE EFFECT SOUND ............................................................28
2-6. SUPERIMPOSED VIDEO PROGRAM/PARAMETER
DISPLAY..................................................................................................28
2-7. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS ......................29
CREATING YOUR OWN SOUND FIELDS ....................................................33
3-1. SELECTING AND EDITING PROGRAM PARAMETERS ....................33
3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS........................................................................................35
TROUBLESHOOTING ....................................................................................37
SPECIFICATIONS ...........................................................................................38
PRECAUTIONS & SAFETY INSTRUCTIONS
SAFETY INSTRUCTIONS
CAUTION
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.
1 Read Instructions – All the safety
and operating instructions should be read
before the unit is operated.
2 Retain Instructions – The safety and
operating instructions should be retained
for future reference.
3 Heed Warnings – All warnings on the
unit and in the operating instructions
should be adhered to.
• Explanation 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
magnitude to constitute a risk of
electric shock to persons.
The exclamation point within an
equilateral triangle is intended to alert
you to the presence 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 UNIT TO RAIN OR MOISTURE.
IMPORTANT!
Please record the serial number of this
unit in the space below.
Model:
Serial No.:
The serial number is located on the rear
of the unit.
Retain this Owner’s Manual in a safe
place for future reference.
4 Follow Instructions – All operating
and other instructions should be followed.
5 Water and Moisture – The unit
should not be used near water – for
example, near a bathtub, washbowl,
kitchen sink, laundry tub, in a wet
basement, or near a swimming pool, etc.
6
Carts and Stands – The unit should
be used only with a cart or stand that is
recommended by the manufacturer.
6A A unit and cart combination should
be moved with care. Quick
stops, excessive force, and
uneven surfaces may
cause the unit and cart
combination to overturn.
7 Wall or Ceiling Mounting – The unit
should be mounted to a wall or ceiling
only as recommended by the
manufacturer.
8 Ventilation – The unit should be
situated so that its location or position
does not interfere with its proper
ventilation. For example, the unit should
not be situated on a bed, sofa, rug, or
similar surface, that may block the
ventilation openings; or placed in a builtin installation, such as a bookcase or
cabinet that may impede the flow of air
through the ventilation openings.
9 Heat – The unit should be situated
away from heat sources such as
radiators, stoves, or other appliances that
produce heat.
10 Power Sources – The unit should be
connected to a power supply only of the
type described in the operating
instructions or as marked on the unit.
11 Power-Cord Protection – Powersupply 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 unit.
12 Cleaning – The unit should be
cleaned only as recommended by the
manufacturer.
13 Nonuse Periods – The power cord of
the unit 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
inside of the unit.
15 Damage Requiring Service – The
unit should be serviced by qualified
service personnel when:
A. The power-supply cord or the plug
has been damaged;
or
B. Objects have fallen, or liquid has
been spilled into the unit;
or
C. The unit has been exposed to rain;
or
D. The unit does not appear to operate
normally or exhibits a marked change in
performance;
or
E. The unit has been dropped, or the
cabinet damaged.
16 Servicing – The user should not
attempt to service the unit beyond those
means described in the operating
instructions. All 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 is not defeated.
PRECAUTIONS
1 To ensure the finest performance,
please read this manual carefully. Keep it in
a safe place for future reference.
2
Install your unit in a cool, dry, clean
place – away from windows, heat sources,
and too much vibration, dust, moisture or
cold. Avoid sources of hum (transformers,
motors). To prevent fire or electrical shock,
do not expose to rain and water.
3
Do not operate the unit upside-down. It
may overheat, possibly causing damage.
4
Never open the cabinet. If a foreign
object drops into the set, contact your
dealer.
5
Do not use force on switches, knobs or
cords. When moving the set, first turn the
unit off. Then gently disconnect the power
plug and the cords connecting to other
equipment. Never pull the cord itself.
6
Do not attempt to clean the unit with
chemical solvents; this might damage the
finish. Use a clean, dry cloth.
Always set the volume control to “–∞”
while lowering the tonearm to play a record;
turn the volume up with the stylus in the
groove.
7
We Want You Listening
For A Lifetime
YAMAHA and the Electronic Industries
Association’s Consumer Electronics
Group want you to get the most out of
your equipment by playing it at a safe
level. One that lets the sound come
through loud and clear without annoying
blaring or distortion – and, most
importantly, without affecting your
sensitive hearing. Since hearing damage
from loud sounds is often undetectable
until it is too late, YAMAHA and the
Electronic Industries
Association’s Consumer
Electronics Group
recommend you to avoid
prolonged exposure from
excessive volume levels.
FCC INFORMATION
1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this
manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT : When connecting this product to accessories and/or another
product use only high quality shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions
could void your FCC authorization to use this product in the USA.
3. NOTE : This product has been tested and found to comply with the requirements
listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of assurance that your use of
this product in a residential environment will not result in harmful interference
with other electronic devices.
This equipment generates/uses radio frequencies and, if not installed and used
according to the instructions found in the users manual, may cause interference
harmful to the operation of other electronic devices.
Compliance with FCC regulations does not guarantee that interference will not
occur in all installations. If this product is found to be the source of interference,
which can be determined by turning the unit “OFF” and “ON”, please try to
eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the
interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits
or install AC line filter/s.
8
In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type
cable.
9
If these corrective measures do not produce satisfactory results, please contact
the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Electronics Corp., U.S.A.
6660 Orangethorpe Ave, Buena Park, CA 90620.
Be sure to read the “Troubleshooting”
section on common operating errors before
concluding that your unit is faulty.
Do not connect audio equipment to the
AC outlets on the rear panel if that
equipment requires more power than the
outlets are rated to provide.
The above statements apply ONLY to those products distributed by Yamaha
Corporation of America or its subsidiaries.
1
Congratulations!
You are the proud owner of a Yamaha Digital Sound Field Processing (DSP) System—an
extremely sophisticated audio component. The DSP system takes full advantage of Yamaha’s
undisputed leadership in the field of digital audio processing to bring you a whole new world
of listening experiences. Follow the instructions in this manual carefully when setting up your
system, and the DSP system will sonically transform your room into a wide range of listening
environments—anything from a famous concert hall to a cozy jazz club. In addition, you get
incredible realism from Dolby-Surround encoded video sources using the built-in Dolby Pro
Logic Surround Decoder.
Rather than tell you about the wonders of digital sound field processing, however, let’s get
right down to the business of setting up the system and trying out its many capabilities.
Please read this operation manual carefully and store it in a safe place for later reference.
2
SETUP & ADJUSTMENT
1-1. GETTING STARTED
Installing the Remote Control Unit Batteries
Unpacking
Since the remote control unit will be used for many of this unit’s
control operations, you should begin by installing the supplied
batteries.
If you haven’t already done so, carefully remove this unit and its
accessories from the box and wrapping material. You should find the
unit itself and the following accessories.
1. Turn the remote control unit over, and remove the battery
compartment cover by pulling it in the direction of the white arrow on
the figure shown below.
2. Insert the batteries (R6, AA, UM-3 type), being careful to align
them with the polarity markings on the inside of the battery
compartment.
3. Close the battery compartment cover.
1
Batteries
3
Remote control
2
3
●
●
When you notice that remote control operation has become
erratic, or the distance from which the remote control will function
has decreased, it’s time to replace the batteries. Always replace
all batteries at the same time.
This remote control uses an advanced, highly directional infrared
beam. Be sure to aim the remote control directly at the remote
control sensor on the main unit when operating.
Remote control transmitter operation range
Remote control
sensor
Digital Sound Field Processing
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 sound 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 clubs, theaters, etc. from around the world, to
allow you to accurately recreate any one of these live performance
environments, all in your own home.
Dolby Pro Logic Surround
Within approximately
7 m (23 feet)
30°
30°
Notes
● There should be no large obstacles between the remote
control transmitter and the main unit.
● If the remote control sensor is directly illuminated by strong
lighting (especially an inverter type of fluorescent lamp etc.),
it might cause the remote control transmitter to work
incorrectly. In this case, reposition the main unit to avoid
direct lighting.
4
The Dolby Pro Logic Surround Decoder program lets you
experience the dramatic realism and impact of Dolby Surround movie
theater sound in your own home. Dolby Pro Logic gets its name from
its professional-grade steering logic circuitry, which provides greater
effective channel separation for a much higher degree of realism than
the “passive” Dolby Surround circuits found in today’s typical home
audio/video equipment. Dolby Pro Logic Surround provides a true
center channel, so that there are four independent channels, unlike
passive Dolby Surround, which has in effect only three channels: left,
right, and rear. This center channel allows listeners seated in even
less-than-ideal positions to hear the dialog originating from the action
on the screen while experiencing good stereo imaging.
This Dolby Pro Logic Surround Decoder employs a digital signal
processing system. This system improves the stability of sound at
each channel and crosstalk between channels, so that positioning of
sounds around the room is more accurate compared with
conventional analog signal processing systems.
In addition, this unit features a built-in automatic input balance
control. This always assures you the best performance without
manual adjustment.
VIDEO SUPERIMPOSE
If you connect your video cassette recorder, video disc player,
video monitor, etc. to this unit, you can take advantage of this unit’s
capability to display program titles, parameter data and information
about other various settings and adjustments on your video monitor’s
screen. This information will be superimposed over the video image.
If there is no video source connected or it is turned off, the
information will be displayed over a blue colored background.
Manufactured under license from Dolby Laboratories Licensing
Corporation. Additionally licensed under Canadian patent number
1,037,877. “Dolby”, “Pro Logic”, and the double-D symbol are
trademarks of Dolby Laboratories Licensing Corporation.
Dolby Pro Logic Surround + DSP
Additionally you can enjoy sound environment created by the
combination of Dolby Pro Logic and YAMAHA DSP. Precise sound
movement and orientation by the Dolby Pro Logic technology is
added to sound fields which are precisely recreated on the
basis of actual acoustic environments by the DSP technology,
so it is suitable for any Audio/Video source with video image.
This combination is used on sound field programs No. 5
through No. 14, and No. 16.
P01 CONCERT HALL
NOTE: The program titles, parameter data and other information are
also displayed on the display panel of this unit.
CONCERT HALL
DSP
The YAMAHA “CINEMA DSP” logo indicates these programs
created by the combination of Dolby Pro Logic and YAMAHA DSP
technology.
5
Setting Up Your Speaker System
This unit has been designed to provide the best sound field
quality with a full five-speaker system setup, using one extra pairs of
effect speakers to generate the sound field plus one center speaker
for dialog, when using Dolby Pro Logic Surround decoding. We
therefore recommend that you use a five-speaker setup. A fourspeaker system using only one pair of effect speakers for the sound
field will still provide impressive ambience and effects, however, and
may be a good way to begin with this unit. You can always upgrade
to the full five speaker system later.
5 Speaker System
4 Speaker System
This is the recommended speaker
system, providing the best sound
effects.
Simple system without center
speaker.
With sound field programs No. 1
through No. 4, using effect speakers
reproduces the effective sound field.
With the sound field programs No. 5
through No. 16, the center speaker
provides precise center localization.
With sound field programs No. 1
through No. 4, a sound effect matching
that of a 5-speaker system can be
obtained. With sound field programs No.
5 through No. 16, center sound is output
from the left and right main speakers.
Center Mode—Set to NRML or WD.
(See page 22.)
Center Mode—Set to PHNTM.
(See page 22.)
Use of the Center Dialog Speaker Is Recommended
With digital sound field programs No. 5 through No. 16, by using
either the Directional Enhancement circuit or the Dolby Pro Logic
decoder, decoded signals will be output from the center channel.
Therefore, if you want to upgrade the Audio/Video home theater
system, it is recommended to use the center speaker unit.
If for some reason it is not practical to use a center speaker, it is
possible to enjoy movie viewing without it. Best results, however, are
obtained with the full system.
It is also possible to further expand your system with the addition
of a subwoofer and amplifier. You may wish to choose the
convenience of a Yamaha Active Servo Processing Subwoofer
System, which has its own built-in power amp.
6
Speakers and Speaker Placement
Your full five-speaker system will require two speaker pairs: the
MAIN SPEAKERS (your normal stereo speakers) and the REAR
EFFECT SPEAKERS, plus the CENTER SPEAKER. You may also
be using a subwoofer.
You will probably use your present stereo speakers as the MAIN
SPEAKER pair. The rear effect do not need to be equal with the
MAIN SPEAKERS, although the center speaker should be as close
as possible. They should have enough power handling capacity to
accept the maximum output of the DSP system.
Place the MAIN SPEAKERS in the normal position.
Place the REAR EFFECT SPEAKERS behind your listening
position. They should be nearly six feet up from the floor.
Place the CENTER SPEAKER precisely between the two MAIN
SPEAKERS. (To avoid interference, keep the speaker above or
below the television monitor, or use a magnetically shielded speaker.)
Main speaker
Rear effect speaker
Center speaker
If using a SUBWOOFER, such as a Yamaha Active Servo
Subwoofer System, the position of the speaker is not so critical
because low bass tones are not highly directional.
NOTE: The Yamaha NS-C110 speaker, available in some countries,
is an ideal choice for the center speaker.
7
1-2. SETUP
Before you start making connections make sure all related electronic components are turned OFF.
REAR PANEL
1
2
3
(General Model)
To AC outlet
DUAL
-10dB 0dB
SINGLE
SINGLE
4
8
5 6
7
8
9
0
A
1 Audio Signal Connection Jacks (for Audio Source Equipment)
Connect the inputs and/or outputs of your audio equipment.
2 Audio/Video Signal Connection Jacks (for Video Source
Equipment)
Connect the audio and video inputs and/or outputs of your video
equipment. In place of the VIDEO jacks, the S VIDEO jacks can
be used for higher resolution and improved picture quality if your
VCR, monitor, etc. are equipped with S-VIDEO connectors.
3 Main Speaker Terminals
Connect the main speakers here.
4 Video NTSC/PAL Switch (General Model only)
Set this switch to the position corresponding to the standard
that your video equipment employs.
7 Center Speaker Terminals
Connect one or two center speakers here.
8 Rear Effect Speaker Terminals
Connect the rear effect speakers here.
9 Voltage Selector (General Model only)
Be sure to set to the line voltage in your area before applying
power. Consult your dealer if unsure of the correct setting.
0 Switched AC Outlets
You may plug other audio components into these sockets as long
as their combined power consumption does not exceed the
specified value shown. “Switched” means that these components
are turned on and off by this unit’s power switch.
A Unswitched AC Outlet (U.S.A., Canada and General Models)
5 Low Pass Jack
When using a subwoofer, connect its amplifier input to this jack.
Frequencies below 200 Hz from the left main, right main and
center channels are output to this jack.
The total power consumption of audio components plugged into
this socket should not exceed the specified value shown.
“Unswitched” means that power is available even when this unit is
off.
6 Main Level Switch
Normally set to “0 dB”. If desired, you can decrease the mainchannel output level at the MAIN speaker terminals by 10 dB by
setting this switch to “–10 dB”.
9
GENERAL INSTRUCTIONS FOR CONNECTIONS
Make sure that you have the left (L) and right (R) channels
correctly connected. That means that jacks marked “L” on this unit
must be connected to jacks marked “L” on other units. Likewise with
the “R” jacks. This is easy if you remember to always use the red
plug for the “R” jacks and the other plugs for the “L” jacks.
With speaker connections you must also be sure that the polarity
is correct. For each amplifier and each channel, connect the plus (+)
terminal of the amplifier to the plus terminal of the speaker, and
connect the minus (–) terminal of the amplifier to the minus terminal
of the speaker. To keep track of polarity, use a speaker cable that has
one of the two wires marked by a stripe or a different color.
CONNECTING AUDIO/VIDEO SOURCE EQUIPMENT TO THIS UNIT
CD player
AUDIO OUT
Video disc player
OUTPUT
VIDEO OUT
AUDIO OUT
Tuner
VIDEO OUT
OUTPUT
AUDIO IN
VIDEO IN
Video cassette recorder 1
Tape deck
LINE OUT
AUDIO OUT
VIDEO OUT
LINE IN
AUDIO IN
Monitor TV
VIDEO IN
VIDEO IN
Video cassette recorder 2
AUDIO OUT
VIDEO OUT
TV/Satellite tuner
10
CONNECTING TO S VIDEO JACKS
If your video cassette recorder, video disc player, etc. and your
monitor are equipped with “S” (high-resolution) video terminals,
connect them to this unit’s S VIDEO jacks, and connect this unit’s
S VIDEO MONITOR OUT jack to the “S” video input of your monitor.
Otherwise, connect the composite video jacks from your video
cassette recorder, video disc player, etc. to the VIDEO jacks of this
unit, and connect this unit’s VIDEO MONITOR OUT jack to the
composite video input of your monitor.
Video disc player
S-VIDEO
OUT
VIDEO
OUT
VIDEO IN
S-VIDEO OUT
VIDEO OUT
S-VIDEO IN
VIDEO IN
S-VIDEO IN
VIDEO IN
Video cassette recorder 1
S-VIDEO IN
Notes about the Video superimpose
● If you watch a video source that is connected to both S VIDEO and
VIDEO input jacks of this unit, signals of screen display information
are output from only the S VIDEO MONITOR OUT jack.
● When no video signal is input to either S VIDEO or VIDEO input
jacks of this unit, signals of screen display information are output
from both S VIDEO MONITOR OUT and VIDEO MONITOR OUT
jacks with a color background.
* For the General Model, if the NTSC/PAL switch on the rear panel
is set to “PAL”, nothing will be output from either S VIDEO
MONITOR OUT or VIDEO MONITOR OUT jack in this case.
S-VIDEO OUT
NOTE: If your unit is the General Model, be sure the NTSC/PAL
switch has been correctly set to the standard that your video
equipment employs. U.S.A. and Canada models have no switch and
use the NTSC standard, while other models without a switch use the
PAL standard.
VIDEO OUT
NOTE: If video signals are sent to both S VIDEO input and VIDEO
input jacks, the signals will be sent to their respective output jacks
independently.
Video cassette recorder 2
Monitor TV
11
CONNECTING SPEAKER SYSTEMS
Connect the SPEAKERS terminals to your speakers with wire of
the proper gauge, cut as short as possible. If the connections are
faulty, no sound will be heard from the speakers. Make sure that the
polarity of the speaker wires is correct, that is, + and – markings are
observed. If these wires are reversed, the sound will be unnatural
and will lack bass. Do not let the bare speaker wires touch each
other or any other metal part as this could damage this unit and/or
speakers.
NOTE: Use speakers with the specified impedance shown on the
rear of this unit.
For connecting to the MAIN and CENTER SPEAKERS terminals.
2
Red: positive (+)
Black: negative (–)
➀ Unscrew the knob.
➁ Insert the bare wire.
1
3
➂
[Remove approx. 5mm (1/4”)
insulation from the speaker
wires.]
Tighten the knob and
secure the wire.
NOTE: Banana Plug connections are also possible (except for
Scandinavian models). Simply insert the Banana Plug connector into
the corresponding terminal.
12
For connecting to the REAR SPEAKERS terminals.
➁
➂
➀
Red: positive (+)
Black: negative (–)
➀ Press down the tab.
➁ Insert the bare wire.
➂
[Remove approx. 5mm (1/4”)
insulation from the speaker
wires.]
Press up the tab and secure
the wire.
CONNECTING THE MAIN SPEAKERS AND THE
REAR EFFECT SPEAKERS TO THIS UNIT
CONNECTING THE CENTER SPEAKER(S) TO THIS
UNIT
Connect the MAIN speakers to the MAIN SPEAKERS terminals
of this unit.
Connect the CENTER speaker to the CENTER SPEAKERS
terminals. One or two CENTER speakers can be connected to this
unit. For the respective connections, follow the methods figured
below. If, however, you will not be using a CENTER speaker, be sure
to set the Center Mode to “PHNTM” (phantom). (See page 22.)
Connect the REAR effect speakers to the REAR SPEAKERS
terminals of this unit.
For connecting one CENTER speaker
Main speakers
R
L
DUAL
SINGLE
SINGLE
DUAL
SINGLE
SINGLE
Center speaker
R
L
Rear effect speakers
13
For connecting two CENTER speakers
ADDING A SUBWOOFER
You may wish to add a subwoofer to reinforce the bass
frequencies.
This unit provides a line-level subwoofer output, which contains
only the frequencies under 200 Hz from the main and center
channels. Connect the LOW PASS jack to the INPUT jack of the
subwoofer amplifier, and connect the speaker terminals of the
subwoofer amplifier to the subwoofer.
DUAL
SINGLE
SINGLE
With some subwoofers, including the Yamaha Active Servo
Processing Subwoofer System, the amplifier and subwoofer are in
the same unit.
Center speaker
Center speaker
DUAL
-10dB 0dB
SINGLE
Subwoofer system
14
ADDITIONAL INFORMATION ON CONNECTING
SPEAKERS
(for Europe, U.K. and Australia models)
This unit is equipped with line output jacks for main, rear effect
and center channels.
Main speakers
If you will use an external power amplifier for driving main
speakers, connect input jacks of the external power amplifier to the
MAIN OUTPUT jacks of this unit. (See Figure.)
R
L
For connecting an external power amplifier for driving rear effect
speakers or center speaker to this unit, connect it to the
corresponding line output jack(s) (REAR OUTPUT or CENTER
OUTPUT) of this unit in the same way. (See Figure.)
OUTPUT
Power amplifier
MAIN
Power amplifier
NOTE: Even if an external power amplifier is connected to the MAIN,
REAR or CENTER OUTPUT jacks, the corresponding internal
amplifier will not be turned off and output will be available at the
speaker terminals.
REAR
Monaural power amplifier
CENTER
L
R
LOWPASS
MAIN
LEVEL
- I0dB 0dB
fc:200Hz
Rear effect speakers
Center speaker
15
1-3. CONTROLS & ADJUSTMENTS
FRONT PANEL
1
2
3
4
5 6
7
8
(General Model)
NATURAL SOUND DIGITAL SOUND FIELD PROCESSING AMPLIFIER DSP-A780
PRO LOGIC
DSP
9
0
A
B
C
1 Power Switch
* STANDBY Mode (Europe model only)
While the power is on, pressing the POWER key on the remote
control unit switches the unit to the STANDBY mode. (In this
mode, the indicator is half illuminated.)
2 Remote control sensor
Signals from the remote control unit are received here.
16
D E
F
3 Input Trim Control
Adjusts the input level of each source respectively.
4 Display Panel
Shows program names, parameters and information about other
various settings and adjustments.
5
PRO LOGIC Indicator
Illuminates while the built-in Dolby Pro Logic Surround Decoder is
being activated.
6 DSP Indicator
Illuminates while the built-in Sound Field Processor is being
activated.
7 Input Selector Switch
Sequentially selects the input source that you want to listen to
and/or watch in the § or © direction. The indicator
corresponding to the selected input source illuminates. The
selected input source is also shown by the display panel and
the monitor screen (When the monitor is on).
8 Input Selector Switches for VCR 1, CD and LD
Directly selects VCR 1, CD or LD as the input source.
9 Phones Jack
Plug in headphones here for private listening. If the Center
Mode is set to “PHNTM” (phantom), the center channel will be
heard along with the main channels. (See page 22.) Otherwise
the main channels only will be heard.
0 Auxiliary Input Jacks (AUX 2)
Connect an auxiliary video or audio input source equipment
such as a camcorder to these jacks. If the connected video
equipment has a S video output terminal, connect it to the S
VIDEO jack to obtain a high resolution picture. The source
connected to these jacks can be selected by the input selector
switch.
A Rec Out Switch
Used to select the source to be recorded to tape deck or VCR
independent of the selection of input source. When pressed,
the indicator corresponding to the currently selected source to
be recorded flashes. While an indicator is flashing, you can
change the selection of the source to be recorded with the
input selector switches. The selected source is also shown by
the display panel and the monitor screen (when the monitor is
on).
B Bass and Treble Controls
Adjust the sound to match your tastes. Can also be used to
compensate for room acoustics. Defeated in the center
position.
C Program Selector
Sequentially selects the digital sound field processing
programs in the + or – direction.
D Balance Control
Adjusts the left and right output volume to the Main Speakers
to compensate for sound imbalance caused by speaker
positions or listening room conditions.
E Effect Switch
Normally ON, this switch can be turned OFF to disable output
from the center and effect speakers so that the sound
becomes normal 2-channel stereo.
F Master Volume Control
Simultaneously controls signal level at all outputs: main, rear
effect, center, and subwoofer. (This does not affect TAPE REC
OUT level.)
17
REMOTE CONTROL UNIT
1 Power Key
Turns this unit on and off.
* (Europe model only): Turns the POWER on mode to the
STANDBY mode and vice versa.
2 CD Function Keys
9
1
POWER
SKIP
2
DISC
SKIP
DECK A/B
3
4
PAUSE/STOP
PRESET
DIR A
REC/PAUSE
CD
A/B/C/D/E
TUNER
DIR B
TAPE
STOP
HALL
CHURCH
CONCERT
VIDEO
OPERA
TV
THEATER
TV
SPORTS
70 mm MOVIE
1 THEATER 2
5
6
7
8
PLAY
PLAY
JAZZ CLUB
CLASSIC
ANIMATION
FILM
VCR 1
0
VCR 2
GAME
KARAOKE
AUX 1
PRO LOGIC
ENHANCED
AUX 2
Operate functions on Yamaha tape decks designed for remote
control compatibility.
* DIR A, B and DECK A/B are applicable only to double
cassette tape deck.
* For a single cassette deck with automatic reverse function,
pressing DIR A will reverse the direction of tape running.
4 Program Select Keys (1 through 16)
Select DSP programs 1 through 16.
5 Test Switch
TEST
MASTER
VOLUME
SET MENU
PARAMETER
EFFECT
3 Tape Deck Function Keys
LD
ROCK CNCT
Operate functions on Yamaha CD players designed for remote
control compatibility.
* DISC SKIP is applicable only to compact disc changer.
MUTING
A
B
When pressed, sends a signal to the main left, center, main
right, and rear effect speakers in turn for easy comparison of
level settings.
6 Set Menu/Parameter +/– Keys
Edit DSP program parameters, make settings/adjustments in the
SET MENU mode, or used in the main/center/effect speaker level
balance adjustment.
7 Effect On/Off Key
Cuts off the sound’s output from the rear effect and center
speakers. To restore the output from those speakers, press this
key again.
18
8 Set Menu/Parameter Select Keys
Select DSP program parameters or titles of settings/adjustments
in the SET MENU mode, or used in the main/center/effect
speaker level balance adjustment.
9 Tuner Function Keys
Operate functions on Yamaha tuners designed for remote control
compatibility.
* +: Selects higher preset station number.
–: Selects lower preset station number.
A/B/C/D/E: Selects the page (A – E) of preset stations.
0 Input Selector Keys
Select the input sources to this unit.
A Master Volume +/– Keys
Increase (+) or decrease (–) the master volume level.
B Muting Key
Mutes the master volume level by 20 dB. While muting, the
indicator on the master VOLUME control flashes on and off
continuously.
19
1-4. ADJUSTMENT
MAIN/CENTER/REAR EFFECT SPEAKER LEVEL
BALANCE ADJUSTMENT
This operation uses an internal test-tone generator for balancing
the levels of the main, center and rear effect speakers. All speakers
should be adjusted to the same apparent sound level for proper
Dolby Pro Logic decoding.
1. Depress the TEST switch on the remote control to enter test
mode. A hiss-like calibration signal should be heard from the left
main speaker, center speaker(s), right main speaker and rear effect
speakers in turn (see diagram). Adjust the MASTER VOLUME to a
normal listening level.
* The state of test-tone output is shown by the display panel and
the monitor screen. (Especially on the monitor screen, it is shown
by an image of audio listening room.) This is convenient for
adjusting each speaker level.
Left main
Center
Right main
LEFT
CENTER
RIGHT
Rear
SURROUND
2. Adjust the center and rear effect speaker level.
For adjusting the center speaker level:
Press the SET MENU/PARAMETER select (▲
▲) key. “CENTER
LEVEL ··· dB” appears on the display and the test-tone is output from
the center speaker(s). In this state, adjust the center speaker level by
pressing the SET MENU/PARAMETER +/– keys.
20
For adjusting the rear effect speaker level:
Press the SET MENU/PARAMETER Select (▼
▼) key. “SURROUND
LEVEL ··· dB” appears on the display and the test-tone is output from
the rear effect speakers. In this state, adjust the rear effect speaker
level by pressing the SET MENU/PARAMETER +/– keys.
Adjust each speaker level so that the sound coming from the
corresponding speakers seems to be at the same level as that from
the main speakers when you are at a normal listening position.
If there is insufficient volume from the effect speakers, you may
decrease the main speaker volume level by setting the MAIN LEVEL
switch on the rear panel to “–10 dB”, and adjust the center and rear
level again.
NOTE: If the CENTER MODE is set to the PHNTM (phantom)
position, the center speaker level cannot be adjusted. If using a
center speaker, be sure to set the CENTER MODE to the “NRML” or
“WD” position.
After completing this adjustment, press the TEST switch once
again.
NOTE: Once you have completed these adjustments, use only this
unit’s MASTER VOLUME control to adjust listening volume. Do not
change any other volume settings in the system.
4. Select any other source in your system (VCR, tuner, etc.) and
play that source.
INPUT LEVEL ADJUSTMENT
This adjustment is important for obtaining the best performance
from the internal circuits of this unit. The optimum input level of this
unit is pre-adjusted on the basis of the CD source level. This
adjustment should be performed on all input sources in your system
respectively, so that their levels match the CD source level as closely
as possible.
Front panel
Remote control
TUNER
or
1. Select the CD source.
Front panel
Remote control
5. Adjust the level of the source to be approximately equal to your
CD player’s “reference” level by using the INPUT TRIM control.
CD
Front panel
or
2. Play the source.
*
3. Increase the setting of the MASTER VOLUME control to a
convenient listening level (you will use this as your “reference” level).
This adjustment can also be done with the remote control unit.
For using the remote control unit, refer to “1. Input level
adjustment (INPUT TRIM)” on page 22.
6. In the same way, adjust levels of other sources.
Front panel
Remote control
NOTE: The adjustments will be saved until it is readjusted.
MASTER
VOLUME
or
21
OTHER IMPORTANT SETTINGS AND ADJUSTMENTS
IN THE “SET MENU” MODE
The following four types of settings and adjustments should be
done before enjoying audio and video sources. Note that these
settings and adjustments cannot be done without monitoring the
display information (or the information displayed on the monitor
screen).
INPUT TRIM
CENTER MODE
DIMMER
MEMORY GUARD
1. Input level adjustment (INPUT TRIM)
This function is provided for all input sources. It can be controlled
from 0 to +6 dB in 2 dB steps. The sound level of each input source
should be the same as that of regular CDs.
For operations, after selecting the item “INPUT TRIM” (in step 1),
select the input source on which the input level is to be adjusted by
using the input selector switches, and then adjust the input level (in
step 2).
*
SETTING/ADJUSTMENT PROCEDURE
1. Select an item (title) of setting/adjustment.
SET MENU
PARAMETER
2. Select any desired mode or edit parameters on the item.
SET MENU
PARAMETER
In the same way, perform settings/adjustments for other items.
22
DESCRIPTIONS OF THE ITEMS
This adjustment can also be done with the INPUT TRIM control
on the front panel. (see page 21.)
2. Selecting Center Mode (CENTER MODE NRML/WD/
PHNTM)
In Normal (NRML) position, any frequency below 100 Hz will be
divided between the main left and main right speakers. For this
reason even a speaker smaller than the main left and right speakers
can obtain a sufficient effect.
In Wide (WD) position, all range of frequencies for the centerchannel are output to the center speaker. Select this position if a
good quality center speaker is being used.
If not using the center speaker(s), be sure to select Phantom
(PHNTM) position, and the audio signals for the center channel are
output to the main speakers.
3. Changing brightness of the display (DIMMER)
You can select one of the five levels of brightness of the display.
4. Locking DSP parameters and other adjustments
(MEMORY GUARD)
If you wish to prevent accidental alteration to DSP parameters or
other adjustments on this unit, select “ON”. In this position, they are
locked and cannot be changed. The following functions on this unit
can be locked by this operation.
•
•
•
•
DSP parameters
Other setting/adjustment items in the “SET MENU” mode
(INPUT TRIM/CENTER MODE/DIMMER)
INPUT TRIM control
TEST switch
23
GENERAL OPERATION
*
2-1. PLAYING A SOURCE
On the front panel, VCR 1, CD or LD can be selected directly by
pressing the corresponding switch.
1. Set the MASTER VOLUME control to minimum.
Front panel
Front panel
4. Play the source.
2. Turn the power on.
Remote control
Front panel
5. Increase the setting of the MASTER VOLUME control to your
listening level.
Remote control
Front panel
POWER
MASTER
VOLUME
or
POWER
or
3. Select an input source.
(The selected source is shown by the display panel, the monitor
screen and illumination of the corresponding indicator over the
input selector switches.)
Remote control
Front panel
CD
or
24
Adjust the BASS, TREBLE, BALANCE controls, etc., or select a
desired sound field program. (See page 28.)
NOTE: If a different audio source is selected with the input selector
keys on the remote control unit while enjoying a video source, the
sound from the newly selected audio source is heard, but the picture
from the video source can still be seen.
2-2. RECORDING A SOURCE TO AUDIO/VIDEO TAPE
(OR DUBBING FROM A TAPE TO ANOTHER)
To record an input source to be played
1. Press the REC OUT switch (so that “REC OUT...” appears on the
display and the monitor screen).
3. Press the REC OUT switch (so that the indicator corresponding
to the selected source to be recorded stops flashing).
* The same result will be gained after 5 seconds automatically
without any operation.
Front panel
4. Select an input source to be played (and to be recorded).
(See page 24 for the method of input source selection.)
Front panel
Remote Control
CD
2. Within 5 seconds after the REC OUT switch is pressed, select the
“SOURCE” position with the input selector switch (so that “REC
OUT SOURCE” appears on the display panel and the monitor
screen).
or
5. Play the source.
Front panel
6. Set the tape deck or VCR used for recording to the recording
mode.
* Adjust the recording level on the tape deck or VCR.
REC OUT SOURCE
NOTE: To record picture from a video source and sound from
another audio source, in step 4, first select a video source with an
input selector key on the front panel, and then select an audio source
with the input selector keys on the remote control unit.
25
To record a source other than the input source to be
played
This unit has a function of selecting a source to be recorded to tape
deck or VCRs independent of the selection of input source.
1. Press the REC OUT switch (so that “REC OUT...” appears on the
display and the monitor screen).
3. Press the REC OUT switch (so that the indicator corresponding
to the selected source to be recorded stops flashing).
* The same result will be gained after 5 seconds automatically
without any operation.
4. Play the source and confirm it by selecting it with an input selector
switch and increasing the setting of the MASTER VOLUME
control.
Front panel
Front panel
2. Within 5 seconds after the REC OUT switch is pressed, select the
source to be recorded with an input selector switch.
Front panel
5. Set the tape deck or VCR used for recording to the recording
mode.
* Adjust the recording level on the tape deck or VCR.
6. While recording a source, you can enjoy listening to and/or
watching another source selected with an input selector switch.
Remote control
Front panel
TUNER
or
REC OUT
CD
While recording, you can monitor the audio and/or video signals
to be recorded by selecting the tape deck or VCR used for recording
with an input selector switch.
26
NOTE: Adjusting the MASTER VOLUME, BASS, TREBLE controls,
etc., or selecting a sound field program has no effect on the material
being recorded.
NOTE: Composite video and S video signals pass independently
through this unit’s video circuits. Therefore, when recording or
dubbing video signals between two video cassette recorders, if your
source VCR is connected to provide only S video (or only composite
video) signals, you can record only a S video (or only a composite
video) signal on your second VCR.
NOTE: Please check the copyright laws in your country to record
from records, compact discs, radio, etc. Recording of copyright
material may infringe copyright laws.
If you watch a video software that uses scramble or
encoded signals to prevent it from being dubbed, there may
be a case that display information superimposed on the
picture and/or the picture itself is disturbed according to the
type of the signals.
27
2-3. DIGITAL SOUND FIELD PROGRAMS
2-5. MUTING THE EFFECT SOUND
This unit has 16 programs for digital sound field processing, 4
from actual acoustic environments from around the world, and 12
programs for Audio/Video sources including sources encoded with
Dolby Pro Logic surround. Many of the programs contain various
parameters that can be adjusted to the listener’s taste.
The EFFECT switch makes it simple to compare the normal
stereo sound with the fully processed effect sound.
2-4. SELECTING SOUND FIELD
PROGRAMS
To mute the effect sound and monitor only the main sound, press
the EFFECT switch. Press the EFFECT switch a second time to
restore normal operation.
2-6. SUPERIMPOSED VIDEO
PROGRAM/PARAMETER DISPLAY
Select the desired sound field program by pressing the
PROGRAM selector on the front panel or by using the Program
Select keys on the remote control.
You can select program names and edit parameters
watching their data displayed on your video monitor screen and
superimposed over the video image as described on page 5.
1. Turn your monitor on.
For stereo audio
source
For audio/video
sources
HALL
CHURCH
CONCERT
VIDEO
OPERA
TV
THEATER
TV
SPORTS
70 mm MOVIE
1 THEATER 2
28
JAZZ CLUB
ROCK CNCT
CLASSIC
ANIMATION
FILM
GAME
KARAOKE
PRO LOGIC
ENHANCED
2. Program name and its parameters will be displayed on the
monitor screen for a few seconds just after you have selected them.
Parameters are selected by pressing the SET MENU/PARAMETER
Select (▼
▼) key, and edited by pressing the SET MENU/PARAMETER
+/– keys. (See page 34 for details.)
2-7. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS
The following list gives brief descriptions of the sound fields produced by each of the DSP programs. Keep in mind that most of these are
precise digital recreations of actual acoustic environments. The data for them was recorded at the locations described using sophisticated sound
field measurement equipment.
* The channel level balance between the left rear effect speaker and the right rear effect speaker may vary depending on the sound
field you are listening to. This is due to the fact that most of these sound field recreations are actual acoustic environments.
1. CONCERT HALL:
A large round concert hall with a rich surround effect.
Pronounced reflections from all directions emphasize the
extension of sounds. You will experience the sound field with a
great deal of presence sitting at about the center position near
the stage.
This sound field is also effective for karaoke. This is because
you feel as if you are standing on a real stage.
2. CHURCH:
A church in Tokyo shaped like a cross. There is the altar at the
upper side of the “cross”, and a pipe organ at the opposite side
(the lower side of the cross). It is a very unique shape with
walls all leaning inside, and pillars standing by the side of walls
only. The sound field has moderate reverberations of which
time is 2.5 seconds.
3. JAZZ CLUB:
A jazz club in New York. It is in a basement and has a relatively
spacious floor area. The reflection pattern is similar to that of a
small hall.
4. ROCK CONCERT:
The ideal program for lively, dynamic rock music. The data for
this program was recorded at LA’s “hottest” rock club.
29
5. CONCERT VIDEO:
This program produces an enthusiastic atmosphere and lets you
feel that you are in the midst of the action, as if attending an
actual jazz or rock concert.
The indirect sound constituent spreads on the surround side of
the sound field by the use of data of a large round hall for the
surround side, so the image space around the screen and the
sound space are fully expanded.
6. OPERA:
This program provides excellent depth of vocals and overall
clarity, restraining excessive reverberation.
For opera, the orchestra pit and the stage are ideally combined,
letting you feel a full presence sound. The rear surround side of
the sound field is relatively moderated, however, it reproduces
beautiful sound by the use of the data of a concert hall. You will
not be tired from long watching of an opera.
30
7. CLASSIC FILM:
This program is for reproducing monaural video sources (old
movies etc.). Monaural sounds are reproduced with much
presence by the front presence side of the sound field and
optimum reverberation effect. The use of the center speaker
makes conversations more audible, obtaining a pleasant mix of
conversations and picture.
8. ANIMATION:
Powerful reverberations on the front presence side of the sound
field adds depth to the image, so expanding the image space. On
the rear surround side, sounds are reproduced lightly but vividly.
The sound field of this program matches image effects of
animated films regardless of the genre. Conversations, sounds
and sound effects are reproduced with vitality by this program. A
source in stereo will obtain more effect, letting you steep yourself
in a fantastic world of animations.
9. TV THEATER:
The data of the sound field of a relatively narrow space is used for
the front presence side. A moderately sized spatial sound field
without excessive sound extension and reverberations gives
reality to the characters in a drama.
The data of the sound field of an opera house is used for the rear
surround side. In a stereo program, background music is
reproduced more beautifully with much depth, enhancing sound
effects on the drama. It’s natural sound effect will not make you
tired from long watching.
10. TV SPORTS:
Though the front presence side of the sound field is relatively
narrow, the rear surround side employs the sound environment of
a large concert hall. With this program, you can enjoy watching
various TV programs such as the news, variety shows, music
programs or sports programs. In a stereo broadcast of a sports
game, the commentator is oriented at the center position, and the
shouts and the atmosphere in the stadium spreads on the
surround side, however, spreading of them to the rear side is
properly restrained.
11. GAME:
The sound field of a disco is used for the front presence side, and
the sound field of a concert hall in Vienna is used for the rear
surround side.
This program reproduces video game music etc. more vividly
emphasizing the fast tempo and lightness of the music. If the
music is in stereo, more effective sound field will be gained by this
program.
This program is also suitable for karaoke popular music.
12. KARAOKE:
Vocals are reproduced with gentle reverberations on the stage
surrounded by seats in a round hall. A feeling of echo from the
high ceiling and reverberations in front and behind the hall brings
a lot of presence on both the stage and the seats. By using a
source with digital sound, the sound of the greatly instrumental
accompaniment is much expanded, so emphasizing the spatial
effect with vocals. You feel as if you are standing on a live-stage.
31
Programs No. 13 through No. 16 reproduces video discs, video tapes and similar sources which are Dolby Surround encoded and bear the
“DOLBY SURROUND” logo.
13. 70 mm MOVIE THEATER 1:
This program is ideal for precisely reproducing the sound design
of the newest movies. The sound field is made according to the
design of the newest movie theaters, so the reverberations of the
sound field itself are restrained as much as possible. The three
dimensional feeling of the sound field is emphasized, and dialog
is precisely oriented on the screen. You can enjoy watching
S.F.X., adventure movies, etc. with this program.
14. 70 mm MOVIE THEATER 2:
This program is for reproducing sounds on a 70 mm multi-track
film, and characterized by a soft and extensive sound field. The
front presence side of the sound field is relatively narrow. It
spatially spreads all around and toward the screen, restraining
echo effect of conversations without losing clarity. For the
surround side, the data of the sound field of an opera house is
used on an enlarged scale, so the harmony of music or chorus
sounds beautifully in a wide space at the rear of the sound field.
NOTE: The Dolby Pro Logic Surround system is designed to be
used with program material (mainly videotaped movie soundtracks)
encoded with the Dolby Surround system.
32
15. PRO LOGIC:
The digital Dolby Pro Logic decoder reproduces sounds and
sound effects of a source encoded in Dolby Surround. The
realization of a highly efficient decoding process improves
crosstalk and channel separation and makes sound positioning
smoother and more precise.
16. PRO LOGIC ENHANCED:
This program ideally simulates the multi-surround speaker
systems of the 35 mm film theater. Surround signals by the Dolby
Pro Logic decoder are processed on the surround side of the
sound field based on the data of the sound field of a shoe-box
hall. The surround effects produced by this sound field folds the
viewer naturally from the rear to the left and right and toward the
screen.
NOTE: If the main and center channel sound is considerably
altered by overadjustment of the BASS or TREBLE controls, the
relationship with the rear channels may produce an unnatural
effect.
CREATING YOUR OWN SOUND FIELDS
3-1. SELECTING AND EDITING PROGRAM PARAMETERS
WHAT IS A SOUND FIELD?
In order to explain the impressive functions of the DSP system,
we need to first understand 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 reflective, 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 reach our ears extremely
rapidly (50 ms — 100 ms after the direct sound), after reflecting from
one surface only—for example, from the ceiling or a wall. These
reflections fall into specific patterns as shown in the diagram on page
35 for any particular environment, and provide vital information to our
ears. Early reflections actually add clarity to the direct sound.
(2) 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 continuous sonic “afterglow”. They are
non-directional, and lessen the clarity of the direct sound.
Direct sound, early reflections and subsequent reverberation
taken together help us to determine the subjective size and shape of
the room, and it is this information that the DSP system reproduces
in order to create sound fields.
If you could 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 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 system.
DSP programs consist of some parameters to determine
apparent room size, reverberation time, distance from you to the
performer, etc. In each program, those parameters are preset with
values precisely calculated by Yamaha to create the sound field
unique for the program. It is recommended to use DSP programs
without changing values of parameters, however, this unit also allows
you to create your own sound fields. Starting with one of the built-in
programs, you can adjust those parameters. Even if power is turned
off, your custom sound fields will remain in the DSP system’s
memory for about two weeks. The following pages detail how to
make your own sound fields.
33
Each sound field program has a set of parameters that allow you
to change the characteristics of the acoustic environment 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 programs alters the timing between
these reflections, thus changing the shape 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
reverberations to die out quicker, while highly reflective surfaces allow
the reflections to carry on for a longer period of time. The DSP
parameters allow you to control these and many other factors that
contribute to your personal sound field, allowing you to essentially
“redesign” the concert halls and rooms provided to create customtailored listening environments that ideally match your mood and
music.
Refer to “3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS” on page 35 for a description of what each
parameter does, how it effects the sound, and its control range.
1. With the desired program selected, press the SET MENU/
PARAMETER Select (▼
▼) key on the remote control unit once. This
will recall the first parameter. In the case of the CONCERT HALL
program, for example, this would be the INIT. DLY parameter. You
can continue pressing the SET MENU/PARAMETER Select (▼
▼) key
to select other parameters in sequence. If the key is pressed when
the last parameter is being displayed, the first parameter is selected
again.
34
2. When the desired parameter has been recalled, use the SET
MENU/PARAMETER + (increment) and – (decrement) keys to
change its value to create the effect you want. + increases the value
of the selected parameter, and – decreases the value of the selected
parameter. In both cases you can hold the key down for continuous
incrementing or decrementing. The display will pause for a moment
at the initial value of the parameter as a reminder. (On the monitor
screen, mark at the head of parameter name disappears at the
*
initial value of the parameter.)
NOTE: Parameter edits made in this way will remain in effect even
with power cut due to power failure or the power plug disconnected
from the AC outlet for up to about two weeks, after which all
parameters, as well as other adjustments or settings on this unit, will
return to their initial values or conditions.
3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD PARAMETERS
Not all of the following parameters are found in every program.
●
INIT DLY (Initial Delay)
●
How it Affects the Sound:
How it Affects the Sound:
Changes the apparent distance from the source sound.
Changes the apparent size of the music venue. The larger the
value, the larger the simulated room will sound.
Since the distance between a sound source and a reflective
surface 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 timing between the early reflections. Early reflections
are the first group of reflections you hear before the subsequent,
dense reverberation begins.
What it Does:
Control Range:
Adjusts the delay between the direct sound and the first reflection
heard by the listener.
0.1 – 2.0
Standard setting is 1.0.
Control Range:
Changing this parameter from 1 to 2 increases the apparent
volume of the room eight times (length, width, and height all
doubled).
1 – 49 milliseconds
For a small living room this parameter would be set for a small
value. Large values for a big room. Larger values produce an echo
effect.
Level
Level
Direct sound
Early reflections
Small
INIT. DLY
Time
ROOM SIZE
Level
Level
Early reflections
Large
INIT. DLY
Time
Direct sound
Small
INIT. DLY
Time
Time
Small space
Level
Level
Direct sound
Early reflections
Direct sound
Early reflections
Large
Time
Time
Large space
35
●
REV. TIME (Reverberation Time)
●
How it Affects the Sound:
EFCT TRIM (Effect Trim)
Performs fine adjustment of the level of all the effect sounds.
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.
Control Range:
–3 dB to 3 dB
●
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).
DELAY
Adjusts the delay between the direct sounds (at the main left,
center and main right channels) and the effect sounds (at the front
effect and rear effect channels). The larger the value, the later the
effect sounds are generated.
Control Range:
1.0 – 5.0 seconds.
Control Range:
The reverb time in a small-to-medium size hall would be between
1 and 2, and in a large hall it is normally between 2 and 3.
Level
Level
60 dB
Direct sound
Level
Early reflections
Small
60 dB
Time
REV. TIME
Reverberations
36
Large
60 dB
Time
REV. TIME
Reverberations
REV. TIME
Reverberations
Time
15 – 30 milliseconds
TROUBLESHOOTING
PROBLEM
Power does not come on.
Hum.
No sound.
No sound from the effect speakers.
No sound from the center speaker.
The sound suddenly goes off.
The volume level cannot be increased,
or sound is distorted.
DSP parameters or other settings on this
unit cannot be changed.
Left rear and right rear channels not
balanced in certain digital sound field
programs.
The sound field cannot be recorded.
The remote control unit does not function
properly.
Noise from nearby TV or tuner.
POSSIBLE CAUSE
AC cord not properly plugged in.
Bad cable connection.
Bad or incorrect input connection.
Incorrect input source selection.
The EFFECT switch is set off.
The DOLBY PRO LOGIC program is being used
with material not encoded with Dolby Surround.
The center mode is in “PHNTM”.
Incorrect sound field program.
The protection circuit has activated because of
short circuit etc.
The power to the component connected to the
REC OUT jacks of this unit is off.
The “MEMORY GUARD” function is
set ON.
This is normal operation and is an exact
duplication of the actual data which was
measured for that particular hall etc.
It is not possible to record the sound field on a
tape deck connected to this unit’s TAPE
REC OUT jacks.
Dead batteries.
Wrong distance or angle.
Direct sunlight or lighting (of an inverter type of
flourescent lamp etc.) is striking the remote
control sensor of the main unit.
This unit is too close to the affected
equipment.
WHAT TO DO
Carefully plug AC plug into outlet.
Firmly plug in all connection cables.
Check connections.
Select the appropriate input source with the input selector switch.
Press the EFFECT switch to turn on.
Use a different sound field program.
Select the appropriate center mode.
Select the appropriate program.
Turning the unit off and then on will reset the protection circuit.
Turn the power to the component on.
Turn the “MEMORY GUARD” OFF.
Replace batteries.
The remote control unit will function from a maximum range of 7
meters, no more than 30 degrees off-axis from the front panel.
Change position of the main unit.
Move the unit further away from the affected equipment.
37
SPECIFICATIONS
Minimum RMS Output Power Per Channel
Main (20 Hz – 20 kHz 0.015% THD 8Ω)
[U.S.A. and Canada models] ............................................................. 65W+65W
[Australia, Europe, U.K. and General models] .................................. 60W+60W
Center (20 Hz – 20 kHz 0.015% THD 8Ω)
[U.S.A. and Canada models] ....................................................................... 65W
[Australia, Europe, U.K. and General models] ............................................ 60W
Rear Effect (1 kHz 0.03% THD 8Ω) ..................................................... 25W+25W
Maximum Output Power [General model]
Main (1 kHz 10% THD 8Ω) .................................................................. 95W+95W
Center (1 kHz 10% THD 8Ω) ......................................................................... 95W
Dynamic Power Per Channel
(by IHF Dynamic Headroom Measuring Method)
[U.S.A. and Canada models]
(8Ω/6Ω/4Ω) ............................................................................... 75W/90W/105W
DIN Standard Output Power Per Channel [Europe model]
(1 kHz 0.7% THD 4Ω) .................................................................................. 100W
Dynamic Headroom [U.S.A. and Canada models]
(8Ω) .............................................................................................................. 1.2 dB
IEC Power [Europe model]
(1 kHz 0.015% THD 8Ω) ................................................................................ 70W
Damping Factor
(1 kHz 8Ω) ........................................................................................ More than 75
Input Sensitivity/Impedance (100W/8Ω)
CD/TUNER/TAPE/LD/VCR/AUX ................................................... 150 mV/47 kΩ
Maximum Input Signal
CD/TUNER/TAPE/LD/VCR/AUX
(1 kHz 0.5% THD, EFFECT ON) ................................................ More than 2.3V
Output Level/Impedance
REC OUT .......................................................................................... 150 mV/1 kΩ
LOW PASS (fc=200 Hz) (EFFECT OFF) .......................................... 4.0V/1.8 kΩ
38
Headphone Jack Rated Output/Impedance
Output Level (8Ω, 1kHz, 0.03% THD) ............................................................ 0.2V
Impedance .................................................................................................... 100Ω
Frequency Response (20 Hz – 20 kHz)
CD/TUNER/TAPE/LD/VCR/AUX to MAIN L/R SP OUT ........................ 0±0.5 dB
Total Harmonic Distortion
CD/TUNER/TAPE/LD/VCR/AUX to SP OUT
30W/8Ω, MAIN L/R, 20 Hz – 20 kHz ....................................... Less than 0.02%
10W/8Ω, REAR L/R, 1 kHz......................................................... Less than 0.3%
Built-in amplifier
30W/8Ω, MAIN L/R, CENTER, 20 Hz – 20 kHz..................... Less than 0.008%
10W/8Ω, REAR L/R, 20 Hz – 20 kHz ...................................... Less than 0.03%
Signal-to-Noise Ratio (IHF-A Network)
CD/TUNER/TAPE/LD/VCR/AUX (Input Shorted) (EFFECT OFF)
..................................................................................................... More than 96 dB
Residual Noise (IHF-A Network)
MAIN L/R SP OUT ..................................................................... Less than 150 µV
Channel Separation Vol –30 dB
CD/TUNER/TAPE/LD/VCR/AUX Input 5.1 kΩ Terminated (EFFECT OFF)
1 kHz/10 kHz .................................................................. More than 60 dB/45 dB
Tone Control Characteristics (MAIN L/R)
Bass
Boost/Cut .................................................................................... ±10 dB (50 Hz)
Turnover frequency .................................................................................. 350 Hz
Treble
Boost/Cut ................................................................................... ±10 dB (20 kHz)
Turnover frequency ................................................................................. 3.5 kHz
Filter Characteristics (Highcut Filter)
LOW PASS (fc = 200 Hz) ........................................................................ 6 dB/oct.
Audio muting ................................................................................................. –20 dB
Video Section
Video Signal Type
[U.S.A. and Canada models] ..................................................................... NTSC
[Australia, Europe and U.K. models] ............................................................ PAL
[General Model] ................................................................................. NTSC/PAL
Video Signal Level .............................................................................. 1 Vp-p/75Ω
S-Video Signal Level
Y ...................................................................................................... 1 Vp-p/75Ω
C ............................................................................................... 0.286 Vp-p/75Ω
Maximum Input Level ............................................................. More than 1.5 Vp-p
Signal-to-Noise Ratio .................................................................. More than 50 dB
Monitor Out Frequency Response .................................... 5 Hz – 10 MHz, –3 dB
Power Supply
U.S.A. and Canada models ......................................................... AC 120V/60 Hz
Australia and U.K. models ............................................................ AC 240V/50 Hz
Europe model ............................................................................... AC 230V/50 Hz
General model ................................................... AC 110/120/220/240V 60/50 Hz
Power Consumption
U.S.A., Australia, Europe, U.K. and General models .................................. 230W
Canada model ................................................................................ 230W, 320 VA
AC Outlets
2 SWITCHED OUTLETS
[U.S.A. and Canada models] .................................................... 120W max. total
[General model] ......................................................................... 100W max. total
1 SWITCHED OUTLET
[Australia, Europe and U.K. models] ................................................ 100W max.
1 UNSWITCHED OUTLET
[U.S.A. and Canada models] ............................................................ 180W max.
[General model] ................................................................................. 200W max.
Dimensions (W x H x D) ......................................................... 435 x 146 x 410 mm
(17-1/8” x 5-3/4” x 16-1/8”)
Weight ..................................................................................... 11.0 kg (24 lbs. 3 oz.)
* Specifications are subject to change without notice.
39
YAMAHA
YAMAHA
YAMAHA
YAMAHA
YAMAHA
YAMAHA
YAMAHA
ELECTRONICS CORPORATION, USA 6660 ORANGETHORPE AVE., BUENA PARK, CALIF. 90620, U.S.A.
CANADA MUSIC LTD. 135 MILNER AVE., SCARBOROUGH, ONTARIO M1S 3R1, CANADA
ELECTRONIK EUROPA G.m.b.H. SIEMENSSTR. 22-34, D-25462 RELLINGEN BEI HAMBURG, F.R. OF GERMANY
ELECTRONIQUE FRANCE S.A. RUE AMBROISE CROIZAT BP70 CROISSY-BEAUBOURG 77312 MARNE-LA-VALLEE CEDEX02, FRANCE
ELECTRONICS (UK) LTD. YAMAHA HOUSE, 200 RICKMANSWORTH ROAD WATFORD, HERTS WD1 7JS, ENGLAND
SCANDINAVIA A.B. J A WETTERGRENS GATA 1, BOX 30053, 400 43 VÄSTRA FRÖLUNDA, SWEDEN
MUSIC AUSTRALIA PTY, LTD. 17-33 MARKET ST., SOUTH MELBOURNE, 3205 VIC., AUSTRALIA
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