B&K AVR305 User Manual

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B&K Components, Ltd.

AVR305

AVR307

A/V Receiver

Owner’s Manual

p/n 12858 Rev. 0717A

USER INFORMATION

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SETUP SPEAKER SIZE

 

 

 

 

 

 

 

 

 

 

 

Model #

 

 

 

 

 

 

 

 

 

 

 

 

1

Front

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Serial #

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2

Center

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Date purchased

 

 

 

 

 

 

 

 

 

 

 

3

Surround

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Purchased from:

 

 

 

 

 

 

 

 

 

4

Surround Back

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

5

 

Subwoofer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

City

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

State

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Phone

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contact

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

next item

adjust

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MENU setup speakers

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SPEAKER LOCATION

feet

 

 

 

 

 

 

 

 

SETUP SPEAKER LEVELS

 

 

 

 

 

 

 

 

 

 

 

1

Left

 

Front

 

 

 

 

 

 

 

 

 

 

1

Left

Front

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2

Center

 

 

 

 

 

 

 

 

 

 

2

Center

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

3

Right Front

 

 

 

 

 

 

 

 

 

 

3

Right Front

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

4

Right Surround

 

 

 

 

 

 

 

 

 

 

4

Right Surround

 

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

5

Right Surr Back

 

 

 

 

 

 

 

 

 

 

5

Right Surr Back

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6

Left

 

Surr Back

 

 

 

 

 

 

 

 

 

 

6

Left

Surr Back

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

7

Left

 

Surround

 

 

 

 

 

 

 

 

 

 

7

Left

Surround

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

8

 

Subwoofer

 

 

 

 

 

 

 

 

 

8

Subwoofer

 

 

 

 

 

dB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

next item

adjust

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

next item

adjust

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MENU setup speakers

 

 

 

 

 

 

 

 

 

MENU setup speakers

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SETUP CROSSOVERS + LFE

 

 

 

 

 

 

 

 

SETUP ROOM EQUALIZATION

1

Crossover

 

 

 

 

 

Hz

 

 

 

 

 

Test Tone 20 Hz

 

 

 

Off

 

 

 

 

 

 

 

 

2

High Pass

 

 

 

 

 

dB

 

 

 

 

 

Notch

 

 

 

 

 

Hz

 

 

 

 

 

dB

3

Low

Pass

 

 

 

 

 

 

dB

 

 

 

 

 

Notch Width

 

 

 

 

 

 

 

 

 

 

Hz

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

4

Peak Limiter

 

 

 

 

 

dB

 

 

 

 

 

Bass

 

 

 

 

 

Hz

 

 

 

 

 

 

dB

5

LFE

Level

 

 

 

 

 

dB

 

 

 

 

 

Treble

 

 

 

 

 

Hz

 

 

 

 

 

 

dB

6

 

DTS

LFE Mode

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

7

 

Subwoofer Phase

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

next item

 

adjust

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

next item

adjust

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MENU setup speakers

 

 

 

 

 

 

 

 

 

MENU setup speakers

 

 

 

 

 

 

 

 

 

 

 

B&K Components, Ltd., 2100 Old Union Road, Buffalo New York 14227-2725

Phone (716) 656-0026,Fax (716)656-1291,http://www.bkcomp.com,E-mail:info@bkcomp.com

p/n 12858 Rev. 0717A

TABLE OF CONTENTS

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Safety Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Making the connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Audio / Video connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Digital Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Surround Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Speaker Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Antenna Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Control Outputs / IR Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Frequently Asked Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22The Menu System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Speakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Speaker Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Speaker Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Speaker Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Crossovers + LFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Room Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Memory Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Power On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Sleep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Choosing a source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47AM/FM Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Adjusting the Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Temporary Level Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Audio Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49MONO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50STEREO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50SURROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50THX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50DVD Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Special Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Equalization ‘EQ’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Zone ‘Z’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Zone 1 (A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Zone 2 (B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Zone 1 Favorite Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Zone 2 Favorite Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Getting Receiver Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Advanced Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Zone 1 Setup (A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Zone 2 Setup (B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Power On Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Control Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Setup Control Out 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Setup Control Out 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

p/n 12858 Rev. 0717A

Setup Control Out 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Setup Control Out 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Security Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

RS-232 Control Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Factory Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Receiver Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Returning Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Rear Panel Enlarged View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

The Menu System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

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ACKNOWLEDGMENTS

Motorola®,, “* DigitalDNA™, “Powered by Motorola”™, Motorola name and logo are registered trademarks

of Motorola, Inc.

Manufactured under license from Dolby Laboratories. Dolby”, ”Pro Logic”,“AC-3",and thedouble-Dsymbol are trademarks of Dolby Laboratories. Confidential Unpublished Works. ©1992-1997Dolby Laboratories, Inc. All rights reserved.

Surround EX is a trademark of Dolby Laboratories. Used under authorization.

DTS® is a registered trademark of Digital Theater Systems, LLC. Additionally licensed under the following US Patent 5,451,942 & National Patent applications derived from PCT/US95/00959. Additional U.S. and Foreign Patents pending. “DTS”, “digital sound”, and “coherent acoustics” logos are trademarks of DTS Technology LLC. All rights reserved.

Manufactured under license from Lucasfilm Ltd. U.S. patent numbers 5,043,970; 5,189,703; and/or 5,222,059. European patent number 0 323 830. Other U.S. and foreign patents pending. Lucasfilm and THX are registered trademarks of Lucasfilm Ltd. Surround EX is a trademark of Dolby Laboratories. Used under authorization.

THX, Home THX Cinema, Lucasfilm THX, Re-Equalization,Timbre Matching, Adaptive Decorrelation and THX Ultra are registered trademarks of Lucasfilm Ltd.

The AVR305 Series II A/V Receiver with five 150 watts into 8 ohms channels of power amplification and Lucasfilm Home THX Ultra Certification. Additionally, the AVR305 offers full THX Surround EX system compatibility with the use of an external surround back power amplifier.

The AVR307 Series II A/V Receiver with seven 150 watts into 8 ohms channels of power amplification and Lucasfilm Home THX Ultra Certification. Additionally, the AVR307 offers full THX Surround EX system compatibility.

Accessories included: Owners manual, Remote control Manual, Power cord, Remote control,4-AAAbatteries

© Copyright 2000 All Rights Reserved.

B&K Components, Ltd., 2100 Old Union Road, Buffalo New York 14227-2725

Phone (716)656-0026,Fax(716)656-1291,http://www.bkcomp.com,E-mail:info@bkcomp.com

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SAFETY PRECAUTIONS

PLEASE READ BEFORE INSTALLING

WARNING: to prevent fire or shock hazard, do not expose this unit to rain or moisture. Care should be taken to prevent objects or liquid from entering the enclosure. Never handle the power cord with wet hands.

The lightning flash with arrowhead, within an equilateral triangle, is intended to alert the user of the presence of uninsulated “dangerous voltage” within the product’s enclosure that may constitute a risk of electric shock to you.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit.

Caution: To prevent the risk of electric shock, do not remove cover. No user-serviceableparts inside. Refer servicing to qualified service personnel.

If an outdoor antenna is connected to the antenna input, be sure it is grounded to provide some protection against voltage surges and built up static charges. Keep the outdoor antenna away from power lines.

Unplug the receiver from the AC outlet when plugging in or unplugging cables, when left unused for an extended period of time, moving the receiver, or when you suspect lightning in your area.

Prevent damage to the power cord. Do not bend, pull, place objects on, alter, etc. Replace the power cord if it becomes damaged. Always grasp the plug on the power cord when plugging in or unplugging the receiver from the AC outlet.

Your system may produce sound levels capable of causing permanent hearing loss. Do not operate for extended periods of time at high volume levels.

Make sure the receiver is placed on a level surface.

Protect the receiver from impact. (Do not drop it!!!)

Do not climb on top of the receiver or place heavy objects on its top cover.

The receiver is equipped with raised feet to provide ventilation, reduce acoustic feedback, and provide protection against scratching the surface the unit is resting on. We advise against removing or altering feet.

Do not stack anything on top of the receiver (processor, source, etc.) Leave a minimum of 3” clearance from the top of the receiver to the next shelf (or component).

The receiver should be located away from heat sources such as heaters or amplifiers.

Do not perform any internal modifications to the receiver.

Always connect the receiver’s power cord to an unswitched AC outlet for normal operation.

If young children are present, adult supervision should be provided until the children are capable of following all rules for safe operation.

Do not plug the receiver’s power cord into an outlet with an unreasonable number of other devices. Be careful if using extension cords and ensure the total power used by all devices does not exceed the power rating (watts/amperes) of the extension cord. Excessive loads may cause the insulation on the cord to heat and possibly melt.

Mistaking CONTROL OUTPUT orIR INPUT connectors for audio/video inputs or outputs may damage your receiver or other components.

Damage can occur to your speakers if the power rating of each individual driver is exceeded by the receiver. Ensure that all the drivers in your system are capable of handling not only the average power being delivered by the amplifiers, but also the peak power that is likely to be generated during strong passages. If you are unsure of your speaker's power rating, contact the speaker manufacturer or the dealer where you purchased them.

The receiver should be serviced by qualified personnel when:

The receiver is not functioning properly.

Objects have entered the chassis.

The receiver was exposed to rain or other type of moisture.

The receiver was dropped, or the chassis is damaged.

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FEATURES

Your new receiver is a versatile audio/video control center. The receiver is designed to sound sensational and be an attractive, easy-to-useaddition to your audio/video system. Although you already have a good idea of your receiver’s features, we would like to take a moment to point out certain highlights.

THX Ultra Certified - incorporates Lucasfilm Home THXRe-Equalization™,Timbre Matching™ and Adaptive Decorrelation™

to correct for the tonal and spatial errors that occur during the translation from the movie theater environment into the home. In addition to the these correction processes, the unit has passed a rigorous series of Lucasfilm THX quality and performance tests which is your guarantee that this Home Theater product will give superb performance for years to come.

THX Surround EX - incorporates further Home THX Cinema processing to allow for the precise decoding of Dolby Digital Surround EX signals.

Two-zone operation - complete digital/analog preamp/processor for Zone 1 (A) plus an additional independent analog A/V preamp internally for use with a second listening/viewing area - Zone 2 (B).

Internal Digitally Synthesized AM/FM Stereo tuner - store up to 40 AM or FM stations in A/V presets.

Analog inputs/outputs - seven A/V inputs and five A/V outputsall with stereo audio, composite video andS-videoplus one set of 7.1 surround outputs.

Component Video - two switchable inputs and one set of outputs assignable to any of the seven A/V inputs. Passive design allows full pass through of HDTV signals and maintains full signal integrity.

Digital inputs/outputs - six coaxial inputs and one coaxial output plus five optical inputs and one optical output.

Control Outputs - four 12 VDC @ 50 mA outputs for turning on amplifiers and controlling external systems such as a projection screen or B & K amplifier.

IR inputs/outputs - two IR inputs and up to four IR outputs let you integrate the receiver with an infrared repeater control system.

Gold Plated Connectors - better sound with minimum signal loss and degradation.

Plug and Play operation - automatically selects the optimum input, surround sound format, and performs a wide range of automated functions to provide invisible and easy operation.

A/V presets - 40 preset memories allow instant system configuration recall of user settings.

Customized input and A/V preset names - assign names to presets, inputs, or the turn on message.

Remote Control - 8 device universal remote control, 100%pre-programmed,100% learning, provides easy and total control of B&K and other brand user equipment.

RS-232 Control - easy control and interface of your B&K product with other system controllers.

State-of-the-artpower amplifier section -

ƒToroidal transformer and computer-gradeelectrolytic capacitors combine to provide for improved dynamics and extended low frequency control.

ƒDiscrete Circuitry for more accurate, 3-dimensionalreproduction.

ƒClass A Predriver improves low level detail for smoother, more musical sound.

ƒAB MOSFET Output Stage for efficient and linear power delivery.

96/24 bit A/D and D/A Conversion - Ultra High Resolution reproduction of musical details.

96/24 bit processing - 96/24 bit digital data and analog source material use 96 kHz, 24 bit DSP processing during all stereo listening modes.

Selectable Bass Management Crossover Frequency and Slope - allows system versatility for bass adjustments and management to assure optimum performance from your speaker system.

Room Equalization - a sweepable notch filter and variable equalization is available in the digital domain for use in achieving the best possible room response.

Upgradable - modular design allows for future A/D, D/A, DSP, Digital Receiver, and IEEE 1394 enhancements. State of the art today, state of the art tomorrow.

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THE BASICS

The following is intended to familiarize users with common terms and applications of Home Theater equipment.

Sources - your receiver can directly provide audio from itsbuilt-inAM/FM tuner. It can also provide limited video from itson-screenmenu system. Typically you will want to connect a number of additional sources (VCR, DVD player, etc.) to your receiver. Your receiver is designed to accommodate a wide range of audio and video signals.

The following table lists the most popular home theater media and how the audio information is stored.

Source Media

Analog

PCM

Dolby Digital

DTS

 

 

 

 

 

 

 

 

 

 

Audio Cassette

X

 

 

 

 

 

 

 

 

Video Cassette

X

 

 

 

 

 

 

 

 

Laser disc (LD)

X

X

X

X

 

 

 

 

 

Compact Disc (CD)

 

X

X

X

 

 

 

 

 

Digital Versatile Disc (DVD)

 

X

X

X

 

 

 

 

 

Satellite Broadcast

 

X

X

 

 

 

 

 

 

Digital Audio Tape (DAT)

X

X

X

X

 

 

 

 

 

Digital Compact Cassette (DCC)

 

X (compressed)

 

 

 

 

 

 

 

Mini disc (MD)

 

X (compressed)

 

 

 

 

 

 

 

 

 

 

 

 

Analog vs. Digital Audio - This refers to the method used to place audio information on the source material and how they are delivered to your receiver from the source. Analog signals exactly represent the sound you will hear through a continuously varying voltage. Audio and video cassettes are analog recordings and are normally delivered to your receiver over a pair of coaxial audio cables.

Digital signals closely approximate the original audio signals with a set of numbers referred to as a bitstream. CDs and DVDs are sources of digital audio and are normally connected to your receiver through a coaxial or optical digital cable. There are several different bitstream formats available. The simplest format is called Pulse Code Modulation (PCM). In PCM, the bitstream directly represents the original 2-channelaudio. In Dolby Digital and DTS (see “Surround Formats” below) bitstreams are modified using a process called compression to squeeze more information into limited space. DTS squeezes 5.1 channels into the space normally required for two uncompressed channels, while Dolby Digital squeezes 5.1 channels into about ¼ the space required for two channels. Your receiver automatically detects the bitstream currently being provided from the source and performs the required decompression and surround processing. If no digital signal is present your receiver will automatically switch to analog processing.

All sounds that you hear from your speakers are analog. Digital signals are automatically converted to analog by your receiver before being output to your the speakers.

If analog signals exactly represent the audio, while digital signals only approximate it, why would I want to use digital?

All analog sources add some amount of noise and distortion to the audio signal. Additional noise can be picked up through the cables from the source to your receiver. It is impossible for the receiver to tell the difference between the desired signal and the added noise and distortion, so it reproduces both of them. The result is increased background noise and decreased dynamic range and fidelity. Digital signals are virtually immune to noise and distortion. The receiver can, therefore, reproduce the signal with the greatest possible fidelity. We recommend you use digital signals wherever possible. Also Dolby Digital and DTS (see “Surround Formats” below) work only with digital signals.

Audio and Surround Formats - Your source material will be in one of seven possible formats described below.

Monaural (Mono) - This is the oldest format available. It contains a single, full range audio channel. Modern recordings are seldom made in this format, but most older movies and music are available only in this format. You may get mono from any source - digital or analog. Sound will normally come from the

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seven speaker channels, but your receiver can produce mono in one to seven channels (see “Audio Modes under Operation”). Since all modern sources are stereo, the mono information is usually replicated from both the left and right channels.

Stereo - Stereo contains two discrete, front left and right full range audio channels. This is the most common format for music and is also used on many movies. You may get stereo from any source - digital or analog. Sound will normally come from the seven speaker channels, but your receiver can produce stereo in one (mono) to seven channels (see “Audio Modes under Operation”).

Dolby Pro Logic - Dolby Pro Logic is a refinement of Dolby Surround which was the earliest form of true surround processing. Like Stereo, Dolby Surround contains two discrete, full range audio channels. In addition, a monaural, limited range surround channel is encoded on the two stereo channels in a process called matrixing. The surround channel information is encoded in positive polarity on the left channel and in negative polarity on the right channel. The Dolby Processor can detect this encoding (left minus right) and send that information to the surround channels. Dolby Pro Logic adds additional processing to produce a full range center channel by extracting the mono information from the left and right channel. This is the most common format for all but the most recent movies. Music sources are occasionally encoded in Dolby Surround. However, many people prefer to use Pro Logic processing on all of their stereo sources. The center channel extraction process often yields improved stereo imaging, especially when you are sitting away from the “sweet spot” at center of the listening area. The surround channel processing often lends a pleasing ambiance even to material that is not encoded in Dolby Surround. Dolby Pro Logic is fully compatible with stereo and you may get it from any source - digital or analog. Sound will normally come from all seven speakers in your system, but your receiver can produce sound in one (mono) to seven channels (see “Audio Modes under Operation”).

Dolby Digital - Dolby Digital contains up to five discrete, full range audio channels plus an additional Low Frequency Effects (LFE) channel. The LFE channel contains only low frequency information for enhanced sound effects in movies. This combination of five discrete channels plus a LFE channel is often referred to as 5.1 channels. Dolby Digital is a digital format only. It must be delivered to your receiver over a coaxial or optical digital cable. As of the writing of this manual, Dolby Digital is commercially available on DVD and Satellite (Also seeDolby Digital RF below). It is also possible to create your own Dolby Digital CDs and DATs if you have the recording equipment. You can’t directly record Dolby Digital onto mini disc or digital compact cassette since these devices add their own compression which is incompatible with the Dolby Digital compression. Not all Dolby Digital recordings will include all five channels, and, in fact, it is common on DVDs to have two channel Dolby Digital with or without Pro Logic processing. Sound will normally come from all seven speakers in your system, but your receiver can produce sound in one (mono) to seven channels (see “Audio Modes under Operation”).

Dolby Digital RF - Dolby Digital RF is identical to normal Dolby Digital except that it uses a special RF encoding scheme to put the bitstream on Laser discs without replacing the normal stereo (or Dolby Surround) PCM bitstream that is normally available from laser disc. In order to use Dolby Digital RF laser discs you must have a B&KDT-1RF demodulator or similar product from another manufacturer. For best results with your receivers Plug and Play capability we recommend the B&KDT-1.

Dolby Digital Surround EX - Dolby Digital Surround EX is a new movie sound track that greatly enhances the sense of spatial and positioning of the surround channel sound. This system was developed jointly by Lucasfilm THX and Dolby Laboratories, using Lucas film’s idea of improving spatial expression and achieving a 360 degree sound positioning with Dolby Laboratories’ matrix encoding technology. The surround back channel ismatrix-encodedand inserted into both Dolby Digital SL (surround left) and Dolby Digital SR (surround right) channels. Upon playback, the signals may be decoded by a high precision digital matrix decoder within the Dolby Digital decoder into SL, SR and SB channels.

DTS (Digital Theater Systems) - DTS is similar to Dolby Digital in that it provides 5.1 discrete audio channels. However, it uses more digital data to encode the information and may provide greater fidelity than Dolby Digital. DTS is a digital format only. It must be delivered to your receiver over a coaxial or optical digital cable. No RF demodulator is required for DTS laser discs since the DTS bitstream replaces the normal PCM bitstream. Like Dolby Digital,

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you can create your own DTS DATs or CDs but not mini disc or digital compact cassette. As with Dolby Digital, sound will normally come from all seven speakers in your system, but your receiver can produce sound in one (mono) to seven channels (see “Audio Modes under Operation”).

DVD Audio (also referred to as MLP) - Meridian Lossless Packing (MLP) is a lossless coding system forhigh-qualitylinear PCM audio. ForDVD-AudioMLP performs lossless compression of up to 6 channels of up to24-bitmaterial sampled at rates between 44.1kHz and 192kHz. Lossless coding does not alter the final signal, it ‘packs’ the audio data into a smaller rate and space. Currently, DVD Audio can only be delivered to your receiver via the analog 5.1 input. Sound will normally come from all seven speakers in your system, but your receiver can produce sound in one (mono) to seven channels (see “Audio Modes under Operation”).

Home THX Cinema Processing - THX is an exclusive set of standards and technologies established by theworld-renownedfilm production company, Lucasfilm Ltd. THX grew from George Lucas’ personal desire to make your experience of the film soundtrack, in both movie and in your home theater, as faithful as possible to whatever the director intended.

Movie soundtracks are mixed in special movie theaters called dubbing stages and are designed to be played back in movie theaters using similar equipment and conditions. The soundtrack created for movie theaters is then directly put onto reproducible media, DVD, VHS tape Laser disc, etc... With no changes to account for playback in a smaller home theater environment.

THX engineers developed patented technologies to accurately translate the sound from the movie theater environment into the home, correcting for the tonal and spatial errors that occur. While Home THX Cinema mode is active, THX processing is added after the Dolby Pro Logic, Dolby Digital or DTS decoder. Sound will normally come from all seven speakers in your system, but your receiver can produce sound in one (mono) to seven channels (see “Audio Modes under Operation”).

Re-Equalization™- restores the correct tonal balance for watching a movie soundtrack in a small home theater.

Timbre Matching™ - filters the information going to the surround speakers so that they more closely match the tonal characteristics of the sound coming from the front speakers. This ensures seamless panning from the front to surround speakers.

Adaptive Decorrelation™ - slightly changes one surround channel’s time and phase relationship with respect to the other surround channel. This expands the listening position and creates a more spatial sense using only two speakers.

THX Surround EX – Dolby Digital Surround EX is a joint development of Dolby Laboratories and the THX division of Lucasfilm Ltd.

In a movie theater, film soundtracks that have been encoded with Dolby Digital Surround EX technology are able to reproduce an extra channel which has been added during the mixing of the program. This channel, called Surround Back, places sounds behind the listener in addition to the currently available front left, front center, front right, surround right, surround left and subwoofer channels. This additional channel provides the opportunity for more detailed imaging behind the listener and brings more depth, spacious ambiance and sound localization than ever before.

When released to the home consumer market, movies that were created using the Dolby Digital Surround EX technology, may have a note to that effect on the packaging. A list of movies created using this technology can be found on the Dolby web site at http://www.dolby.com.

Only receiver and controller products bearing the THX Surround EX logo, when in the THX Surround EX mode, faithfully reproduce this new technology in the home.

This product may also engage the “THX Surround EX” mode during the playback of 5.1 channel material that is not Dolby Digital Surround EX encoded. In such case the information delivered to the Surround Back channel will be program dependent and may or may not be very pleasing depending on the particular soundtrack and the tastes of the individual listener.

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