Anthem D2 User Manual

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STATEMENT D2

OP ERATING MANUAL

UPDATES: www.anthemAV.com

S O F T W A R E V E R S I O N 1 . 3 x

™

SAFETY PRECAUTIONS

READ THIS SECTION CAREFULLY BEFORE PROCEEDING!

WARNING

RISK OF ELECTRIC SHOCK

DO NOT OPEN

WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowpoint within an equilateral triangle warns of 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 warns users of the presence of important operating and maintenance (servicing) instructionsin the literature accompanying the appliance.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE AND OBJECTS FILLED WITH LIQUIDS, SUCH AS VASES, SHOULD NOT BE PLACED ON THIS PRODUCT.

CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.

CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE, REPLACE THE FUSE ONLY WITH THE SAME AMPERAGE

AND VOLTAGE TYPE. REFER REPLACEMENT TO QUALIFIED SERVICE PERSONNEL.

WARNING: UNIT MAY BECOME HOT. ALWAYS PROVIDE ADEQUATE VENTILATION TO ALLOW FOR COOLING. DO NOT PLACE NEAR A HEAT SOURCE, OR IN SPACES THAT CAN RESTRICT VENTILATION.

IMPORTANT SAFETY INSTRUCTIONS

1. Read Instructions – All the safety and operating instructions should be read before the product is operated.

2. Retain Instructions – The safety and operating instructions should be retained for future reference.

3. Heed Warnings – All warnings on the product and in the operating instructions should be adhered to.

4. Follow Instructions – All operating and use instructions should be followed.

5. Cleaning – Unplug this product from the wall outlet before cleaning. Do not use liquid cleaners or aerosol cleaners. Use

a damp, soft cloth for cleaning.

6. Water and Moisture – Do not use this product near water – for example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a wet basement; or near a swimming pool; and the like.

7. Accessories – Do not place this product on an unstable cart, stand, tripod, bracket, or table. The product may fall, causing serious injury to a child or adult, and serious damage to the product. Use only with a cart, stand, tripod, bracket, or table recommended by the manufacturer, or sold with the product. Any mounting of the product should follow manufacturer’s instructions, and should use a mounting accessory recommended by the manufacturer.

8. Ventilation – Slots and openings in the cabinet are provided for ventilation and to ensure reliable operation of the

Antenna Lead-In Wire

Antenna-Discharge Unit 

(NEC Section 810-20)

Grounding Conductors 

(NEC Section 810-21)



Power Service Grounding

Electronic System

(NEC ART 250. Part H)

NEC-National Electrical Code

Electrical Service 

Equiptment

Ground Clamp

Ground Clamps



S2898A

product and to protect it from overheating, and these openings must not be blocked or covered. The openings should never be blocked by placing the product on a bed, sofa, rug, or other similar surface. This product should not be placed in a built-in installation such as a bookcase or rack unless proper ventilation is provided or the manufacturer’s instructions have been adhered to.

9. Power Sources – This product should be operated only from the type of power source indicated on the marking label.

If you are not sure of the type of power supply to your home, consult your product dealer or local power company. For products intended to operate from battery power, or other sources, refer to the operating instructions.

10. Grounding and Polarization – This product may be equipped with a polarized alternating-current line plug (a plug having one blade wider than the other). This plug will fit into the power outlet only one way. This is a safety feature. If you are unable to insert the plug fully into the outlet, try reversing the plug. If the plug should still fail to fit, contact your electrician to replace your obsolete outlet. Do not defeat the safety purpose of the polarized plug.

11. Power-cord Protection – Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the product.

12. Outdoor Antenna Grounding – If an outside antenna or cable system is connected to the product, be sure the antenna or cable system is grounded so as to provide some protection against voltage surges and built-up static charges. Article 810 of the National Electrical Code, ANSI/NFPA 70, provides information with regard to the proper grounding of the mast and supporting structure, grounding of the lead-in wire to an antenna-discharge unit, size of grounding conductors, location of antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode.

13. Lightning – For added protection for this product during a lightning storm, or when it is left unattended and unused for

long periods of time, unplug it from the wall outlet and disconnect the antenna or cable systems. This will prevent damage to the product due to lightning and power-line surges.

14. Power Lines – An outside antenna system should not be located in the vicinity of overhead power lines or other electric

light or power circuits, or where it can fall into such power lines or circuits. When installing an outside antenna system, extreme care should be taken to keep from touching such power lines or circuits as contact with them might be fatal.

15. Overloading – Do not overload wall outlets, extension cords, or integral convenience receptacles as this can result in

a risk of fire or electric shock.

16. Object and Liquid Entry – Never push objects of any kind through openings as they may touch dangerous voltage points

or short-out parts that could result in a fire or electric shock. Do not expose this product to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the product.

17. Servicing – Do not attempt to service this product yourself, as opening or removing covers may expose you to

dangerous voltage or other hazards. Refer all servicing to qualified service personnel.

18. Damage Requiring Service – Unplug this product from the wall outlet and refer servicing to qualified personnel under

the following conditions:

• When power-supply cord or plug is damaged.

• If liquid has been spilled, or objects have fallen into the product.

• If the product has been exposed to rain or water.

• If the product does not operate normally by following the operating instructions. Adjust only those controls that are covered by the operating instructions as an improper adjustment of other controls may result in damage and will require extensive work by a qualified technician to restore the product to its normal operation.

• If the product has been dropped or damaged in any way.

• If the product exhibits a distinct change in performance – this indicates a need for service.

19. Replacement Parts – When replacement parts are required, be sure the technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions may result in fire, electric shock, or other hazards.

20. Safety Check – Upon completion of any service or repairs to this product, ask the service technician to perform safety

checks to determine that the product is in proper operating condition.

21. Heat – The product should be situated away from heat sources such as radiators, heat registers, stoves, or other

products (including amplifiers) that produce heat.

RECYCLING AND REUSE GUIDELINES (Europe) In accordance with the European Union WEEE (Waste Electrical and Electronic Equipment) directive effective August 13, 2005, we would like to notify you that this product may contain regulated materials which, upon disposal, require special reuse and recycling processing. For this reason Paradigm Electronics Inc. (the manufacturer of Paradigm speakers and Anthem electronic products) has arranged with its distributors in European Union member nations to collect and recycle this product at no cost to you. To find your local distributor please contact the dealer from whom you purchased this product or go to our website at www.paradigm.com.

Please note that only the product falls under the WEEE directive. When disposing of packaging and other shipping material we encourage you to recycle through the normal channels.

Anthem, AnthemLogic, ARC, Sonic Frontiers, and Paradigm are trademarks or registered trademarks of Paradigm Electronics Inc.

part without our express written permission. We reserve the right to change specifications and/or features without notice as

Manufactured under license from Dolby Laboratories. “Dolby”, “Pro Logic”, “Surround EX” and the

“DTS”, “DTS-ES Extended Surround” and “Neo:6” are trademarks of Digital Theater Systems, Inc.

Manufactured under license from THX Ltd. U.S. patent numbers 5,043,970; 5,189,703; and/or 5,222,059. European patent number

0323830. Other U.S. and foreign patents pending. Ultra2 and THX are trademarks or registered trademarks of THX Ltd. Lucasfilm is a trademark of Lucasfilm Ltd. Surround EX is a trademark of Dolby Laboratories. Used under authorization.

This product incorporates copyright protection technology that is protected by U.S. patents and other intellectual property rights.

Use of this copyright protection technology must be authorized by Macrovision, and is intended for home and other limited

viewing uses only unless otherwise authorized by Macrovision. Reverse engineering or disassembly is prohibited.

design improvements are incorporated.

double-D symbol are trademarks of Dolby Laboratories.

HDMI, the HDMI logo and High-Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing LLC.

VXP, Visual Excellence Processing and the VXP logo are trademarks or registered trademarks of Gennum Corporation.

All other trademarks are the property of their respective owners.

TABLE of CONTENTS

SECTION PAGE

1. INTRODUCTION

1.1 Before Making Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1.2 In-Use Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1.3 Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1.4 Front Panel Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1.5 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1.6 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

1.7 Speaker Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

1.8 Interconnects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2. CONNECTIONS

2.1 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.2 Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

2.3 FM•AM Antennas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3. SETUP

2.4 12 Volt Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2.5 Powered IR (Infra Red) Receivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2.6 IR (Infra Red) Emitters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2.7 Power. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Entering / Navigating / Exiting the Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3.1 Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

3.2 Set Time and Timers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

3.3 Speaker Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

3.4 Listener Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

3.5 Level Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

3.6 Source Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

3.7 Mode Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

3.8 Analog Input Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

3.9 ADC and Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

3.10 Volumes and Path Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

3.11 Triggers, IR, and RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

3.12 Displays and Timeout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

3.13 Save and Load Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

3.14 Lockout and Passwords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

3.15 ARC-1 Anthem Room Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

4. OPERATION

4.1 Power On and Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

4.2 Path Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

4.3 Manually Copying the Main Path to Zone2/3 and Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

4.4 Source Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

4.4.1 FM• AM Tuner 52

4.4.2 Simulcast 52

4.5 Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

4.6 Level Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

4.7 Bass, Treble, and Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

4.8 Surround Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

4.8.1 AnthemLogic 55

4.8.2 Dolby Digital 2.0 55

4.8.3 Surround Modes for 2.0-Channel Source Material 56

4.8.4 Dolby Digital EX and Pro Logic IIx for 5.1-Channel Source Material 57

4.8.5 DTS-ES 57

4.8.6 THX Ultra2 and THX Surround EX 57

4.8.7 Mode and THX Operation for 2.0-Channel Source Material 61

4.8.8 Mode and THX Operation for Dolby Digital 5.1 and 6-Ch S/E 62

4.8.9 Mode and THX Operation for DTS Source Material 63

4.8.10 Dynamics 64

4.9 Lip-Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

4.10 Display Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

4.11 Video Source Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Picture 65 Crop Input 67 Scale Output 68 Aspect Ratio Control Examples 69 Output 71 Test Patterns 72 Info Panel 73 Shortcuts and emergency exits 73

4.12 Sleep Timer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

4.13 Enable and Disable Timers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

4.14 Status Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

5. REMOTE CONTROL CUSTOMIZATION

5.1 Codes for Other Brands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

5.2 Learning Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

5.3 Copying Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

5.4 Volume Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

5.5 Programming Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

5.6 Resetting the Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

6. SOFTWARE UPDATING

6.1 Software Version Identification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

6.2 Software Updating Via Your Dealer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

6.3 Software Updating Via Your Computer and the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Appendix A – IR Macros for Surround Modes and FM•AM Banks 80

Appendix B – Preset Memory Codes 81

Specifications 88

Warranty 91

Big Pictures of Front and Rear Panels Inside Back Cover

1. INTRODUCTION

Thank you for purchasing the Anthem Statement D2 processor.

The Statement D2 is a cutting-edge home theater audio processor with HDMI switching and video upconversion, multizone capabilities, and FM/AM tuner, along with state of the art video processing which includes deinterlacing, scaling, aspect ratio control, and picture adjustment. Anthem products are engineered to recreate the passion of live performance and thrill of the best movie theaters by using the highest level of circuit design, proprietary software, superior build quality, innovative features, and intuitive ergonomics with tremendous flexibility.

1.1 BEFORE MAKING CONNECTIONS

Check that you have received everything listed below and report discrepancies to your dealer as soon as possible. In case they are needed one day, keep the packing materials and the invoice that you received from your authorized Anthem dealer at time of purchase – without it, service will not be provided under warranty.

Packing List:

• Statement D2 • FM antenna • IR terminal block (on rear panel)

• 2 Remote controls • FM antenna adapter • Power cord (North America only)

• 4 AA batteries • AM loop antenna • Serial extension cable

Additional items with ARC-1 Anthem Room Correction:

• Software installation CD • Microphone • Telescopic stand

• USB microphone cable • Microphone clip • Base

Safety Instructions:

• Read all precautions and instructions at the beginning of this manual.

• Do not connect power if there are signs of damage to any part of the exterior.

• The front panel power buttons and the rear panel AC switch do not disconnect the product from the AC line. Ensure that the power cord remains readily accessible at all times.

• To connect power, only use the supplied double-insulated power cord.

• Allow adequate ventilation to ensure reliable operation and to prevent overheating. The amount of space required above the unit for radiation depends on ambient air temperature and circulation. Installation inside an unventilated space such as a cabinet with a front that can be closed or a closet is not recommended.

• Failing to comply with any safety instruction, precaution, or warning in this operating manual is in violation of the intended use of the product.

• Anthem and any related party assume no liability for the user’s failure to comply with requirements.

1.2 IN-USE NOTICES

• Disconnect the power cord before connecting or disconnecting any components.

• Do not remove the top cover.

• Do not modify the product.

• Due to continuing advances operational characteristics may change. If this manual contains discrepancies please check www.anthemAV.com for the latest manual or software.

1. INTRODUCTION continued …

1.3 FRONT PANEL

1617 15 14 13 12 11 10 9 8

5 64321

1 – Path selection

2 – Mode and decoder indicators

3 – Display

4 –FM• AM preset selection

5 –FM• AM tuning / setup menu navigation

6 – Master Control Knob:

• Volume

• Tune for FM•AM

• Settings adjustment

• Setup for time and source naming

7 – Speaker group and headphone access

8 – Power on / standby

For a larger diagram, see inside back cover.

9 – Mute

10 – Status review / setup menu access

11 – Balance setting

12 – Bass / treble settings

13 – LED and display brightness setting / video adjustment

menu access

14 – Front panel IR sensor

15 – Surround mode / Dynamics / THX options / shortcuts

to most common video adjustments

16 – Headphone jack

17 – Source selection

1. INTRODUCTION continued …

1.4 FRONT PANEL DISPLAY

MAIN Display Example:

DVD1 Dolby D 1080p

5. 1+PLIIx Movie -7. 5

1 – Source selection.

2 – Audio input format or sleep timer if engaged.

3 – Video input

4 – Volume.

5 – Number of input channels + surround mode.

FM• AM Display Example:

resolution.

FM2-5 St Sk > 480i

101. 3 MHz -18. 5 dB

1 – Band+bank+preset. The tuner has three FM banks (FM1, FM2, and FM3) and one AM bank.

2 – FM mode. Displays “St” when in stereo, “HB” when in Hi-Blend, or “Mn” when in mono.

3 – Seek and scan indications.

4 – Frequency. FM is tuned to the nearest 0.1 MHz. AM is tuned to nearest 10 kHz (120V model) or

9 kHz (230V model).

120V 60Hz 170W MAX

EXPANSION PORT

SHOCKHAZARD

DONOT OPE N.

RISQUEDE CHOC ÉLECTRIQUE

NEPAS OUVRIR

MAIN AUDIO-OUT (BALANCED)

SUB 2

MAIN AUDIO-OUT

1. INTRODUCTION continued …

1.5 REAR PANEL

1 – 7 composite video inputs

2 – 7 S-Video inputs

3 – 5 S-Video outputs

4 – 5 composite video outputs

5 – HDMI output)

6 – 2 component video outputs (3 jacks/ea)

7 – 3 12V trigger outputs

8 – 4 component video inputs (3 jacks/ea)

9 – 4 HDMI inputs

10 – FM and AM antenna connections

11 – Expansion port

12 – 2 IR emitters

13 – Main audio output (10 balanced jacks)

14 – 3 IR extension inputs with 12V supply

8 95 6

151617 1418

15 – RS-232 interface (bidirectional)

16 – Main audio output (10 jacks)

17 – 6-channel analog audio input

18 – AES/EBU digital audio input

19 – Analog audio balanced L/R input

20 – ZONE2, ZONE3, and REC analog audio outputs

21 – 3 optical digital audio inputs

22 – 2 digital audio REC outputs

23 – 7 analog audio L/R inputs

24 – 7 digital audio coaxial inputs

25 – Ground terminal

26 – Power cord connection

27 – AC switch

For larger diagrams, see inside back cover.

1. INTRODUCTION continued …

FRT CTR

INPUT

SLEEP

PIP SWAP MOVE

SSP SOURCE

COPY

AUX TAPE

DVD

SAT

VCR

DVD

SAT VCR

2-Ch

REC

MAIN

SSP PATH

VOLUME CH PRE-SET

FM/AM PRE-SETS

BACK

INFO

GUIDE

TUNE SEEK

SETUP

SOURCE SEEK

ENTERMUTE

SELECT

SUB LFE

FM AM

SUR RR

1 2

6-Ch

LAST

1.6 REMOTE CONTROL

1 – IR transmitter (front face) 2 – LED 3 – Power on for MAIN, ZONE2, and ZONE3

Power on/off for other control modes

This key does not turn off the processor (see #31)

4 – Control mode (to control other components)

These are not the source selection keys (see #19)

5 –FM• AM preset setting and selection 6 – Tone bypass 7 – Mode / video adjustments (press and hold for 3 seconds) 8 – Dynamics setting 9 –FM• AM preset up 10 –FM• AM preset down 11 – Sleep timer selection / timers setting 12 – Center channel selection for level / bass / treble 13 – Back (for Setup) 14 – Subwoofer / LFE selection for level adjustment 15 – Setup (press and hold for 3 seconds) 16 – Source seek 17 – Balance 18 – RECORD path selection (must be in MAIN – see #4) 19 – Source selection 20 – Copy MAIN when ZONE2, ZONE3, or RECORD is selected 21 – Bass selection for adjustment 22 – Treble selection for adjustment 23 – Surrounds / rears selection for level / bass / treble / balance 24 – • FM•AM tuning

25 – • FM• AM seek

26 – Status / FM•AM direct entry / setup selection 27 – Fronts / headphones selection for level / bass / treble / balance 28 – Volume down 29 – THX selection 30 – Volume up 31 – Power off when in MAIN, ZONE2, or ZONE3 control mode 32 – Mute 33 – Front panel LED / display brightness setting / lip-sync delay 34 – On-screen display of current front panel display 35 – Scaler menu – press and hold for 3 seconds 36 – Learn – for customization of remote

Rear: Battery cover (when batteries are running low and a key is



• Adjustment for surround mode, dynamics, THX, levels, bass / treble, timers, brightness

• Setup navigation



• Balance adjustment

• Setup navigation

pressed, the backlight stops working and the LED blinks twice)

110˚ from center

1. INTRODUCTION continued …

1.7 SPEAKER PLACEMENT

These illustrations show typical speaker placement for a 7.1-channel surround system. The surround and rear speakers are normally positioned 2-3 feet above ear level. The subwoofer can be placed in any location where severe resonances are prevented – see section 3.3.

5 and 6 are not used in a 5.1 system

1. Front-Left

2. Center

3. Front-Right

4. Surround-Right*

5. Rear-Right*

6. Rear-Left*

7. Surround-Left*

8. Subwoofer (“.1”)

*Dipole speakers shown with “null” facing listening area. Direct radiating speakers are shown below.

Placement with dipole surrounds

Placement with direct radiating surrounds

slightly behind listening position

1. INTRODUCTION continued …

1.8 INTERCONNECTS

These illustrations show audio, video, IR, and trigger connectors used between source components, the processor, displays, and power amplifiers. Note that when RCA cables have coaxial construction and their impedance is 75 ohms, they are equally suitable for analog video and digital audio.

RCA Black or

White

Analog Left

Channel

RCA Green:

Component Y

1/4” Stereo

Headphone

RCA Red

Analog Right

Channel

RCA Blue:

Component Pb

3.5mm

Mini (Mono)

12V Trigger

IR Emitter

RCA Yellow

Digital Audio or

Composite Video

RCA Red:

Component Pr

Optical

Digital Audio

HDMI

Digital Video

and Audio

XLR Female

(connects to output)

Analog Balanced or AES/EBU

(connects to input)

Mini DIN

S-Video

XLR Male

DVI connection: Cables with DVI connection on one end and HDMI connection on the other are more reliable than DVI-HDMI adapters. If you are having a connection problem and an adapter is in use, try eliminating the adapter.

Important notes regarding HDMI cables:

1080p uses twice the bandwidth that 720p and 1080i do – make sure that the cable is suitable for your application especially when using a long cable otherwise the picture may contain pixel dropouts or not play at all. If the display is far from the processor, a repeater or special connection system may be needed – contact your dealer.

BE CAREFUL WHEN INSERTING HDMI CABLES. The connector should slide into the jack easily – do not insert it on an angle and do not force it. Each connector contains 19 delicate pins, and cables with damaged pins can damage jacks. This type of damage is not covered under warranty

. If your HDMI cables have been connected so many times that they are about to wear out, we strongly recommend that you replace them.

2. CONNECTIONS

2.1 VIDEO CONNECTIONS

To configure inputs, see section 3.6 and to configure video outputs see section 3.1.

HDMI:

Video is sent with audio from source components to the processor. Maximum video resolution is 1080p/60. Connect MAIN HDMI output to a display with HDMI or DVI input – one with High-bandwidth Digital Content Protection (HDCP) is required to display copy-protected material. DVD players usually enable HDCP even on home movies. If the source is protected, only HDMI video output is active (see section 4.14).

Component Video (analog): Component video uses three coaxial cables and has a maximum resolution of 1080p when unprocessed or 480p when the source material is copy-protected with Macrovision. Maximum input resolution is 1080i/60 if the input is processed or converted to HDMI. The second Component output can be used in MAIN, processed or unprocessed, or in ZONE2.

HDMI switching requires at least two seconds per stage, i.e. at least four seconds from source to processor to display.

S-Video (analog): Maximum resolution is 480i (NTSC) / 576i (PAL). This connection keeps brightness and color separate for a better picture than Composite. S-Video input can be converted to Component and HDMI output (MAIN only).

Composite Video (analog): Maximum resolution is 480i (NTSC) / 576i (PAL). This traditional format combines the black/white and color information for transmission on a single coaxial cable. To be displayed, the information has to be separated, a process that degrades video quality. Composite inputs can not be converted or processed. If you use a VCR, one with S-Video output is recommended. If a composite video source is black and white, it can be plugged into a Component video’s Y input. If there is no choice but to convert a color source’s composite output, a composite to S-Video converter

is needed (not an adapter turned backwards).

2. CONNECTIONS continued …

2.2 AUDIO CONNECTIONS

There are two methods of transmitting audio signals: Analog and digital. Analog is an electrical waveform representation of sound and requires one cable for each channel. Digital represents sound using a sequence of numbers and requires only one cable for all channels.

Digital Audio Inputs and Outputs:

Digital audio source components can be connected with a coaxial, optical, balanced, or HDMI cable. These carry 2-channel PCM, Dolby Digital, and DTS. The HDMI inputs also accept up to six channels of PCM.

Should you need audio from the HDMI output to your display, it’s 2-channel PCM.

Use the HDMI inputs if your display has HDCP-compliant HDMI or DVI input, otherwise use the coaxial or optical inputs. The processor also provides one balanced AES/EBU connection, which is used on professional equipment. Any digital input can be assigned to any number of sources that are set to digital.

To change digital audio connection from the factory default assignments, see section 3.6.

Digital Rec-Out can provide a signal to the digital audio input of a Mini Disc recorder, CD recorder etc. from any source set to Digital (except HDMI) or Anlg-DSP – see sections 3.6 to 3.9.

Analog Audio Inputs:

Analog audio connections are made with RCA or XLR cables.

If you are going to use ZONE2, ZONE3, or RECORD, connect both the digital and source components. ZONE2, ZONE3, and RECORD require analog connection unless they’re set to copy MAIN (see sections 3.6 and 4.3).

6-Ch Analog Input:

The 6-Ch input is for connecting DVD-Audio and multichannel SACD players that do not have HDMI output. When 6-Ch is selected, the video signal from DVD input is routed to the video outputs by factory default – to change this, see section 3.6.

analog outputs from the

2. CONNECTIONS continued …

MAIN AUDIO-OUT (BALANCED)

SUB 2

MAIN AUDIO-OUT

Analog Audio Outputs:

Balanced connection offers the highest transmission quality over long cable lengths, because it rejects noise pickup. In the processor, XLR output voltage is twice that of RCA (6 dB higher). The RCA outputs and the XLR outputs are always active – both can be used at the same time if the system requires it.

Parallel outputs are provided for a second center channel speaker and/or subwoofer. If your screen is large, you might want to use one center channel speaker above it and another one below it. One way to tame room resonances is by using multiple subwoofers playing the same signal from different locations in the room.

If you are not using the second set of balanced SUB2 and CENTER2 outputs, they can be reassigned as ZONE2 L/R outputs to ensure noise rejection if the ZONE2 amplifier has balanced input and it’s at a distance from the processor (see section 3.9).

If you’re using one rear channel, use the Rear-L output to connect it (see section 3.3).

Shown below are the analog audio RECORD outputs which connect to the audio inputs of recording devices, together with the outputs that connect to amplifiers for ZONE2 and ZONE3:

Why am I not getting sound in ZONE2, ZONE3, or RECORD?

For ZONE2, ZONE3, and RECORD to have any output, the source components being used there must be connected to the processor with the same type of connection

. For example, if a source is connected via HDMI, there won’t be output in ZONE2 unless you make additional connections from the source to the processor – analog L/R for audio, and Component, S-Video, or Composite video – whichever type the display in ZONE2 uses.

The only exception is when using Copy mode for audio – see section 4.3.

2. CONNECTIONS continued …

2.3 FM• AM ANTENNAS

To connect the AM loop antenna, press the spring-loaded tabs of the AM ANTENNA connector and insert the bare ends of the two wires. Move the antenna until best reception is found.

To connect the FM antenna, connect the two wires to the screw terminals of the 75-ohm to 300-ohm adapter, then connect the adapter to the FM ANTENNA connector. Move the antenna until best reception is found – this is usually a “T” formation. If your cable company provides FM service, you can connect the cable to the processor.

2.4 12 VOLT TRIGGERS

If your other components have provisions for a trigger, you can have them turn on and off together with the processor, or when a specified source is selected. Connect a trigger output from the processor to the trigger input of your power amplifier, display, etc., using a cable with 3.5mm mono mini plugs.

The processor provides flexible trigger options. From the factory, all the triggers are disabled. Through the setup menu, you can specify the conditions for enabling triggers (see section 3.11).

75-ohm to 300-ohm adapter

2.5 POWERED IR (INFRA RED) RECEIVERS

External IR receivers allow the remote control to be used from other locations in your home. Once an IR receiver is wired to another room, connect it to one of the three IR RECEIVER inputs through the removable terminal block. To use the terminal block, remove it from the processor, loosen the proper screw, insert the wire in the slot, tighten the screw onto the wire, and insert the terminal block into the processor. See section 3.11 for Setup information.

In addition, there is no need for an external 12V supply to power the receivers – use the processor’s built-in supply instead for up to three IR receivers and connect according to the IR receiver manufacturer’s instructions.

Custom Installers: The processor’s IR inputs sense modulated 38 kHz carrier, not demodulated data. With some control systems, an emitter face-to-face with an IR receiver may be needed.

2.6 IR (INFRA RED) EMITTERS

IR emitters allow control of your source components from any location in your home that has an IR receiver connected to the processor. After positioning the IR emitter according to its instructions, connect it to IR EMITTER output. Commands through the rear

IR RECEIVER are re-transmitted through the IR emitters.

2.7 POWER

To connect power, use the supplied double-insulated power cord then turn on the rear panel AC switch.

120V 60Hz 170W MAX

EX PANSION PORT

SHOCKHAZARD

DONOT OPE N.

RISQUEDE CHOC ÉLECTRIQUE

NEPAS OUVRIR

MAIN AUDIO-OUT (BALANCED)

SUB 2

MAIN AUDIO-OUT

2. CONNECTIONS continued …

DVD



Example 1: DVD Player to processor to main display

HDTV receivers are connected the same way as DVD players.

HDMI IN

Connect if

using

ZONE2/3 or

REC

AUDIO

OUT

Connect if using digital REC-OUT or if source’s video

Connect if

using ZONE2

Connect for MAIN

output is DVI

COAX

OUT

YPbPr OUT

HDMI

OUT

120V 60Hz 170 W MAX

EXPANSION PORT

SHOCKHAZARD DONOT OPEN.

RISQUEDE CHOC ÉLECTRIQUE

NEPAS OUVRIR

MAIN AUDIO-OUT (BALANCED)

SUB 2

MAIN AUDIO-OUT

2. CONNECTIONS continued …

VCR

EJECT



Example 2: Video recorder to processor

For ZONE2, ZONE3, and REC, in most cases you must use the same input type as the output type. If MAIN uses a different input connection, all you need to do is add these connections for ZONE2, ZONE3, and REC.

VIDEO

OUT

AUDIO

OUT

VIDEO

AUDIO

2. CONNECTIONS continued …

WARNING

120V 60Hz 170W MAX

EXPANSION PORT

SHOCKHAZARD DONOT OPEN.

RISQUEDE CHOC ÉLECTRIQUE

NEPAS OUVRIR

MAIN AUDIO-OUT (BALANCED)

SUB 2

MAIN AUDIO-OUT

WARNING

Example 3: Processor to amplifiers and subwoofer (Balanced connection shown, single-ended is similar)

Trigger Setup Suggestion:

If it is not necessary to have both amplifiers turned on when stereo sources are playing, set triggers to turn on only the 2-channel amplifier when a stereo source is selected (see section 3.11).

To powered

subwoofer

3. SETUP

FRT CTR

TUNE SEEK

SELECT

SUB LFE

SUR

MAIN

SSP PATH

For optimum performance and enjoyment, your processor should be properly set up. This may appear like a lot of work but keep in mind that most settings do not need to be changed from the factory ones.

The most important things are entering information about your display and speakers if the defaults do not apply, the distance from each speaker to the listening area, balancing output levels to one another, and input connections. The rest is preference – the surround mode presets, for example, should be set up after you have played various source materials and have decided which surround modes you like best.

For proper audio balance, menus involving test noises must be set up in the order that they appear.

Alternatively, most of the setup can be done on your personal computer through RS-232 connection and a program from our web site, called Setup Editor. This can also save your configuration as a backup file. Setup Editor cannot play test signals – calibration still has to be done through the setup menu.

HOW TO ENTER THE SETUP MENU

The setup menu can be accessed from MAIN and ZONE2. The on-screen display shows only in that path. Test noises play only from MAIN.

Remote Control Front Panel

Make sure the appropriate control mode is set Make sure the appropriate path is selected then press then press SUB/LFE (SETUP) for 3 seconds. and hold STATUS (Setup) for 3 seconds.

HOW TO NAVIGATE IN THE SETUP MENU

• Use the  buttons to scroll through menus.

• Press SELECT to choose a menu item.

• Use the  and  buttons to change settings.

• Press BACK to return to previous item or menu.

HOW TO EXIT FROM THE SETUP MENU

Press BACK as many times as necessary. Each time BACK is pressed the previous item or menu returns. The Setup will exit by itself if not used for 5 minutes to prevent the potential of a burned-in on-screen image.

3. SETUP continued …

SETTING UP THE PROCESSOR

Upon entering the setup menu your display will show the menu below. Only 8 menu items can be displayed at once – for clarity this manual shows each menu with all its items. On-screen display is recommended although the front panel shows similar information, one item at a time. If the default video output settings do not work with your display, use the front panel display to set video output.

On-screen display is available from the following video outputs:

MAIN – HDMI, Component (processed) and S-Video ZONE2 – S-Video

STATEMENT D2 SETUP

1. VIDEO OUTPUT

2. SET TIME / TIMERS

3. SPEAKER CONFIG

4. LISTENER POSITION

5. LEVEL CALIBRATION

6. SOURCE SETUP

7. SOURCE PRESETS

8. ANALOG INPUT LEVELS

9. ADC / AUDIO OUTPUT

10. VOLUMES / PATH NAMES

11. TRIGGER / IR / RS232

12. DISPLAYS / TIMEOUT

13. SAVE / LOAD SETTINGS

14. LOCKOUT / PASSWORDS SELECT Enters Submenu

To go to a submenu, highlight a menu item and press SELECT. Each on-screen menu also has a scrolling help line at the bottom as shown above.

3.1 VIDEO OUTPUT

Highlighting VIDEO OUTPUT then pressing SELECT displays this menu:

1. VIDEO OUTPUT

a. VIDEO OUT CONFIG 1 b. VIDEO OUT CONFIG 2 c. VIDEO OUT CONFIG 3 d. VIDEO OUT CONFIG 4

3. SETUP continued …

Video Output Configurations:

The Statement D2 allows you to set four video output configurations – only Configuration 1 is needed in most cases. The rest can be used to match the output refresh rate to source material refresh rates, i.e. 1080p/24, 1080p/50, and 1080p/60 if settings – only one display can be used at a time in this case. Output assignment by source is explained in section 3.6, and on-the-fly selection is explained at the end of section 4.11.

Calibration professionals: Live Video Settings Editor, a program downloadable from our web site, allows control via computer and file creation for video processing described in section 4.11, plus gamma correction (single or separate RGB curves) and custom output resolution and timing.

Once entering Configurations 2 through 4, the menu asks whether or not you want to use the same settings as Configuration 1 – the factory default is Yes. If different settings are used, the output changes according to the line that’s highlighted in the VIDEO OUTPUT menu. Highlighting VIDEO OUT CONFIG 1 in the VIDEO OUTPUT menu then pressing SELECT displays this menu:

your display accepts these rates, or with a secondary display that needs different

1a. VIDEO OUT CONFIG 1

a. S-VIDEO OSD: NTSC b. PREFERRED: HDMI c. RESL'N: 1280x720p/60 d. COLOR SPACE: Auto e. DATA: Auto f.LETTERBOX: Black g. SYNC: Normal h.COMPNT2 OUT: Passthru

Items a. through g. pertain to MAIN output only.

Changes in this menu do not take place immediately to prevent loss of video output as you scroll through settings. Once you leave this menu, it asks for confirmation – use the  buttons to change to Yes, then

press SELECT. To put a change into effect before leaving the menu, press SELECT then confirm.

3. SETUP continued …

Where possible disable video processing in your source components so that the Statement D2’s advanced processing can be used to its potential.

For standard-def DVD, set the player’s output to 480i/576i because if output is progressive-scan you will be looking at the player’s deinterlacing, not the Statement D2’s. If the player does not allow 480i/576i HDMI output, using 480i/576i component both 480i (NTSC) and 576i (PAL) according to source material, you can use that setting since the Statement D2 accepts both formats.

If your HD cable/satellite receiver has passthrough mode where output resolution follows each station’s resolution, use it. If not, set the receiver’s output according to the HD channels that you watch most.

HD material on disc is natively 1080p/24 or 1080i/60 – if your player has a passthrough mode where output resolution and refresh rate follow that of the source material, you can use it with Configuration 1 resolution set to, for example, 1920x1080p/60 and Configuration 2 set to 1920x1080p/24.

If your display allows, set it to 1:1 pixel or dot-for-dot mode. The display’s stretch modes, including edge cropping or overscan, should not be used if avoidable since they rescale the image unnecessarily.

S-Video On-Screen Display Format:

If using S-Video output use the  buttons to select NTSC or PAL, whichever matches your display. If your display supports both formats, try NTSC first.

video output may be best. If the player can be set to put out

Preferred Video Output:

Use the  buttons to select Component or HDMI – the video will be optimized for that type. The other output may or may not produce a usable picture – this depends on the remaining settings. HDMI-only selections in the menu are not shown when Component is selected. If your settings apply to both HDMI and Component output, both will work simultaneously unless the source material’s copy protection prevents this.

3. SETUP continued …

Output Resolution:

Input from S-Video, Component, and HDMI is scaled to this resolution for Component and HDMI output. If interlaced to progressive scan conversion is in effect, it is uncompromisingly pixel-adaptive even with 1080i, and the same robust film mode detection applies as with standard-definition interlaced input.

Resolution is expressed as follows:

number of pixels across the screen

frames per second (Hz)

1920x1080p/60

number of pixels or lines from top to bottom

scan type: p=progressive, i=interlaced

From the list below, use the setting that gives the best picture on your display. Other resolutions and refresh rates are available through Live Video Settings Editor including computer monitor and custom resolutions.

• 720 x 480i or 480p / 60 Hz (480i is not applicable to DVI input on display)

• 720 x 576i or 576p / 50 Hz (576i is not applicable to DVI input on display)

• 1280 x 720p / 50 Hz or 60 Hz

• 1024 or 1280 or 1360 or 1366 x 768p / 60 Hz (DVI input on display is required)

• 1920 x 1080i / 50 or 60 Hz

• 1920 x 1080p / 24 Hz or 50 Hz* or 60 Hz*

• Custom

• Auto

*high-bandwidth cable is required

Color Space:

Set this to match your display type: HDTV (high definition TV), SDTV (standard definition), or Auto

Data Format:

Select YCbCr 4:2:2, YCbCr 4:4:4, Studio RGB, Extended RGB, or Auto

– whichever looks best. When YCbCr is

selected, the HDMI output uses YCbCr format and Component output uses YPbPr.

To determine whether Studio vs Extended RGB is the correct setting, compare shadow detail in dark scenes or play the color bar test pattern in section 4.11 and look at the stripes in the lower right. If using YCbCr output, compare detail around edges in colorful scenes to determine whether 4:2:2 vs 4:4:4 is best.

If colors look totally wrong with all sources, try all settings before contacting tech support

. If colors look

wrong only when certain sources are selected, see section 4.11.

§ Auto setting: Works with most displays, but you may get a better result selecting the format manually.

3. SETUP continued …

Letterbox:

When the source material’s aspect ratio (the proportion of image width to height) does not match the display’s aspect ratio and you want to preserve the original image’s proportions, the unused areas of the screen will be blank. You can select the shade of these areas from ten levels between light gray and black. If you do not want letterbox (bars on top/bottom) or pillarbox (sidebars) on your screen, see section 4.11.

Synchronization:

Try Inverted setting if the image via HDMI is not centered or does not show.

Component 2 Out:

The second Component video output can be configured in one of the following three ways or turned Off:

• MAIN output, processed (same signal as Component 1).

• MAIN output, passthrough – this bypasses the video processing and on-screen display is not available. If a secondary display in the main room does not accept the format being fed to the main display, use this setting.

• ZONE2 output – bypasses video processing and on-screen display not available.

3. SETUP continued …

3.2 SET TIME / TIMERS

The time and day, plus 6 different timers are set in this menu. The timers in the processor are like an alarm clock, but allow two different timer settings for each of MAIN, ZONE2, and ZONE3.

To set Time and Day:

• Enter the setup menu. Go to SET TIME / TIMERS and press SELECT.

• Press the  button until you reach FORMAT.

• Use the  buttons and choose 12 Hr or 24 Hr.

• Press the  button to go to TIME.

• Press SELECT. “12” or the current hour will be highlighted in red.

• Use the Master Control Knob or the  buttons to set the current hour.

• Press the button. “00” or the current minutes will be highlighted.

• Use the Master Control Knob or the  buttons to set current minutes.

• Press BACK to return to the menu line.

• Press the  button to go to DAY then use the  buttons to set the current day.

2. SET TIME / TIMERS

a. FORMAT: 12 Hr b. TIME: 12:00 AM c. DAY: Sunday d. ALL TIMERS: Disabled e. SET MAIN TIMERS f. SET ZONE2 TIMERS g. SET ZONE3 TIMERS

All Timers:

This allows you to simultaneously “Enable” or “Disable” all Timers for MAIN, ZONE2, and ZONE3.

Highlighting SET MAIN TIMERS then pressing SELECT displays this menu:

2e. SET MAIN TIMERS

a. --- TIMER 1: Off --b. WEEKDAY ON: 8:00 AM c. WEEKDAY OFF: 11:00 PM d. WEEKEND ON: 10:00 AM e. WEEKEND OFF: 11:00 PM f. SOURCE: Last Stn g. ON-VOLUME: -35.0 dB h. --- TIMER 2: Off --i. WEEKDAY ON: 8:00 AM j. WEEKDAY OFF: 11:00 PM k. WEEKEND ON: 10:00 AM l. WEEKEND OFF: 11:00 PM m. SOURCE: Last Stn n. ON-VOLUME: -35.0 dB

3. SETUP continued …

Timer Options:

There are two Timers for Main and each Zone to allow greater flexibility. You can set week and weekend on/off times twice – once for the morning and again for the evening, for example.

Using the  buttons, TIMER 1 and TIMER 2 choices are:

• Off – Timer is disabled.

• Week – Timer operates from Monday to Friday.

• Wkend – Timer operates on Saturday and Sunday.

• Wk+Wkend – Timer operates every day.

On and Off Times:

Auto-on/off times are entered for:

T1 or T2 WEEKDAY ON: Sets the Monday to Friday turn-on time.

T1 or T2 WEEKDAY OFF: Sets the Monday to Friday turn-off time.

T1 or T2 WEEKEND ON: Sets the Saturday and Sunday turn-on time.

T1 or T2 WEEKEND OFF: Sets the Saturday and Sunday turn-off time.

Timers may also be set to only turn on or only turn off (see Example 2) – this way, the processor can be set to turn on automatically, and it won’t turn off until you turn it off manually.

If the processor is already on, Timer On settings are ignored to ensure that source and volume are not changed while in use.

Source:

Select what you want to be playing when a Timer turns the power on – any source, any preset FM • AM station, or Last Stn (the tuner setting when processor was turned off). Be sure that the source and the power amplifier are turned on or will be on at the Timer turn-on time. If your components have trigger inputs, you can set a processor trigger to turn them on (see section 3.11).

On-Volume:

Sets the volume that will play when a Timer turns the power on. The volume increases slowly when a Timer turns the power on.

3. SETUP continued …

Example 1: Select a source for the ZONE2 Timer:

• Enter the setup menu. Go to SET TIME / TIMERS and press SELECT.

• Press the  button until you reach SET ZONE2 TIMERS.

• Press SELECT. The SET ZONE2 TIMERS submenu will appear.

• Press the  button until you reach SOURCE.

• Use the  buttons to change to desired source.

• Press BACK to leave this submenu and return to the SET TIME/TIMERS menu.

To have the Timer turn on to a Preset Station, do the following from the SOURCE menu line:

(setting Preset Stations is explained in section 4.4.1)

• Use the  buttons to change to “Last Stn”.

• Press SELECT to highlight “Last Stn”.

• Use the  buttons to select an FM • AM Preset. These scroll from AM 1-1 to AM 1-6 then from FM1-1 to FM3-6 and back to “Last Stn”.

• Press BACK once you have selected a preset.

The Timer submenu setup procedure is the same for MAIN, ZONE2, and ZONE3.

Example 2: Change ZONE2, TIMER2 to come on Weekdays at 7:30 AM.

• Enter the setup menu. Go to SET TIME/TIMERS and press SELECT.

• Press the  button until you reach SET ZONE2 TIMERS.

• Press SELECT. The SET ZONE2 TIMERS submenu will appear.

• Press the  button to reach TIMER 2.

• Use the  buttons to change to “Week”.

• Press the  button until you reach WEEKDAY ON.

• Press SELECT. The hour is now highlighted. Use the Master Control Knob or the  buttons to set the hour to “7” AM. (Continuing through “12” will advance the AM/PM settings.)

• Press the  button. “00” minutes will be highlighted.

• Use the Master Control Knob or the  buttons to set the minutes to “30”.

• Press BACK to leave this submenu and return to SET TIME/TIMERS menu.

When scrolling between 11 PM and 12 AM settings, the display shows “--:--”. Timers set in the “--:--” position will be skipped. For example, to set the Timer to only turn on, set the Off time to “--:--”. To set the Timer to only turn off, set the On time to “--:--”.

3. SETUP continued …

3.3 SPEAKER CONFIGURATION

The Speaker Configuration Setup allows you to enter information about your speakers so that sounds from source materials are not lost or distorted.

3. SPEAKER CONFIGURATION

a. BASS MANAGEMENT-MOVIE b. BASS MANAGEMENT-MUSIC c. SURROUNDS: Dipole d. REARS: Dipole-7.1 e. UNITS: ft f. CENTER EQ: No g. TV SIZE: 30-42 in h. ROOM RESONANCE FILTER

Skip items f. to h. if using Anthem Room Correction on all

Bass Management Configurations for Movies and Music:

The processor memorizes two bass management configurations – if using both (Music configuration is optional), always use Movie for source material that contains LFE. The BASS MANAGEMENT-MUSIC menu asks whether or not you want to use the same settings as the Movie configuration – the default is “Yes”.

Setting up a configuration is described later in this section. Assigning a configuration to a source or enabling automatic activation according to presence/absence of LFE is explained in section 3.6.

If your source components have bass management and time alignment, turn them off by setting all channels “large” and to the same distance in the source components.

Surround and Rear Speaker Quantity and Type:

Surround speakers fall in two radiation pattern categories: Direct and Dipole. No delay is necessary in channels using dipole speakers since most of the sound is delayed through room reflections. When Dipole is selected, distance is matched internally with the greatest one in the LISTENER POSITION menu.

If you are using one rear speaker, set d. REARS to 6.1 and use the Rear-L output.

If you are using no rear speakers, skip the d. REARS setting. It makes no difference what it’s set to.

Units:

Feet (ft) or metres (m). This will be used for size and distance measurements.

Center EQ:

When a speaker sits directly above or below a vertical surface such as a TV screen, reflections can change frequency response making dialog less natural. With Anthem’s unique CENTER EQ set to “Yes” the negative effects of vertical surfaces close to the front of the speaker can be cancelled.

sources.

TV Size:

This determines the CENTER EQ response curve. Select from 18 - 30” / 30 - 42” / 42 - 54” / 54 - 66” / 66 - 78”. If UNITS is set to “m” the selections are 45 - 75 cm / 75 - 100 cm / 100 - 135 cm / 135 - 165 cm / 165 - 200 cm.

Since room/TV/furniture acoustics vary as do center channel speakers and their positioning, play a few DVDs and use the setting that provides the clearest dialog even if it doesn’t match the TV’s size.

3. SETUP continued …

Highlighting BASS MANAGEMENT-MOVIE then pressing SELECT displays this menu:

3a.BASS MANAGEMENT-MOVIE

a. ADV SETTINGS: Off b. FRONTS: Small c. CENTER: Small d. SURROUNDS: Small e. REARS: Small f. SUBS: 1 Sub g. XOVER FREQ: 80 THX h. FRONTS XOVER: -- Hz i. CENTER XOVER: -- Hz j. SURND XOVER: -- Hz k. REAR XOVER: -- Hz l.SUB/LFE XOVER: -- Hz m. SUB POLARITY: -n. SUB PHASE: -- Deg o. BYPASS LFE XOVER: --

Skip items a. to l. if using Anthem Room Correction on all

Advanced Settings:

The default is Off. Use of advanced settings is described later in this section.

Small or Large:

Most speakers should be set to Small and used with a subwoofer unless they use large drivers that play deep bass and LFE accurately. Even then, the question is which speaker can produce deeper and cleaner bass at higher output? It’s almost always the subwoofer, which has the advantage of flexible positioning in the room to help control boominess. All THX certified speakers are designed for Small setting.

Subwoofer:

• 1 Sub The subwoofer plays two things – bass from channels set to Small and the Low Frequency

Effects track on 5.1-channel source material. This setting is preferred by THX. Use this setting if using a subwoofer with Anthem Room Correction.

• 1 Super As above except bass from all channels is included, not just the ones set to Small. This

setting is not recommended for the Movie configuration

• 2 Subs or 2 Supers – Select if using both subwoofer outputs and not using ARC. This simply reduces

the subwoofer channel’s test noise level to compensate for the additional subwoofer.

“None” setting for:

• CENTER – the center channel plays from the L/R fronts.

sources.

• SURROUNDS – the L-Surround channel plays from the L-Front channel and the R-Surround channel plays from the R-Front channel (except Dolby Pro Logic modes).

• REARS – the rear channel on Surround EX and DTS-ES sources plays from the surrounds.

• SUBWOOFER – the subwoofer channel plays from L/R fronts (forced to Large) and surrounds.

If you are using 5.1 speakers, use the SURROUND outputs and set REARS to None

so no sound is lost!

3. SETUP continued …

Bass response highly depends on room acoustics and experimentation with subwoofer placement is

recommended. Start by temporarily placing the subwoofer in the listening area, play some music with a range of bass and walk around the room. Positions where the bass range sounds smooth are suitable for permanent subwoofer placement as long as decor allows.

Crossover (Xover) Frequency:

The crossover divides audio in two frequency bands, resulting in lower bass level in Small channels and no midrange/treble in the subwoofer. If your subwoofer has a crossover, it should be bypassed – set its frequency control to the highest frequency.

A crossover does not cut frequencies off like a cliff, but rolls them off according to a slope. If set to 80 Hz, for example, your main speakers will still play lower frequencies – they just won’t have to play them as loudly. This also lightens the load on the amplifier leaving extra power for mid and high frequencies. Setting the crossover to the lowest number on your speaker’s specification page is unlikely to provide the best result.

Using the  buttons choose a frequency between 25 Hz - 160 Hz suitable for the low frequency capability of your speakers. With THX certified speakers, the crossover should be set to 80 Hz.

LFE is redirected only when Subwoofer is set to No. If set to Yes or Super, the Movie configuration XOVER FREQ should not be set much lower than 80 Hz otherwise some LFE information will be lost.

Advanced Settings – Crossover Frequency:

When ADV SETTINGS is set to On, each speaker type can be set to a Crossover Frequency that best suits its low frequency characteristics and room acoustics. For example, if placing a speaker against a wall causes excessive bass, the Advanced Crossover can be used to roll off the excess bass.

If room acoustics cause response to drop in the crossover region, the subwoofer channel can be set to overlap other channels to compensate, for instance setting SUB/LFE XOVER to 90 Hz and FRONTS XOVER to 70 Hz. In the opposite situation, if there is a bass peak in the crossover region, you can spread settings to flatten response, for example SUB/LFE XOVER to 70 Hz and FRONTS XOVER to 90 Hz.

A very low setting, such as 25 Hz, may be used to protect full-range speakers from potentially harmful signals. Scrolling below 25 Hz or above 160 Hz brings the Off setting which bypasses the crossover.

Advanced Settings – Subwoofer Phase and Polarity:

Certain subwoofer positions can cause bass frequency cancellation. When the front speakers and subwoofer are out of phase or misaligned, they work against each other resulting in weak and dislocated sounding bass. This can be corrected by adjusting Phase and Polarity.

If your subwoofer has these controls, set them to zero/normal before making menu adjustments. The advantage of adjusting through the setup menu is hearing changes instantly from the listening position.

As a general guide, set Polarity to Normal if the subwoofer is near the front speakers and to Inverted if the subwoofer is near the back of the room. With bass material or the “shhhh” noise between FM radio stations playing, compare Normal to Inverted and use the setting that provides louder bass.

The Phase control provides further alignment – listen to FM “shhhh” noise and adjust until bass is loudest.

Advanced Settings – Bypass LFE Crossover:

If you have set SUB/LFE XOVER to much lower than 80 Hz, the upper portion of the LFE signal will be lost. With BYPASS LFE XOVER set to Yes, LFE goes to the subwoofer without going through the crossover, preventing loss of LFE information. This also applies to the 6-Ch input’s SUB input (effectively an LFE input).

3. SETUP continued …

ROOM RESONANCE

RESONANCE FILTER

RESULT

Center Frequency

Filter Depth

Filter Width

Highlighting ROOM RESONANCE FILTER then pressing SELECT displays this menu:

3h.ROOM RESONANCE FILTER

a. TEST TONE: Off b. TEST LEVEL: +0.0dB c. TEST FREQ: 21 Hz d. APPLY FILTER: No e. CENTER FREQ: 60 Hz f. FILTER DEPTH: 1 dB g. FILTER WIDTH: 20 Hz h. THX ULTRA2 SUB: No i.THX BG COMPENSAT'N: NA

Skip this menu if using Anthem Room Correction on all

sources.

Rooms often have a single prominent resonance peak which can make bass sound boomy, even with the finest subwoofer. The processor has a proprietary set of low frequency test tones that allow you to find and easily remove that resonance peak.

The Room Resonance Filter is a notch filter – it is not designed to boost weaker bass frequencies. While running the test tones, if you discover that instead of a prominent peak there is a prominent dip in response, the best way to fill it is through repositioning the subwoofer and/or listening position. Using electronics alone to accomplish this is often met with frustration, for example, a 10 dB boost would require the amplifier to work ten times harder, as well as speakers that can handle that much more power.

Test Tone and Level:

Test tones sweep from 18 Hz up to the XOVER FREQ (or the SUB/LFE XOVER frequency) that you have set in BASS MANAGEMENT -MOVIE or -MUSIC, whichever is higher. You can vary the level to a comfortable one.

Filter Center Frequency:

The frequency that is reduced the most when the filter is applied is called the Center Frequency. Set this to the frequency that sounds the loudest or most boomy when the built-in test tones are played. If you’re using a sound pressure level meter, set it to C-weighting or Flat.

Filter Depth:

This is the amount of center frequency ‘cut’, or reduction in volume, in the subwoofer channel. Frequencies just above and just below the center frequency are also reduced, but not as much. Range is from 1 to 20 dB. Adjust to bring the level of the resonant peak down to the same level as the other frequencies.

Filter Width:

This adjustment varies the range and sharpness of the filter. For example, if Filter Width is set to 3 Hz, the Room Resonance Filter cuts a very narrow range at the filter center frequency. If Filter Width is changed to 18 Hz, a broader range is reduced. Adjust so that resulting frequency response is as flat as it can be made.

Frequency and Depth settings affect Width adjustment range – this changes automatically.

THX Boundary Gain Compensation:

If your listening room layout results in the subwoofer and/or listeners being too close to a wall, an excessive bass effect can result. With a subwoofer that extends to 20 Hz, including all THX Ultra2 certified subwoofers, Boundary Gain Compensation can improve bass balance. To enable, set THX ULTRA 2 SUB to Yes and THX BG COMPENSATION to On.

3. SETUP continued …

Procedure for adjusting Room Resonance Filter:

• Enter the setup menu. Go to SPEAKER CONFIGURATION and press SELECT.

• Press the  button until you reach ROOM RESONANCE FILTER and press SELECT.

• Use the  buttons to set TEST TONE to Auto. Press SELECT to start automatic sweeping of the test tones. Alternatively, you can set TEST TONE to Manual – to vary the frequency, press the  buttons to reach TEST FREQ, then use the  buttons to change frequency.

• Some subwoofers are not able to accurately reproduce frequencies below 30 Hz or so, especially at higher levels. In addition, it can be quite difficult to hear these frequencies. If playing them causes unusual sounds indicating the subwoofer is being stressed, do not continue to play them.

• TEST FREQ changes to show the frequency being played during automatic sweep. Listen for (or measure) the frequency that sounds too loud compared to the other frequencies.

• Press the  button until you reach CENTER FREQ and select the frequency that is closest to the test tone frequency that was found to be the loudest.

• Press the  button until you reach APPLY FILTER and set it to Yes.

• Press the  buttons to go to FILTER DEPTH and FILTER WIDTH. Adjust both to achieve the flattest response across the range of test tones.

• Press BACK to stop the test tones and leave this submenu.

3. SETUP continued …

3.4 LISTENER POSITION

The Listener Position menu lets you enter the distance between each speaker and the listening area. Ideally, speakers should be placed at an equal distance so that their sound arrives at the listening area at the same time, but since this is rarely practical, the processor can delay the sound coming from speakers that are closer to the listener. This way, sound reaches the listening area at the same time from all speakers, and proper imaging can be achieved.

The speaker with the greatest distance setting will have no delay – speakers with shorter distance settings will be delayed according to their setting. Speakers set to Dipole in the SPEAKER CONFIGURATION menu have their distance set internally to the greatest distance that you enter for the other speakers.

4. LISTENER POSITION

a. FRONT-L: 12.0 ft b. CENTER: 12.0 ft c. FRONT-R: 12.0 ft d. SUR-R: Auto e. REAR-R: Auto f. REAR-L: Auto g. SUR-L: Auto h. SUBWOOFER: 12.0 ft i. REARS L-R: 4+ ft

Distance Adjustment:

Enter the distance between your primary listening area and each speaker. Range is 0-99 ft in 0.5 ft increments or 0-99 m in 0.2 m increments.

Example: Set center speaker distance to 11 feet.

• Enter the setup menu. Go to LISTENER POSITION and press SELECT.

• Press the  button until you reach CENTER.

• Use the  buttons to change to 11.0 ft.

• When finished, press  to go to another menu item, or...

• Press BACK to leave the submenu and return to the main menu.

Rear-L to Rear-R Distance:

ASA (Advanced Speaker Array) is a proprietary THX technology that processes the sound fed to the two surround and two rear speakers to provide an optimal surround sound experience. When using all 7.1 speaker outputs, placing the two rear speakers close together will provide the largest sweet spot. If for practical reasons you have to place the rear speakers further apart, choose the setting that most closely corresponds to the speaker spacing to optimize the surround soundfield.

3. SETUP continued …

3.5 LEVEL CALIBRATION

Level Calibration uses internal test noises to match the relative level of each speaker at the listening position. Use of noises from home theater setup discs is not recommended – some use incorrect methods.

Use of a Sound Pressure Level meter is recommended if not using ARC. Set the meter to C-weighting or Flat if C-weighting is unavailable, and Slow or RMS responses if available. At the listening position, point the meter upwards when measuring and hold it away from your body to prevent reflections.

The FRONTS, CENTER, SURROUNDS, REARS, SUB, and BALANCE buttons on the front panel and remote control do not to input format, in case a source material needs it (sections 4.6 and 4.7).

change settings in this menu – they provide on-the-fly adjustment, memorized according

5. LEVEL CALIBRATION

a. NOISE SEQUENCE: Off b. NOISE LEVEL: +0.0 dB c. FRONT-L: +0.0 dB d. CENTER: +0.0 dB e. FRONT-R: +0.0 dB f. SUR-R: +0.0 dB g. REAR-R: +0.0 dB h. REAR-L: +0.0 dB i. SUR-L: +0.0 dB j. MOVIE SUB: +0.0 dB k. MUSIC SUB: +0.0 dB

k. is displayed when item a. in BASS MANAGEMENT-MUSIC is set to No.

Skip items b. to i. if using ARC unless mic cannot detect sweep tones – raise NOISE LEVEL in that case.

Noise Sequence:

Test noise plays from one speaker at a time, changing manually using the  buttons or automatically every two seconds by setting NOISE SEQUENCE to Auto using the  buttons, then pressing SELECT.

Source switches to FM • AM when any test noise is played. (Anlg-Dir bypasses the test noise generator.)

Noise Level:

This is the master volume for this menu’s test noises – changing it changes the levels of all channels equally including normal playback of sources. The noise comes out of the left front channel. Using the  buttons,

adjust NOISE LEVEL so the SPL meter reads 75 dB. If you do not have an SPL meter, skip this adjustment.

Level Calibration of each channel:

Balances speaker levels to one another. If you’re calibrating by ear, use the remote control and sit in the listening area when adjusting. If using an SPL meter, adjust level so it reads 75 dB for each channel. If Noise Level is set while Front-L is at 0 dB, no adjustment of Front-L is needed since the output is the same. If using a powered subwoofer, make a rough adjustment with its input level control before setting sub level in this menu or using ARC. Speakers set to None in the Speaker Configuration menu are skipped.

If SUBS is set to Super in BASS MANAGEMENT-MOVIE (not advised) or BASS MANAGEMENT-MUSIC, do not rely on an SPL meter to set subwoofer level – set it by ear while playing various types of source material. Level Calibration cannot take into account the bass that’s added to the subwoofer from speakers set to Large, which results in more bass during playback than the calibrated level.

3. SETUP continued …

Procedure for Manual Test Sequence:

• Enter the setup menu. Go to LEVEL CALIBRATION and press SELECT.

• Use the  buttons to set NOISE SEQUENCE to Manual.

• Press the  buttons to go from speaker to speaker.

• As each speaker plays, use the  buttons to adjust its loudness relative to other speakers.

• Press BACK to stop the test noise.

Procedure for Auto Test Sequence:

• Enter the setup menu. Go to LEVEL CALIBRATION and press SELECT.

• Use the  buttons to set NOISE SEQUENCE to Auto.

• Press SELECT to start the automatic sequence.

• As each speaker plays, use the  buttons to adjust its loudness relative to other speakers. After you make an adjustment, the next speaker will play.

• Press BACK to stop the test noise.

3. SETUP continued …

3.6 SOURCE SETUP

This is where you set up each source and path according to how you want them to be used.

6. SOURCE SETUP

a. CD b. 2-Ch c. 6-Ch d. TAPE e. FM/AM f. DVD1 g. DVD2 h. DVD3 i. DVD4 j. TV1 k. TV2 l. TV3 m. TV4 n. SAT1 o. SAT2 p. VCR q. AUX r. ZONE2 COPY: Manual s. ZONE3 COPY: Manual t. REC COPY: Manual

Copy MAIN to ZONE or REC:

If you want MAIN to always be copied to another path (see section 4.3), change Manual to Always. This is recommended if you want a source that only has digital audio output to be used in ZONE2, ZONE3, or REC, or if you want MAIN and another path to always play the same source. “Always” setting is not if you want independent source selection – see the highlighted part of section 2.2.

Source Setup:

Besides setup of each source, DVD, TV, and SAT have expanded memory allowing you to set multiple configurations, which are useful for two reasons:

• Use multiple layers for same source, with different video adjustments on each layer, such as aspect ratio control (see section 4.11).

• Use multiple layers with different sources when you have more than nine source components.

To enable DVD2, DVD3, DVD4, TV2, TV3, TV4, or SAT2, at the top of its submenu change SAME AS to Custom to create its own Source Setup profile, or to any of the other sources to use the same Source Setup profile but with different video processing adjustments.

To copy settings from one source to another layer while having the ability to make changes to the new layer, select another source for SAME AS then press SELECT. When asked “Are you sure?” that you want to copy settings, use the  buttons to change No to Yes and press SELECT. The new layer becomes Custom using the copied settings and changes can then be made.

Once set up, select a layer by pressing the source button one, two, three, or four times, or through the direct-access macros in Appendix A.

recommended

3. SETUP continued …

Highlighting DVD1 then pressing SELECT displays this menu – the other submenus are similar:

6f. DVD1 SOURCE SETUP

a. RENAME: DVD1 b. VID OUT CNFG: 1 c. SCALER INPUT: HDMI1 d. COMPONENT IN: 1 e. S-VIDEO IN: DVD f. COMPOSITE IN: DVD g.AUDIO IN: Dig HDMI h.AUTO DIG: No i.HDMI MAP: Auto j. MUTING: Med k.EQ LF +0.0dB HF +0.0dB l. BASS MGR: Auto-LFE m. ROOM EQ: On n. LIP-SYNC: 0.0 ms

Rename:

The factory assigned source names that appear on the front panel display and the on-screen display can be changed to another name, up to six characters long. The following characters are available:

A, B, C....Z, a, b, c....z, blank, dash (–), period (.), slash (/), 0, 1, 2....9, colon (:).

After highlighting the RENAME line, press SELECT and use the  buttons to move from character to character, then use the  buttons or rotate the Master Control Knob to change the character. It is also possible to rename ZONE2, ZONE3, and RECORD – see section 3.10.

When a source is renamed, the new name appears next to the factory name in the Source Setup and Mode Presets root menus and at the top of the renamed source’s submenu.

Example: Rename “AUX” to “GAME”.

• Enter the setup menu. Go to SOURCE SETUP and press SELECT.

• Press the  button until you reach AUX and press SELECT.

• RENAME: AUX will be highlighted in red.

• Press SELECT. The first character “A” will be highlighted in red.

• Use the Master Control Knob or the  buttons to change characters. Change the first one to “G”.

• Press the  button to move to the next character. Change it to “A”.

• Use the  buttons to move to each remaining character. Change to “M” and “E”.

• Press BACK to leave the submenu and return to the main menu.

Video Output Configuration (MAIN only): Choose between configurations 1 to 4 as set in the VIDEO OUTPUT menu, or Last Used. When Last Used is selected, the video configuration will be the same as the one that the previously selected source was using.

3. SETUP continued …

Scaler Input (MAIN only):

Assign which input is used by the video processor when the source is selected – any HDMI, Component video, S-Video input, or “None”. Before setting this, be sure that you have read section 2.1. Note that if S-Video is selected, the input connection is the one specified in S-VIDEO IN. To increase seeking speed for the seek function in section 4.4, set this to None if the source does not use video processing.

Component, S-Video, Composite Video Inputs:

Assign which video input (or None) is used for unprocessed video switching when the source is selected, including in ZONE2, ZONE3, and REC.

Audio In (MAIN only): There are three input types to choose from – Digital, Analog-DSP, and Analog-Direct. After highlighting AUDIO IN use the  buttons to select an input format.

In Digital and Analog-DSP, all channels are upsampled to 24-bit / 192 kHz ensuring the finest in high-end sound reproduction. This applies even when the input is Dolby Digital or DTS.

• Dig (Digital): Choose any HDMI, coaxial, optical, or the AES/EBU connection. Any digital input can be assigned to multiple sources. This allows, for example, two setups for the same DVD player – one for DVDs using DVD1 source setup, and the other for CD music using CD source setup. Note that Dolby Digital and DTS are transmitted only

through a digital connection.

• Anlg-DSP (Analog with Digital Signal Processing): If you want your subwoofer to play from an analog L/R input, use this setting. Analog input is converted to digital using the processor’s high-end A/D converters – this enables bass management, time alignment, surround mode, Anthem Room Correction, bass/treble, lip-sync delay, and THX. These are also available for the 6-Ch input. With the bass management and time alignment, sound quality from DVD-Audio or SACD is improved compared to Anlg-Dir mode.

• Anlg-Dir (Analog-Direct): The preamp plays the traditional role of switching inputs and adjusting levels. All digital processing is bypassed.

Auto Digital (MAIN only): If set to Yes, the input type switches to Digital when sensing a digital clock signal from a source and to Analog-DSP when no clock signal is present. This feature is useful with older digital cable boxes that use the digital output for digital channels and analog output for analog channels.

Example: Change SAT1 Digital Input to optical.

• Make sure satellite receiver is connected to OPT1 and playing.

• Enter the setup menu. Go to SOURCE SETUP and press SELECT.

• Press the  button until you reach SAT1 and press SELECT.

• Press the  button until you reach AUDIO IN.

• Use the  buttons to change to OPT1 (sound will now be heard).

• Press BACK to leave the submenu and return to the main menu.

HDMI 6-Channel Map: (MAIN only, for DVD-A format only):

If you hear channels coming out of the wrong speakers, for example the dialog coming out of the right surround, change HDMI 6CH MAP to the setting that makes each channel come from the correct speaker.

3. SETUP continued …

Muting (MAIN only): This eliminates popping sounds that may occur with some digital source components during a bitstream change. If popping is heard when changing chapter on a DVD or channel on a digital satellite receiver or cable box, use Max setting. However, if the beginning of a track is cut off when playing a CD, use Min setting.

EQ (MAIN only): For sources set to Digital or Anlg-DSP, you can preset low and high frequency levels. This is useful for source components that have frequency irregularities. After highlighting the EQ line, press SELECT and use the  buttons to select LF (low frequency) or HF (high frequency), then use the  buttons to adjust. In the FM/AM Setup/Presets menu, FM and AM can be adjusted separately. The EQ settings in this menu and the on-the-fly BASS / TREBLE adjustments do not

Bass Manager (MAIN only): Choose between Movie or Music configuration as set in the Bass Management menu, or Auto-LFE. When Auto-LFE is selected, the Movie configuration is used if there is LFE in the source material, and changes to the Music configuration at all other times. Auto-LFE is recommended when using two bass management configurations and the same player for DVDs and CDs.

Room EQ (MAIN only, for units with optional ARC-1 Anthem Room Correction): To disable room correction equalization performed with the ARC-1 microphone kit, change this to Off.

affect each other (see section 4.7).

Lip-Sync (MAIN only): Video can fall out of synchronization with audio for a variety of reasons. The Statement D2’s video processing causes video to be delayed by 24 milliseconds, which is less than the duration of one frame, thus considered synchronized. If for whatever reason audio is heard before the corresponding image is seen, you can set up to 170 milliseconds of audio delay. To adjust while watching video see section 4.9.

Example: Set DVD1 Lip-Sync delay to 24 milliseconds.

• Enter the setup menu. Go to SOURCE SETUP and press SELECT.

• Press the  button until you reach DVD1 and press SELECT.

• Press the  button until you reach LIP-SYNC and press SELECT.

• Use the  buttons to move from digit to digit and the  buttons to adjust to 24 ms.

• Press BACK to leave the submenu and return to the main menu.

3. SETUP continued …

3.7 MODE PRESETS

When you or another member of your family uses the processor, the mode and THX presets that are set here are recalled, ensuring trouble-free operation. The presets are applied when a source is selected or MAIN power is turned on. Each type of source material except 1.0-channel has a setting. Presets do not apply to sources set to Anlg-Dir. If you do not want to have presets, set this to Last Used.

After selecting a source in the MODE PRESETS root menu, a menu such as the one below appears – DVD1 is shown as the example. Use the  buttons to highlight an input format, then use the  buttons to

select. For descriptions of surround modes and when to use them, refer to section 4.8.

7f. DVD1 MODE PRESETS

a. 6.0: PLIIx Movie b. 2.0: AnthemLogic-Cin c.2Sur: PLIIx Movie d. DD5: PLIIx Movie e. EX: PLIIx Movie f. DTS: Neo:6 g. ES: DTS-ES Matrix

Program Preset Selections

• 6.0 Select your playback preference for multichannel PCM (via HDMI) and 6-Ch analog input:

PLIIx Movie (with or without THX Cinema), PLIIx Music, Dolby D EX, THX Surround EX, THX Cinema, THX Ultra2 Cinema, THX MusicMode, THX Games Mode, Neo:6 (with or without THX Cinema), Last Used, or None (see sections 4.8.4 and 4.8.6).

• 2.0 For stereo input, select any mode in section 4.8.3, THX Games Mode, or Last Used. Dolby Pro Logic, Pro Logic IIx Movie, and Neo:6 Cinema can be set with or without THX Cinema.

The following apply to Digital inputs only:

• 2.0-Sur Separate setting especially for surround-flagged Dolby Digital 2.0 material (section 4.8.2),

normally PLIIx Movie but any setting that applies to regular stereo input can also be used.

• DD-5.1 Select your playback preference for Dolby Digital 5.1 material: PLIIx Movie (with or without THX Cinema), PLIIx Music, Dolby D EX, THX Surround EX, THX Cinema, THX Ultra2 Cinema, THX MusicMode, THX Games Mode, Neo:6 (with or without THX Cinema), Last Used, or None (see sections 4.8.4 and 4.8.6).

• DD-EX For material encoded in Dolby Digital Surround EX: PLIIx Movie (with or without THX Cinema), PLIIx Music, Dolby D EX, THX Surround EX, Neo:6 (with or without THX Cinema), Same as DD-5.1, Last Used, or None (see sections 4.8.4 and 4.8.6)

• DTS-5.1 For DTS material: Neo:6 (with or without THX Cinema), PLIIx Movie (with or without THX Cinema), PLIIx Music, Dolby D EX, THX Cinema, THX Ultra2 Cinema, THX MusicMode, THX Games Mode, Last Used, or None (sections 4.8.5 and 4.8.6).

• DTS-ES For DTS-ES: DTS-ES Matrix (with or without THX Cinema), PLIIx Movie (with or without

THX Cinema), PLIIx Music, Dolby D EX, Same as DTS, Last Used, or None (see sections

4.8.5 and 4.8.6). Note that for ES Discrete, this setting is overridden and playback is in 6.1.

3. SETUP continued …

3.8 ANALOG INPUT LEVELS

For sources set to Anlg-DSP or Anlg-Dir in under Source Setup, you can match input levels in MAIN to each other so there are no large changes in volume as you change sources. This is also where recording level is set when using the processor as an analog-to-digital converter (see sections 3.6, 3.9, and 4.3).

8. ANALOG INPUT LEVELS

a. CD: +0.0 dB b. 2-Ch: +0.0 dB c. 6-Ch: +0.0 dB d. TAPE: +0.0 dB e. FM/AM: -5.0 dB f. DVD1: +0.0 dB g. DVD2: +0.0 dB h. DVD3: +0.0 dB i. DVD4: +0.0 dB j. TV1: +0.0 dB k. TV2: +0.0 dB l. TV3: +0.0 dB m. TV4: +0.0 dB n. SAT1: +0.0 dB o. SAT2: +0.0 dB p. VCR: +0.0 dB q. AUX: +0.0 dB

If a source that is set to Analog-DSP is playing while you adjust the Input Level, you will notice a vertical bar graph to the left of the dB settings. With the on-screen display, this Bar Graph has a green, pink, and red area. The pink area, when showing, represents the last 6 dB of undistorted range and the red area, when showing, indicates overload. On the front panel display the overload indication is the uppermost segment, and the one below it is the “6 dB or less remaining” indicator.

Before making changes or adjustments in this menu, have all connected source components playing similar music material. Then, as you switch through each highlighted source, you will hear that component play. This lets you know that each component is connected to the processor, and it also allows for easy comparative level adjustments of analog sources. Remember, adjusting input levels only functions with sources set to Analog, and the bar graph only works with Analog-DSP setting.

Example: Adjust TAPE Input Level.

• Make sure a source component is connected to TAPE Analog L/R Input and playing.

• Enter the setup menu. Go to ANALOG INPUT LEVELS and press SELECT.

• Press the  button until you reach TAPE: +0.0 dB.

• Press SELECT. +0.0 dB will be highlighted in red.

• Use the  buttons to change the Level.

• When finished, press BACK then  to go to another source, or...

• Press BACK to leave the submenu and return to the main menu.

3. SETUP continued …

3.9 ADC / AUDIO OUTPUT

In the ADC / Audio Output menu you can configure the surround and rear channels, set analog to digital conversion parameters for the digital Record output, and configure the balanced analog outputs.

Reverse Surrounds/Rears:

If you are using a 7.1 6-Ch input is selected, set REVERSE SUR/REAR to Yes and re-connect the processor as follows outputs on the processor to the rear inputs on your amplifier, and the rear processor outputs to the surround amplifier inputs. The 6-Ch surround inputs will now play through your rear speakers. The processor flips the SUR/REAR channels back to normal when a mode with 6.1 or 7.1 output is turned on for the 6-Ch input or when any other input is selected. If you are not getting sound from surround or rear speakers, check that

this is set up correctly before calling tech support.

9. ADC / AUDIO OUTPUT

a. 6-Ch REVERSE S/R: No b. COPY SUR TO REAR: No c. 6-ch Anlg-DSP: 96 kHz d. 2-ch Anlg-DSP:44.1kHz e. MAIN>REC: 24Bit f. DIGITAL2: DIGITAL 1 g. BAL OUT: Ctr2/Sub2

speaker system and want to use the rear speakers instead of the surrounds when the

: Surround

Copy Surrounds to Rears:

When playing material or using a mode that has surround channel information but no rear information, setting this to Yes plays the surround channel out of both sets of speakers.

Sampling Frequency (Fs):

When a source that is set to Anlg-DSP is copied from MAIN to RECORD, the analog signal is converted to digital using the processor’s high-end A/D converters, and sent to DIGITAL1. This is useful for recording analog music on a CD burner or computer with S/PDIF input on the sound card. You can select from 44.1, 48,

88.2, or 96 kHz sampling rates. Recording level is set by the input level in the Analog Input Levels menu.

This is also the signal processing rate for MAIN. Neo:6 does not function when 2-Ch Anlg-DSP Fs is set to 88.2 kHz or 96 kHz, therefore leave this set to 44.1 or 48 kHz unless a recording is being made, and use 48, 88.2, or 96 kHz only if the equipment connected to DIGITAL1 and DIGITAL2 accepts those rates.

For the 6-Ch input, a separate setting is used so that signal processing can be performed at the same high resolution that DVD-Audio and SACD provide. When 6-Ch is copied from MAIN to RECORD, the DIGITAL1 output is a 2-channel downmix.

Bit Rate of DIGITAL1 when MAIN is copied to REC: Choose from 16 or 24 bit output, to match the recorder. At 16 bits, dither is added to improve low level signals.

Output of DIGITAL2:

Set it to have the same output as DIGITAL1, or a fixed output from any source set to Digital (DVD1, SAT1, etc.). DIGITAL1 and DIGITAL2 transmit data from digital sources in the same format it comes in – if it’s Dolby Digital or DTS encoded, it stays that way and can be linked to other digital equipment.

Balanced Output:

If the Balanced CENTER2 and SUB2 outputs are not in use for a second center channel or subwoofer in MAIN, they can be used as Balanced ZONE2 L/R outputs.

3. SETUP continued …

3.10 VOLUMES / PATH NAMES

This menu allows you to define the power-on volume settings, set whether or not MAIN outputs shut off when headphones are used, and to rename ZONE2, ZONE3, and RECORD.

10. VOLUMES / PATH NAMES

a. MUTE LEVEL: Silent b. MAIN ON VOLUME: -35.0 c.MAIN MAX VOLUME: +10.0 d. ZONE2 ON VOL: -35.0 e. ZONE2 MAX VOL: +0.0 f. ZONE3 ON VOL: -35.0 g. ZONE3 MAX VOL: +0.0 h. HPHONE ON VOL: -20.0 i. HPHONE MAX VOL: +0.0 j.HPHONE MUTE SPK: No k. RENAME ZONE2: ZONE2 l. RENAME ZONE3: ZONE3 m. RENAME RECORD: RECORD

Mute Level:

When MUTE is pressed, sound can cut out completely, or decrease in volume by the amount that you set to keep some of it in the background – select from Silent or –5 to –30 dB in 5 dB steps.

Power-On Volume:

When you turn MAIN, ZONE2, or ZONE3 on, or plug in your headphones, the volume for each will come on at the known levels you have set in this menu. This prevents surprises when not knowing the volume someone had set when turning the processor off, then having the power-on volume be too loud or quiet. You can set independent volumes for MAIN, ZONE2, ZONE3, and HEADPHONE.

Maximum Volume:

These settings allow you to limit the volume of MAIN, ZONE2, ZONE3, or HEADPHONE to avoid damaging your equipment and/or your ears. This can also serve as a parental volume control feature. The range of settings available for MAIN is from –95.5 dB to +31.5 dB in steps of .5 dB, and for ZONE2, ZONE3, and HEADPHONE, the range is from –70.0 dB to +10.0 dB in 1.25 dB steps.

To set a fixed output for ZONE2 or ZONE3, scroll MAX VOL past +10.0 dB to select LockOnVol, then set the desired fixed output level in ON VOL. When the path is on, “Lock” is displayed beside the volume readout to indicate that its volume cannot be changed with the volume control.

Headphone Mutes Speakers:

Determines whether or not the MAIN speakers turn off when headphones are plugged into the front panel:

• Yes The MAIN speakers mute. “HPHONE” is displayed instead of “MAIN” to indicate that adjusting volume, bass, treble, and balance affect HEADPHONE only.

• No MAIN speakers continue to play when headphones are plugged in.

Rename Path:

The factory assigned path names that appear on the front panel and on-screen displays can be changed to another name up to six characters long – the procedure is the same as Rename Source under Source Setup.

3. SETUP continued …

3.11 TRIGGERS / IR / RS232

When a trigger output on the processor is connected to the trigger input of another component, such as an amplifier or projector, the processor can turn it on or off according to the trigger’s Setup. For components that do not have trigger inputs, a triggerable power bar may work (see your dealer).

Three 12 volt trigger outputs are provided – Trigger1 and Trigger2 each have maximum current output of 50 mA and Trigger3 has maximum current output of 200 mA. There is a quarter of a second delay between each trigger to minimize line voltage drops caused by switching on too many devices at once.

11. TRIGGER / IR / RS232

a. ALL TRIGGERS:Disabled b. SET TRIGGER 1 c. SET TRIGGER 2 d. SET TRIGGER 3 e. SET IR-INPUTS f. BAUD RATE: 19200 g. FLOW CONTROL: None h. RS-232 TX STATUS: Off

All Triggers:

When “Disabled” all triggers remain off. When “Enabled” the trigger chart below is used to set conditions. For custom installation, the “RS-232 Ctrl” setting uses external control.

Set Trigger: Highlighting SET TRIGGER 1 then pressing SELECT displays this menu:

11b. SET TRIG-1 SOURCES

MAIN Z2 Z3 REC a. POWER: * - b. CD : - - - c. 2-Ch : - - - d. 6-Ch : - - - e. TAPE : - - - f. FM/AM: - - - g. DVD1 : - - - h. DVD2 : - - - i. DVD3 : - - - j. DVD4 : - - - k. TV1 : - - - l. TV2 : - - - m. TV3 : - - - n. TV4 : - - - o. SAT1 : - - - p. SAT2 : - - - q. VCR : - - - r. AUX : - - - -

In the example shown, TRIGGER 1 activates when MAIN power is turned on. Trigger outputs can also be set to activate according to source instead of Power.

3. SETUP continued …

After highlighting Power or a source, press SELECT and use the  buttons to move from one path to another. To set the condition, use the  buttons to change the “–” to a “*”. Don’t forget: In the root menu you have to set ALL TRIGGERS to Enabled for the triggers to work.

Changes to the trigger setup do not take effect until exiting from the setup menu, to avoid unnecessary rapid turning off and on of triggers while making changes.

Example: Activate Trigger2 when DVD1 is selected in MAIN.

• Enter the setup menu. Go to TRIGGER / IR / RS232 and press SELECT.

• Upon entering this menu item, ALL TRIGGERS will be highlighted in red.

• Use the  buttons to change to Enabled.

• Press the  button to go to SET TRIGGER 2. Press SELECT.

• Use the  buttons to go to DVD1. Press SELECT.

• Use the  buttons to change the “–” to “*”.

• Press BACK twice to leave this submenu.

Set IR Inputs:

This allows you to enable or disable the processor’s infra-red inputs. Being able to do so can be useful when an IR receiver, connected to the processor, is located in the same room as the processor. In such a case, the processor can receive two IR signals for the same command – one through the front, and one through the back. The potential result is that whatever you’re trying to command may not respond. Disabling the front IR solves this problem.

The IR signal may also leak into the unit through the vents in the top cover, which could also cause IR commands to be intermittent or ineffective. If the rear IR inputs are not in use, try disabling them.

11e. SET IR-INPUTS

MAIN Z2 Z3 a. FRONT IR: * * * b. REAR IR 1: * * * c. REAR IR 2: * * * d. REAR IR 3: * * *

After highlighting an IR input, press SELECT and use the  buttons to move from one path to another. To turn the input off, use the  buttons to change the “*” to a “–”. Do this through the front panel, since remote control commands are ineffective once an IR sensor is turned off.

If the processor does not respond to remote control commands, enter the Setup using the front panel buttons, go to the TRIGGER / IR / RS232 menu then SET IR-INPUTS, and make sure the FRONT IR settings are set to “*”. Try this before contacting technical support (see also section 5.6).

Baud Rate and Flow Control (normally for use only by custom installers): The Baud Rate (adjustable from 1200 to 115200 bps), and Flow Control (RTS, CTS, or None), allow configuration of the serial port communication parameters.

RS-232 TX Status (normally for use only by custom installers): When On, all commands, status changes, and control information are echoed through the RS-232 port.

3. SETUP continued …

3.12 DISPLAYS / TIMEOUT

This menu allows you to configure on-screen display, front panel display, and selection time.

12. DISPLAYS / TIMEOUT

a. MAIN OS OUT: S-V + HD b.MAIN OS INFO:All Zones c.MAIN OS POS'N: Bottom d.MAIN OS COLOR: Blue e.MAIN VID MUTE: Gray f. Z2 OS OUT: S-V Only g. Z2 OS INFO: Z2 Only h. Z2 OS POS'N: Bottom i. Z2 OS COLOR: Blue j. Z2 VID MUTE: Gray k. FP WAKE-UP: Up 1 l. DISPLAY TIMEOUT: 5 s

Main / Z2 On-Screen Output:

Lets you select the outputs that display on-screen information, or Bypassed, which turns the on-screen display off. If you choose Bypassed, you will have to rely on the front panel display. If you are using S-Video inputs and prefer the appearance of the HD characters, select HD Only – the HD characters will be used if a video signal is present.

Main / Z2 On-Screen Info:

Select the path adjustments that are shown by the on-screen displays. For example, if ZONE2 is set up with an IR repeater for the remote control and you are using the processor in the MAIN room, you may not want to see information about ZONE2. On the other hand, you may want to see the ZONE2 information, for example, while adjusting ZONE2 yourself from the MAIN room.

Main / Z2 On-Screen Position:

Allows you to position the on-screen display to reduce the chance of it interfering with the on-screen display positions of other video components (e.g. satellite receiver’s status info). Choose from Bottom, Mid, or Top.

Main / Z2 On-Screen Color:

If the on-screen display of the setup menu appears unstable, it could be that your display is not synchronizing to the blue (factory default) background color. You can change the background color to one that your display can synchronize to – gray and magenta are also available.

Main / Z2 Video Mute Color:

For when there’s no video input, select the “no signal” output – gray, blue, or magenta screen.

3. SETUP continued …

Front Panel Wake-Up:

If Display is set to Medium, Low, or Off, it can be made to change to a brighter level while you make any adjustment – choose None, Up 1 brightness level, or Hi. When None is chosen and the Display is Off, it will behave as if set to Up 1 to prevent confusion as to whether the power is on or off.

Example: Disable the front panel wakeup.

• Enter the setup menu. Go to DISPLAYS/TIMEOUT and press SELECT.

• Press the  button until you reach FP WAKE-UP.

• Use the  buttons to change to None.

• When finished, press  to go to another menu item, or...

• Press BACK to leave the submenu and return to the main menu.

Display Timeout:

This is the time that elapses after an adjustment is made in any path. After that, on-screen text disappears, the front panel becomes dim, and the regular MAIN display returns. Adjustable from 1 to 15 seconds.

3. SETUP continued …

3.13 SAVE / LOAD SETTINGS

Two memories are provided: User and Installer. If your system is set up by your dealer, the settings can be saved in the Installer file by the dealer and you can then make further adjustments – save those settings in your User file. Video processor settings (section 4.11) and FM • AM presets are also saved in User and Installer settings. If someone makes unwanted changes, you can quickly load saved settings.

Save and Load Settings:

When saving or loading settings, the processor will prompt you to confirm that you want to replace the current settings – press BACK at this point if you don’t want to make the changes.

13. SAVE / LOAD SETTINGS

a. SAVE USER SETTINGS b. LOAD USER SETTINGS c. SAVE INSTALLER SET'NS d. LOAD INSTALLER SET'NS e. LOAD FACTORY DEFAULTS

To clear adjustments described in sections 4.6 and 4.7, save User Settings, then load Factory Defaults, then load User Settings. The Setup will remain as it was. If certain channels don’t sound as loud as they should under certain conditions, and you have calibrated levels according to section 3.5, try this before contacting technical support. The cause may just be a forgotten adjustment, or an adjustment that someone else made and didn’t tell you. Happens sometimes!

Example 1: Save User Settings.

• Enter the setup menu. Go to SAVE / LOAD SETTINGS and press SELECT.

• Upon entering this menu item, SAVE USER SET’NS will be highlighted in red.

• Press SELECT. You will be asked to confirm that you want to over-write current settings.

• Use the  buttons and change to Yes. If you are using a Password, you will be asked for it. Use the 0 – 9 buttons to enter your Password. The on-screen display will say Saving Successful and the front panel will say Done.

Example 2: Load Installer Settings.

• Enter the setup menu. Go to SAVE / LOAD SETTINGS and press SELECT.

• Press the  button until you reach LOAD INSTALLER SET’NS.

• Press SELECT. You will be asked to confirm that you want to restore installer settings.

• Use the  buttons to change to Yes and press SELECT. The on-screen display will say Installer Settings Loaded and the front panel will say Done.

Example 3: Load Factory Defaults.

• Enter the setup menu. Go to SAVE / LOAD SETTINGS and press SELECT.

• Press the  button until you reach LOAD FACTORY DEFAULTS.

• Press SELECT. You will be asked to confirm that you want to load factory settings.

• Use the  buttons to change to Yes and press SELECT. The on-screen display will say Factory Defaults Loaded and the front panel will say Done.

3. SETUP continued …

3.14 LOCKOUT / PASSWORDS

Passwords are used to protect the saved User and Installer settings. Once you have set a password, it can also be used as a Lockout to prevent settings from being changed by anyone without one of the passwords.

Lock Settings:

When set to Yes, entry to the setup menu is prevented unless the password is entered first.

Set User or Installer Password:

Whether or not settings are locked, if a password is set, it will still be required to save changes to User or Installer settings. Pick a 4-digit number that you will remember easily. To enter it, use the 0 – 9 keys on the remote control (password cannot be entered from the front panel). To change a password, enter the old one, then enter (and confirm) the new one. Keep a record of your password in case it’s forgotten!

14. LOCKOUT / PASSWORDS

a. LOCK SETTINGS b. SET USER PASSWORD c. SET INSTALLER PASSW'D

Example 1: Set User Password (remote control only).

• Enter the setup menu. You must enter the USER or INSTALLER password if there is one.

• Go to LOCKOUT/PASSWORDS and press SELECT.

• Press the  key to go to SET USER PASSWORD.

• Press SELECT. You will be asked to enter a four digit number – use the 0 – 9 keys. If you are changing your password you will be asked to enter your old one first. You will also be asked to confirm your new one.

Clearing the password: When asked for your new password, press the  key four times. You will also be asked to confirm – press the  key four times again. Message will say “User Password Removed”.

Example 2: Lock Settings (remote control only).

• Enter the setup menu. Go to LOCKOUT/PASSWORDS and press SELECT.

• Upon entering this menu item, LOCK SETTINGS will be highlighted in red.

• Press SELECT. You will be asked to enter a password. The USER or INSTALLER password will work.

• Use the  buttons to change to Yes or No.

• Press SELECT or BACK.

3. SETUP continued …

3.15 ARC-1 ANTHEM ROOM CORRECTION

ARC-1 corrects the effects of reflective surfaces and room boundaries on sound quality by measuring the response of each speaker relative to the listening area and equalizing it. ARC equalizes response without stressing the amplifier or speakers and does not downsample the source material to process it. ARC’s filters are neither graphic nor parametric – ARC is a sophisticated system that flattens response using its ability to create practically any suitable function, inherently correcting phase effects created by the room.

The default correction range is up to 5 kHz. Although the limit can be changed if needed, a higher one is generally not advised since the microphone becomes directional at upper frequencies, affecting measurement accuracy especially if the height of the speaker’s high frequency driver is not at ear level.

By analyzing the bass trend common to all measured positions, ARC also detects how much gain the room adds. Room gain shows as a bump in the bass of the target response that ARC tailors for each speaker. ARC does not remove it because if a room’s gain is flattened, bass sounds thin – ideal speaker response measured anechoically, which is a straight line sloping down, is not the same as ideal in-room response.

ARC senses where each speaker’s low-frequency response declines and sets high-pass filters accordingly.

Calibration is set such that average level is the same when comparing EQ “On” vs “Off”. Note that to set levels ARC uses a midrange band that’s wider than the standard home theater setup noise, which is centered at 1 kHz and narrow so there’s no chance its level would be reduced by a crossover.

Sample response:

Calculated response after EQ

Measured response before EQ

Target response – dotted line

My subwoofer also has equalization. Should I use it?

Since rooms, correction systems, number of subwoofers, and speaker/listener positions vary, the answer varies although it is best to disable the subwoofer’s EQ before running ARC. If the resulting calculated and target curves resemble each other, there is usually no reason to use the sub’s EQ. If the curves significantly If you have run ARC with the sub’s EQ enabled, ARC must be run again once the sub’s EQ is turned off.

differ through a wide range, enable the sub’s EQ and run ARC again to see if it helps.

3. SETUP continued …

Before starting:

• Ensure that the processor software and ARC software that you will be using are compatible with one another – check www.anthemAV.com for latest versions. Processor software installation instructions are in section 6.

• Your ARC-1 microphone, its support files, and your processor are a system with matching serial numbers – substitutions are not possible. Before a mic can be used for measurement, its response must be known. Each ARC-1 microphone’s frequency response is measured precisely and this data is used to create your microphone calibration files.

• Your computer must be running Windows XP or Vista and have one 9-pin serial port (for connecting the processor) and one USB port (for connecting the mic), or ports and a USB to serial adapter. The latter is least preferred.

If using a USB to serial adapter to connect the processor:

1. It must be one that supports two stop bits – check with adapter manufacturer.

2. Check the adapter manufacturer’s website for the latest driver. If a message warns that the

driver is not Windows-certified as it’s about to be installed, do not use the adapter. Some “budget” adapters load bad data into the processor, possibly causing its operation to freeze.

3. The virtual port must be assigned to COM1-COM6. If the processor software installer cannot

locate the processor, use your adapter’s port manager to check the setting.

one USB port and one card slot and a serial card, or two USB

• If you are using a laptop computer, check its power settings and battery meter to ensure that procedures will not be interrupted.

• If the room contains large objects that won’t be present during the system’s normal use, move them out so ARC doesn’t pick up reflections that won’t be present during normal use.

• While taking measurements it would be best to keep pets and younger or talkative family members out of hearing range. The measurements reject continuous background noise such as fans but if a sudden noise is made ARC will indicate that re-measurement is required.

• ARC bypasses Center Channel EQ, Room Resonance Filter, and Boundary Gain Compensation.

• Two configurations may be saved – one under Movie bass management and the other under Music.

ARC software installation: Play the ARC CD in your computer’s CD or DVD drive. Instructions will appear on your screen. If your computer does not allow a CD to auto-run then double-click on the My Computer icon that’s on Desktop, select the drive that the CD is in to view its contents, and double-click on setup.exe.

The installation will put several files into an Anthem folder on your computer and create shortcuts on your Start Menu and Desktop. Two files begin with your processor’s serial number. Examples: 123456_100002.cal and 123456_100002Anthem.file.

Custom installers: To set up multiple systems using one computer, copy the two serialized files from each ARC CD to this directory after ARC is installed:

My Computer, Local Disk C:\Program Files\Anthem\AnthemRoomCorrection

3. SETUP continued …

Microphone stand assembly:

Screw the telescoping tube into its base and the microphone clip onto the tube. Position the clip vertically. Connect the USB microphone cable to the microphone and slide the microphone into the clip.

Microphone positioning:

During measurement the microphone must point straight up. The microphone’s height is critical to proper measurement and should be at ear level when seated.

Ideally, the front speakers’ high-frequency drivers should be at approximately the same height as the listener’s ears but if they aren’t and the result sounds dull or bright, microphone height will have to be adjusted and measurements repeated.

To adjust the length of the telescoping tube, first loosen its clamp by rotating it counterclockwise.

Five listening area positions are normally measured but this number can be increased up to ten. The first must be at or just in front of the central seating position. This is also used to set Speaker Calibration levels. Positions 2 and 3 should be symmetric to the left and the right of the center line, and the same applies to the remaining positions. If your room has less than five seating positions, measurements must still be taken from five positions at least 2 feet (70 cm) apart to ensure optimal sound.

Measurement:

• Connect the microphone and the processor to the computer.

• Set the microphone in the first position. Don’t stand near the microphone while sweep tones are playing otherwise reflections from your body may cause bad measurements.

• Run Anthem Room Correction by selecting it from the Start Menu or double-clicking the Desktop shortcut and select Standard mode. The program will guide you through the remaining steps and at the end will load the correction data to your processor. The process takes about 20 minutes depending on the number of measurements.

• Once the ARC program is finished, you can disconnect the computer. Turn on the processor and set “Room EQ:” On/Off in the Source Setup menu according to each source. If you made measurements for a Music configuration, assign Bass Manager accordingly.

• Save your settings in the Save / Load Settings menu. Note that changing the Sub crossover in the Bass Management menu affects only Room EQ “Off” sources.

Advanced:

After a file is created in Standard mode, it can be opened in Advanced mode to change EQ range, crossover points, and room gain. To do this, change Targets then click on Calculate, then Upload.

Since rooms and systems vary the only advice that Anthem technical support can provide without being at your house to hear your system is to use the auto-detected settings. The alternative is trial and error.

To change the amount of room gain, the Force checkbox has to be checked for the manually entered change in dB to take effect once clicking on Calculate. To restore the settings sensed by ARC, click on Auto Detect and re-calculate. Clicking on Erase uploads flat parameters.

3. SETUP continued …

Updating ARC:

Check www.anthemAV.com periodically for ARC software updates. The download contains revision history, which may also indicate that the processor requires an update for the ARC version to work correctly.

If a newer version is posted and you would like to use it, check your current version:

• Run Anthem Room Correction in Advanced mode.

• Click on Help then click on About. The version number will be displayed.

Proceed only if your version is not the latest:

• Download the latest software from our web site to Desktop.

• When download is complete, right-click on the downloaded .zip file and extract it to Desktop.

• Open the extracted folder and double click on setup. Software installation instructions will appear on your screen. If you are installing ARC on the computer for the first time, copy your two

serialized files from your software CD to the extracted folder on Desktop before double-clicking on setup. This way they will be added to Program Files automatically.

• When installation is complete, you can delete the downloaded file and the extracted folder.

IMPORTANT:

With ARC v1.2 the Program Files folder is

My Computer, Local Disk C:\Program Files\Anthem\AnthemRoomCorrection

instead of this one which was used with previous versions:

My Computer, Local Disk C:\Program Files\Anthem\AnthemStatement\AnthemRoomCorrection

If you installed a prior version and do not have the CD at hand, be sure to either:

• copy your serialized files into the extracted folder before double clicking on setup, or...

• if the update has been installed and ARC says that microphone files cannot be found, move your serialized files from the old AnthemRoomCorrection folder to the new one.

If you are updating from v1.2 to a later version, it is not necessary to relocate serialized files.

4. OPERATION

MAIN

SSP PATH

LAST

REC

4.1 POWER ON/OFF The processor comes on at the volume setting in the Volumes setup menu. The power amplifier should be

turned on last and off first to prevent “popping” when upstream components are turned on and off.

Front Panel – Main on

• Press MAIN in the POWER or the PATH group. Alternatively, if ZONE2 and ZONE3 are off, press any SOURCE button, FM • AM preset, or TUNE.

Front Panel – Zone off

• Press ZONE2 or ZONE3 in the POWER or PATH group.

Front Panel – Main or a Zone off

• Press MAIN or ZONE2 or ZONE3 in the POWER group.

Remote Control – Main or a Zone on

• Make sure the appropriate control mode is set (MAIN, Z2, or Z3 in the SSP PATH group) then press POWER.

Remote Control – Main or a Zone off

• Make sure the appropriate control mode is set then press SSP OFF.

4.2 PATH SELECTION

Path routes sources to the MAIN, ZONE2, ZONE3, or RECORD outputs.

• MAIN: Routes sources to your main listening/viewing room, with outputs for 7.1-channel audio and the main display.

• ZONE2 and ZONE3: Routes sources to other rooms in your home. The source selection can be the same as or different from the source selected in other paths. ZONE2 and ZONE3 each have outputs for a TV and 2-channel audio. To listen to a source that is not connected via L/R analog audio, you

must “copy” it from MAIN (see section 4.3).

• RECORD: Except when prevented by copy protection, allows you to record sources independently

of what is selected in other paths. Composite and S-Video, and fixed-level analog audio outputs are available for two recorders. In addition, the two coaxial digital audio outputs DIGITAL1 can put out the audio of any digital source, or convert an analog source to digital. DIGITAL2 can put out the same signal as DIGITAL1, or any of the sources set to Digital. To use conversion or downmixing, the source must be copied from MAIN – see section 4.3. Analog audio RECORD output has a signal only

if L/R analog audio is connected or when MAIN is copied.

Remote control – the REC PATH key is near the bottom of the remote control.

The displayed path returns to MAIN a few seconds after an adjustment is made in ZONE2, ZONE3, RECORD, or HEADPHONE*. This is designed to prevent accidents. For example, if someone in the MAIN room wants to turn up the volume there, andthe path is in ZONE2, the volume would increase in ZONE2, not MAIN. Since the person adjusting the volume doesn’t hear the change, chances are that he or she would keep turning up the volume in ZONE2, unaware of what’s happening there.

* Except when MAIN is off or HEADPHONE is set to mute the MAIN speakers in the Volumes setup menu.

4. OPERATION continued …

PIP SWAP MOVE

COPY

PIP SWAP MOVE

SSP SOURCE

COPY

AUX TAPE

DVD

SAT

VCR

2-Ch

REC

FM AM

6-Ch

SOURCE SEEK

4.3 MANUALLY COPYING THE MAIN PATH TO ZONE2, ZONE3, OR RECORD

When Main is copied to another path, the source selected in MAIN is directed to the other path.

If a source component’s audio is connected to the processor using digital connection only, the Copy function is the only way to deliver the sound to another path.

Front Panel Press MAIN simultaneously with ZONE2, ZONE3, or REC. Use MAIN to select the source

Remote Control

Make sure the appropriate control mode is set, or REC path is selected, then press COPY.

When MAIN is copied, the display for the other paths reads “–MAIN–> ZONE2” (or ZONE3 or REC), along with the information normally displayed. Copy can also be set permanently in the source setup menu.

Downmixing to 2-Channel Stereo:

The center, surround, and rear channels can be mixed into the left and right channels for the ZONE2, ZONE3, TAPE, and VCR outputs. This can be done by the DVD player or the processor:

• Processor downmix: If the digital audio output from your DVD player is connected to the processor, the processor down-mixes 5.1 channels into 2.0 when you copy MAIN to another path. This applies whether the input is, Dolby Digital, DTS, or 6-Ch input.

• DVD player downmix: If the left/right analog outputs from your DVD player are connected to the processor’s Analog Audio-In, the Dolby Digital down-mix done by your DVD player can be used for ZONE2, ZONE3, TAPE, and VCR outputs, without having to copy MAIN. Note that DVD players do not normally provide a down-mix for DTS material.

4.4 SOURCE SELECTION

After making sure that you are in the appropriate path (front panel) or appropriate control mode is set (remote control), select a source.

6-Channel Analog Audio Input:

The 6-Ch audio can be routed to ZONE2, ZONE3, and RECORD outputs as long as Copy mode, which creates the stereo down-mix, is used.

Source Seek (remote control only): The SOURCE SEEK   keys detect the previous/next active source, while the key advances one source at a time.

4. OPERATION continued …

FM/AM PRE-SETS

1 2

CH PRE-SET

FRT CTR

TUNE SEEK

SELECT

4.4.1 FM•AM TUNER

The processor has an FM•AM tuner. The selected station is common to all paths.

Manual Tuning:

After selecting the desired band by pressing FM•AM, use the  buttons (remote control) or press TUNE and rotate the Master Control Knob (front panel).

Automatic Tuning:

To find the next station, press SEEK or SEEK. To scan and listen to all available stations for a few seconds, press and hold SEEK or SEEK for about a second. The Sk or Sk indicator on the display will change to Prv or Nxt. To stop scanning, press one of the SEEKbuttons to return to Seek mode, or press TUNE to tune manually (front panel only). Press TUNE a second time to restore the regular functions and display (the TUNE function does not time out).

Direct Tuning (remote control only): A station’s frequency can be entered as a four-digit number. For example, to tune into 98.3 FM, press and hold

SELECT until the display shows “<blank>0.0” in the lower left corner, then press 0, 9, 8, 3.

Presets:

18 FM and 6 AM stations can be stored. The presets are divided into four banks of six. By repeatedly pressing FM•AM, the display will show that you are cycling through FM1, FM2, FM3, and AM. Once you have selected the desired bank, you can store the currently tuned radio station by pressing and holding one of the six preset keys (1 through 6) for about a second. You can even do this while scanning for stations. The lower line of the display briefly flashes once the station is stored. To skip a preset, set it to 87.5 FM or 530 AM.

To recall a preset, select the bank that it is in, then press the respective preset key. From the remote control, you can also use the CH+and CH keys to run through all FM or AM presets.

ST / HiB / M (front panel only): If FM reception is weak, switching a station out of stereo can reduce or eliminate unwanted noise. Press ST / HiB / M repeatedly to cycle through Stereo, Hi-Blend, or Mono. Hi-Blend offers an alternative to Mono, offering decreased noise without the complete loss of stereo – it decreases hiss and noise by reducing some stereo separation only at higher frequencies. The setting is memorized for each preset.

4.4.2 SIMULCAST

Simulcast allows you to select one video source and a different audio source. For example, you could view a sports event on TV while listening to your favorite FM• AM station. Simulcast is available for all paths.

Press and hold the desired video source button for 2 seconds. The display shows “Video Source” and the video source in the top line, and “SELECT AUDIO SOURCE” in the bottom line – while this is on the display, press another source button to select the audio source. When the regular display returns, the source LED indicates the video source, and the display shows the audio source next to a “+”. Either the video or the

audio source has to be connected through a non-HDMI connection for Simulcast to be applicable.

To exit from Simulcast mode, press any source button – both the audio and video will switch to this selection.

4. OPERATION continued …

FRT CTR

TUNE SEEK

SELECT

SUB LFE

SUR

4.5 VOLUME CONTROL

Front Panel:

MAIN – Adjust using the Master Control Knob. If levels have been calibrated according to setup instructions, set volume to 0 dB for the playback level at which the film was presented in theaters.

ZONE2 or ZONE3 – Press ZONE2 or ZONE3, then adjust.

HEADPHONE – While in MAIN, press FRONTS twice, then adjust.

Remote Control:

After the appropriate control mode is set, use the VOL+and VOL keys.

Mute:

When MUTE is pressed, the audio of the selected path is silenced or reduced in level according to the Volumes setup menu. To un-mute, press MUTE again or adjust volume.

Dialog Normalization:

Dolby Digital program material contains non-audio data which the processor uses to adjust playback level, when necessary, so that volume variations between movies and programs are eliminated. Without Dialog Normalization, movies not encoded at standardized levels for the dialog could lose dynamic range – higher levels can result in distorted peaks, lower levels can result in quiet sounds disappearing into the noise floor. Dialog Normalization also ensures that Dynamics control (section 4.8.10) works as intended.

MASTER

CONTROL KNOB

If the display reads “Dial Norm Offset -4.0 dB” at the start of a movie, it is indicating that the encoded level is higher than standard by 4.0 dB – the playback level of all channels is then automatically reduced by 4 dB.

4.6 LEVEL TRIM

If a speaker group sounds too loud or soft with certain source materials, its level can be adjusted on the fly. Settings are memorized according to input format. Adjust using the Master Control Knob or  on the

remote as follows:

• Fronts: Press FRONTS, then adjust (this changes left, center, and right levels together).

• Center: Press CENTER, then adjust.

• Surrounds: Press SURR•REARS, then adjust.

• Rears: Press SURR•REARS twice, then adjust.

• Subwoofer Only: Press SUB•LFE, then adjust. Pressing SUB•LFE twice allows you to reduce LFE

level while leaving the bass derived from the other channels unchanged. Early DTS material may need LFE reduced to -10 dB.

To reset all to 0 dB, see section 3.13.

When listening in stereo with front speakers set to large, the subwoofer must be set to Super in the speaker configuration if you want it to play.

4. OPERATION continued …

ENTERM

INPUT

4.7 BASS / TREBLE / BALANCE

To change the Bass, Treble, or Balance of:

• MAIN – All Speakers Simultaneously: Press BASS, TREBLE, or BALANCE, then adjust.

• MAIN – Fronts Only: Press FRONTS, press BASS, TREBLE, or BALANCE, then adjust.

• MAIN – Center Only: Press CENTER, press BASS or TREBLE, then adjust.

• MAIN – Surrounds Only: Press SURR•REARS, press BASS, TREBLE, or BALANCE, then adjust.

• MAIN – Rears Only: Press SURR•REARS twice, press BASS, TREBLE, or BALANCE, then adjust.

• ZONE2 or ZONE3: Press ZONE2 or ZONE3, press BASS, TREBLE, or BALANCE, then adjust.

• HEADPHONE: Press FRONTS• twice, press BASS, TREBLE, or BALANCE, then adjust.

Pressing BYPASS disables the adjustment. Bass/Treble does not apply to sources set to Anlg-Dir.

4.8 SURROUND MODES

A surround mode is signal processing that enhances original source material. Surround modes fall into two main categories – those that apply to stereo source material and those that apply to multichannel source material.

By default, all surround speakers are used except with 1.0-channel sources – after finding your preferences, change presets in the mode presets menu.

Surround modes do not apply to sources set to Anlg-Dir.

With analog input there is no way for a processor to detect how the source material was encoded.

Stereo Source Material:

This includes analog stereo, digital PCM stereo, and Dolby Digital 2.0 source material. Surround modes can be applied to provide up to 7.1 channels of output. They are described later in this section. Each source memorizes its mode setting, so you can, for example, set TV to AnthemLogic-Cinema, and CD to AnthemLogic-Music.

5.1- and 6.1-Channel Source Material:

The processor engages decoding according to the format that you select on each DVD.

Once the processor’s display shows the format, you can select additional processing described throughout this section. Your selections are memorized by format and by source.

Why isn’t my processor detecting the sound format that I’m trying to play?

A connection carries one format at a time and the processor plays exactly what it gets. If the connection is coaxial, optical, or AES/EBU make sure the source’s setup menu is set to leave Dolby Digital and DTS unchanged (Bitstream) if it is an SD-DVD player or cable/sat box, otherwise output will be 2.0-channel PCM! You must also select the soundtrack that you want to hear from each disc’s menu, or after the movie starts by pressing AUDIO on the player’s remote control.

HDMI audio on a Blu-ray or HD-DVD player should be set to PCM or Auto in the player’s menu.

4. OPERATION continued …

LOGICLOGIC

4.8.1 AnthemLogic

™

These are proprietary surround modes developed by Anthem that offer outstanding surround performance and can be applied to any 2-channel source material:

AnthemLogic-Music

™

AnthemLogic-Music™enhances the stereo listening experience without detracting from the stereo soundstage. Through extensive listening tests a very effective design was developed. This is a minimalist design that uses no echo or reverberation effects which could negatively

6.1

CHANNEL

OUTPUT

affect the purity of the sound.

™

Up to 6.1 channels of output are provided. AnthemLogic-Music

does not utilize the center channel to ensure that the purity of the stereo music soundstage will in no way be compromised when you’re sitting in the “sweet spot” and listening to your favorite stereo recordings.

™

AnthemLogic-Music

is very effective in creating an expansive musical soundstage that helps to remove the barrier of the listening room in a non-intrusive and compelling way. This is the factory default 2-channel surround mode for CD, TAPE, and FM•AM.

AnthemLogic-Cinema

™

AnthemLogic-Cinema™provides a large, enveloping and dynamic movie listening experience that makes 2-channel movies sound more like what is experienced in a state-of-the art movie theater. Again through extensive listening tests a very effective design was developed. This

7.1

CHANNEL

OUTPUT

is also a minimalist design that avoids the use of echo effects, which could otherwise negatively affect the purity of the sound.

™

Up to 7.1 channels of output, depending on your speaker configuration. AnthemLogic-Cinema

provides the missing link that lets you experience full impact home theater sound from any 2-channel stereo analog source such as VCR or TV, or any Dolby Digital 2-channel source, such as DVD or satellite. This is the factory default 2-channel surround mode for all sources except CD, TAPE, and FM• AM.

4.8.2 DOLBY DIGITAL 2.0

Dolby Digital 2.0 soundtracks with surround encoding contain a flag that is normally used to activate Pro Logic IIx Movie mode. The processor can be set to use this flag or to ignore it.

To find out if the Dolby Digital 2.0 material being played has the surround flag, press MODE. If flagged, the first line of the display says “DOLBY D 2.0 SUR AUTO” and if not flagged, it says “MODE FOR 2 CH INPUT”.

The modes in the next section may be selected separately for flagged and unflagged stereo source material.

Single-channel soundtracks can be encoded two ways – using the center channel or with the same signal into the left/right channels. The mode changes to Mono if the soundtrack uses only the center channel – you can switch it to Mono-Academy or All Channel Mono afterwards.

4. OPERATION continued …

4.8.3 SURROUND MODES FOR 2.0-CHANNEL SOURCE MATERIAL

Number of output channels for each mode is indicated below in bold type. THX must be Off for all modes to be available. Press MODE then use the Master Control Knob or  (up/down) on the remote control to

cycle through selections:

Stereo No surround mode is applied.

AnthemLogic-Music

AnthemLogic-Cinema

Pro Logic IIx Music

Pro Logic IIx Movie

Pro Logic IIx Matrix

Pro Logic IIx Game

Dolby Pro Logic

Neo:6 Music

6.1 –

One of Anthem’s proprietary surround modes, designed to expand the soundstage of stereo music in a very natural way without losing soundstage integrity or image focus. The center channel is not used.

7.1 –

Another proprietary mode from Anthem, designed to provide the impact of a

large theater experience from 2-channel movies and TV programs.

7.1 –

Created for use with stereo music material. The following three parameters can be adjusted by pressing the MODE button one, two, or three times while in Pro Logic IIx Music then using the Master Control Knob or  on the remote:

Center Width is adjustable from 0 to 7. Setting this to 0 places all center sound in the center speaker while 7 places it equally in the left and right channels.

Dimension has seven steps of balance adjustment between the surround and center channels.

Panorama when “On” extends the front stereo image to include the surround channels. Effective for recordings with strong left or right channel elements.

7.1 –

Dolby Surround decoder for 2-channel movies and TV programs.

7.1 –

A matrix decoder that does not steer the image from one speaker to another.

7.1 –

Bass from surround effects in video games is optimized for visceral impact.

4.1 –

In case there’s a desire to hear it “as it used to be” (surrounds are mono).

6.1 –

Can be used with stereo music material to create 6.1 output channels. The center image can be adjusted by pressing MODE while in Neo:6 Music and rotating the Master Control Knob or using  (up/down) on the remote:

Center Image is adjustable from 0 to 5 – an increase makes the center channel more prominent.

Neo:6 Cinema

All Channel Stereo

All Channel Mono

Mono

Mono-Academy

6.1 –

A matrix decoder that can be used with any matrix-encoded movie. Separation is created by allowing sounds to be placed at different points in the sound field.

7.1 –

The left and right channels are also sent to the surround and rear channels, while the center channel and subwoofer receive a combination of both. Some processing is used to retain image clarity. Useful for playing music at parties so that it can be heard with equal loudness in all parts of the room.

7.1 –

Combines the left and right channels and sends the signal to all speakers.

1.1 –

Combines the left and right channels and sends them to the center speaker.

1.1 –

Gives a presentation closer to the original on movies made from the 1930s to the 1960s, which relied on high-frequency rolloff for sound balance and to mask inherent hiss. Use with old mono movies that sound overly noisy. Can also be useful with DVDs of some TV shows if high-pitched noise leakage from a CRT (cathode ray tube) monitor is audible in the recording.

4. OPERATION continued …

Why can’t I select a surround mode when playing a 5.1-channel source?

If you are using 5.1 speakers, with rears correctly set to None in the speaker configuration, modes that require 6.1 or 7.1 speakers cannot be selected.

4.8.4 DOLBY DIGITAL EX / PRO LOGIC IIx FOR 5.1 SOURCES

Dolby Digital EX and Pro Logic IIx can be used to decode DVDs encoded in Dolby Digital Surround EX by extracting rear channel information from the surround channels. Dolby Digital EX creates a mono rear signal whereas with Pro Logic IIx, the rear channels play a stereo signal. Either of these modes can be applied to any 5.1-channel material except DTS 96/24.

A list of movies encoded in Dolby Digital Surround EX can be found on the Dolby web site at www.dolby.com and on the THX web site at www.thx.com. A flag to engage Dolby Digital EX / Pro Logic IIx is usually contained in newer titles. Press MODE when a movie starts playing and use the Master Control Knob to select the mode that sounds best – the display says “DOLBY D 5.1 INPUT” if the soundtrack is unflagged, and “DOLBY D EX AUTO” if it is flagged.

4.8.5 DTS-ES

There are two ways that rear channel information is encoded in DTS-ES – Matrix and Discrete:

• Matrix – DTS-ES Matrix movies contain a matrixed rear channel. The processor engages Neo:6 to decode DTS-ES Matrix. Neo:6 can also be turned on manually and applied to any other

5.1-channel material except DTS 96/24 – when a movie starts playing, press MODE and use the Master Control Knob to select. A mono rear channel is derived from the left and right surround channels. This rear channel may or may not be pleasing depending the soundtrack.

• Discrete – DTS-ES Discrete soundtracks contain 6.1 channels with an independent rear channel. The processor engages DTS-ES Discrete decoding.

4.8.6 THX ULTRA2/THX SURROUND EX

THX is an exclusive set of standards and technologies established by the world-renowned film production company, Lucasfilm Ltd. THX grew from George Lucas’ desire to make your experience of the film soundtrack, both in movie theaters and in your home theater, as faithful as possible to what the director intended. Movie soundtracks are mixed in special movie theaters called dubbing stages and are designed to be played back in movie theaters with similar equipment and conditions. This same soundtrack is very often transferred to DVD, Laserdisc, VHS tape, etc. without any adjustments for playback in the smaller home theater environment. THX engineers developed patented technologies to accurately translate the sound from the movie theater environment into the home, restoring proper tonal and spatial balance.

Each THX mode includes a combination of the following:

• Re-Equalization – Restores the correct tonal balance for home playback. A film soundtrack may sound too bright when played in the home, because film soundtracks are designed for large movie theaters where acoustical properties are different. To enable or disable Re-EQ, press THX twice to display “THX RE-EQUALIZATION”, then select On or Off with the Master Control Knob or  (up/down) on the remote control. You can even apply Re-EQ when THX is Off – this can be useful if the high-pitched noise produced by standard CRT monitors accidentally leaked into the audio while it was being recorded, and you would like to filter it out.

4. OPERATION continued …

• Timbre Matching – The human ear changes our perception of a sound depending on the direction from which the sound is coming. In a movie theatre, there is an array of surround speakers so that the surround information is all around you. In a home theatre, you use only two speakers located to the side of your head. Timbre Matching, which includes Re-EQ, 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 between the front and surround speakers.

• Adaptive Decorrelation – In a movie theatre, a large number of surround speakers help create an enveloping surround sound experience, but in a home theatre there are usually only two speakers. Unless you are using properly positioned dipoles, surround speakers can sound like headphones that lack spaciousness and envelopment – they will also collapse into the closest speaker as you move away from the middle seating position. Adaptive Decorrelation senses the presence of identical surround channels (mono) and slightly changes one surround channel’s time and phase relationship with respect to the other. This expands the listening position and creates – with only two speakers – the same spacious surround experience found in a movie theatre. Adaptive Decorrelation does not operate when the surround channels are different, as is often the case in discrete multichannel source material.

• ASA (Advanced Speaker Array) – explained in section 3.4.

Depending on source material and speaker configuration, THX processing is available as follows:

THX Cinema: 5.1 to 7.1 output with 2.0- and 5.1-channel movies (see overview that follows)

Processing: Re-Equalization, Timbre Matching, Adaptive Decorrelation (if applicable)

When THX Cinema is selected, Dolby Pro Logic IIx Movie is engaged. Alternatively, Dolby Pro Logic or DTS Neo:6 Cinema may be selected. Other surround modes do not apply and do not appear when pressing MODE.

THX Ultra2 Cinema: 7.1 output with 5.1-channel movies

Processing: Re-Equalization, Timbre Matching, Adaptive Decorrelation, ASA (Cinema)

THX Ultra2 Cinema mode plays 5.1 movies using all 7.1 speakers giving you the best possible THX movie watching experience with 5.1 program material. In this mode, ASA processing blends the surround speakers and rear speakers providing the optimal mix of ambient and directional surround sounds.

THX MusicMode: 7.1 output with 5.1-channel music (including DVD-Audio, multichannel SACD)

Processing: Timbre Matching, Adaptive Decorrelation, ASA (Music)

THX MusicMode can be selected when playing multi-channel music. In this mode THX ASA processing is applied to the surround channels of all 5.1 channel encoded music sources to provide a wide stable rear soundstage.

THX Games Mode: 7.1 output with 2.0- and 5.1-channel games

Processing: Timbre Matching, ASA (Games)

Game audio is mixed and monitored in a different environment than that of music and movies. The interactive nature of the audio requires a playback system which can provide 360 degree panning while preserving the ambient nature of background sound elements. When playing back 5.1 games, THX Games Mode may be engaged. Suitable sources are Dolby Digital 5.1 and DTS 5.1 game sources. If THX Games Mode is engaged with 2.0 input, the source is first converted to 5.1 via Pro Logic IIx Game mode.

4. OPERATION continued …

THX Surround EX: 6.1 output with Dolby Digital Surround EX

Processing: Re-Equalization,Timbre Matching

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, but named Rear in the processor), places sounds behind the listener in addition to the front, center, surround, and subwoofer channels. This additional channel provides the opportunity for more detailed imaging behind the listener and brings more depth, spacious ambience, and sound localization than before.

Movies that were created using the Dolby Digital Surround EX technology may exhibit wording to that effect on the packaging when released on DVD. A list of movies created using this technology can be found on the Dolby web site at www.dolby.com. A list of DVD titles encoded with this technology can be found on the THX web site at www.thx.com.

Bearing the THX Surround EX logo, the processor will faithfully reproduce this technology in the home when in THX Surround EX mode.

The processor also allows you to engage THX Surround EX with 5.1-channel material that is not encoded with Dolby Digital Surround EX. Rear channel content will be program dependent and may or may not be pleasing depending on the soundtrack and your preference.

In compliance with THX, Bass/Treble, Level Trim, and Balance adjustments are reset to 0 dB mode is selected, after which you can make adjustments with THX engaged. When THX is Off, previous settings except Balance are restored. Due to the nature of bitstreams, adjustments made with THX engaged will be reset to 0 dB if the source is paused for longer than 3 seconds.

Outputs indicated are the number of output channels as follows:

6.1 = L-Front, Center, R-Front, R-Surround, Rear*, L-Surround, LFE/Subwoofer

7.1 = L-Front, Center, R-Front, R-Surround, R-Rear, L-Rear, L-Surround, LFE/Subwoofer

* If two rear speakers are used, the same rear channel information goes to both.

when a THX

4. OPERATION continued …

THX Ultra2 Overview

Key: Re-EQ – De-emphasizes treble. May be turned on or off at any time after pressing THX twice.

Timbre – Matches the sound character, or timbre, of the surround channels to the front channels. Adp-Decor ASA – Surround and rear channels are processed to provide a wide rear soundstage.

Program Decoding / Processing THX Available Outputs THX Processing

Stereo Selected Mode Off up to 7.1 Off

Dolby Digital 5.1 Dolby Digital Off 5.1 Off

– When the source has one surround channel, adjusts time and phase to restore spaciousness.

PLIIx Movie PLIIx Games THX Games Mode 7.1 Timbre, ASA (Gam) Dolby Pro Logic Neo:6 Cinema THX Cinema 6.1 Re-EQ, Timbre

Dolby Digital THX Cinema 5.1 Re-EQ, Timbre, Adp-Decor Dolby D 5.1+PLIIx Movie THX Cinema 7.1 Re-EQ, Timbre Dolby Digital THX Ultra2 Cinema 7.1 Re-EQ, Timbre, Adp-Decor, ASA (Cin) Dolby Digital THX MusicMode 7.1 Timbre, Adp-Decor, ASA (Mus) Dolby Digital THX Games Mode 7.1 Timbre, ASA (Gam) Dolby Digital EX Dolby D 5.1+Neo:6 THX Cinema 6.1 Re-EQ, Timbre

†

THX Cinema 7.1 Re-EQ, Timbre

THX Cinema 5.1 Re-EQ, Timbre, Adp-Decor

THX Surround EX 6.1 Re-EQ, Timbre

DTS 5.1 DTS Off 5.1 Off

DTS THX Cinema 5.1 Re-EQ, Timbre, Adp-Decor DTS+Neo:6 THX Cinema 6.1 Re-EQ, Timbre DTS THX Ultra2 Cinema 7.1 Re-EQ, Timbre, Adp-Decor, ASA (Cin) DTS THX MusicMode 7.1 Timbre, Adp-Decor, ASA (Mus) DTS THX Games Mode 7.1 Timbre, ASA (Gam) DTS+PLIIx Movie THX Cinema 7.1 Re-EQ, Timbre

DTS-ES Matrix§DTS+Neo:6 Off 6.1 Off

DTS+Neo:6 THX Cinema 6.1 Re-EQ, Timbre DTS+PLIIx Movie THX Cinema 7.1 Re-EQ, Timbre

DTS-ES Discrete§DTS-ES Discrete Off 6.1 Off

DTS-ES Discrete THX Cinema 6.1 Re-EQ, Timbre

† DVDs with Dolby Digital 2.0 Surround may be flagged for auto-detection.

* DVDs with Dolby Digital Surround EX may be flagged for auto-detection.

§ DVDs with DTS-ES Matrix and DTS-ES Discrete are flagged for auto-detection.

4. OPERATION continued …

LOGICLOGIC

4.8.7 Mode and THX Operation for 2.0-Channel Source Material – To make all modes available, turn THX Off.

Cycle through modes and THX using

Press MODE

Stereo (2-Ch)

presets are in

setup menu

AnthemLogic-Music (6.1)

AnthemLogic-Cinema (7.1)

Dolby PLIIx Music (7.1)

If THX Cinema is selected, mode changes

Dolby PLIIx Movie (7.1)

to PLIIx Movie.

Dolby PLIIx Matrix (7.1)

If THX Games is selected,

Dolby PLIIx Game (7.1)

mode changes to PLIIx Game.

Master Control Knob

Press Mode Once

Press Mode Twice

Press Mode 3 Times

THX Options

Press THX Twice

or  keys on remote control.

Center Width: Adjust using MCK (or N/S keys)

Increasing # decreases center level and places it into L/R

Dimension: Adjust using MCK (or N/S keys)

Front-to-back balance – Center (C----+----S) Surrounds

Panorama: On using MCK (or N/S keys)

Extends the front stereo image to include surrounds

Press THX

THX Cinema

Processing – Re-EQ, Timbre Matching Output channels – All

THX Games Mode

Processing – Timbre Matching, ASA (Game) Output channels – All

RE-EQ: On/Off

using MCK

(or N/S keys)

THX Options

Dolby Pro Logic (4.1)

DTS Neo:6 Music (6.1)

Press THX

Press THX Twice

Press Mode

THX Cinema

Processing – Re-EQ, Timbre Matching, Adp.Decorrelation Output channels – LF, C, RF, RS, LS, Sub

RE-EQ: On/Off

Center Image: Adjust using

Increasing the number makes center more prominent

using MCK

(or N/S keys)

MCK

(or N/S keys)

THX Options

DTS Neo:6 Cinema (6.1)

All Channel Stereo (7.1)

All Channel Mono (7.1)

Press THX

Press THX Twice

THX Cinema

Processing – Re-EQ, Timbre Matching Output channels – LF, C, RF, RS, Rear, LS, Sub

RE-EQ: On/Off

using MCK

(or N/S keys)

Mono (1.1)

Mono Academy (1.1)

Selections are memorized separately for each source and for Dolby Digital Surround 2.0-flagged vs unflagged material.

THX Processing:

• Re-Equalization – De-emphasizes treble. Not applicable to THX Games Mode.

• Timbre Matching – Matches the sound character, or timbre, of the surround channels to the front channels.

• Adaptive Decorrelation

• ASA

– When the source has one surround channel, adjusts time and phase to restore spaciousness. – Surround and rear channels are processed to provide a wide rear soundstage.

4. OPERATION continued …

4.8.8 Mode and THX Operation for Dolby Digital 5.1 and 6-Ch S/E – To make all modes available, turn THX Off.

Cycle through modes and THX using

Press MODE

None (5.1)

presets are in

setup menu

Dolby PLIIx Movie (7.1)

Master Control Knob

THX Options

Press THX Twice

THX Options

or  keys on remote control.

Press THX

THX Cinema

Processing – Re-EQ, Timbre Matching, Adp.Decorrelation Output channels –

THX Ultra2 Cinema

Processing – Re-EQ, Timbre, Adp.Decor, ASA (Cinema) Output channels – All

THX MusicMode

Processing – Timbre Matching, Adp.Decor, ASA (Music) Output channels – All

THX Games Mode

Processing – Timbre Matching, ASA (Game) Output channels – All

THX Surround EX

Processing – Re-EQ, Timbre Matching Output channels – 6

RE-EQ: On/Off

Press THX

THX Cinema

Processing – Re-EQ, Timbre Matching, Adp.Decorrelation Output channels – All

5.1 (LF, C, RF, RS, LS, Sub)

.1 (LF, C, RF, RS, Rear, LS, Sub)

using MCK

(or N/S keys)

Press THX Twice

RE-EQ: On/Off

using MCK

(or N/S keys)

Dolby PLIIx Music (7.1)

If THX Sur EX is selected, mode changes to Dolby D EX.

Dolby Digital EX (6.1)

THX Options

Press THX

Press THX Twice

THX Surround EX

Processing – Re-EQ, Timbre Matching Output channels – All

RE-EQ: On/Off

using MCK

(or N/S keys)

THX Options

DTS Neo:6 (6.1)

Press THX

Press THX Twice

THX Cinema

Processing – Re-EQ, Timbre Matching Output channels – 6

RE-EQ: On/Off

.1 (LF, C, RF, RS, Rear, LS, Sub)

using MCK

(or N/S keys)

Selections are memorized separately for each source and for Dolby Digital Surround EX-flagged vs unflagged material.

THX Processing:

• Re-Equalization – De-emphasizes treble. Not applicable to THX MusicMode and THX Games Mode.

• Timbre Matching – Matches the sound character, or timbre, of the surround channels to the front channels.

• Adaptive Decorrelation

• ASA

– When the source has one surround channel, adjusts time and phase to restore spaciousness. – Surround and rear channels are processed to provide a wide rear soundstage.

4. OPERATION continued …

4.8.9 Mode and THX Operation for DTS Source Material – To make all modes available, turn THX Off.

Cycle through modes and THX using

Press MODE

None (5.1)

presets are in

setup menu

Dolby PLIIx Movie (7.1)

Master Control Knob

THX Options

Press THX Twice

THX Options

or  keys on remote control.

Press THX

THX Cinema

Processing – Re-EQ, Timbre Matching, Adp.Decorrelation Output channels –

THX Ultra2 Cinema

Processing – Re-EQ, Timbre, Adp.Decor, ASA (Cinema) Output channels – All

THX MusicMode

Processing – Timbre Matching, Adp.Decor, ASA (Music) Output channels – All

THX Games Mode

Processing – Timbre Matching, ASA (Game) Output channels – All

RE-EQ: On/Off

Press THX

THX Cinema

Processing – Re-EQ, Timbre Matching, Adp.Decorrelation Output channels – All

5.1 (LF, C, RF, RS, LS, Sub)

using MCK

(or N/S keys)

Press THX Twice

RE-EQ: On/Off

using MCK

(or N/S keys)

Dolby PLIIx Music (7.1)

Dolby Digital EX (6.1)

THX Options

DTS Neo:6 (6.1)

Press THX

Press THX Twice

THX Cinema

Processing – Re-EQ, Timbre Matching Output channels – 6

RE-EQ: On/Off

.1 (LF, C, RF, RS, Rear, LS, Sub)

using MCK

(or N/S keys)

Selections are memorized separately for each source and for DTS vs DTS-ES. DTS-ES Discrete: The only applicable selection is THX Cinema (6.1, Re-EQ, Timbre Matching).

DTS 96/24

Dolby Pro Logic IIx, Dolby Digital EX, and DTS Neo:6 can not be applied.

THX Processing:

• Re-Equalization – De-emphasizes treble. Not applicable to THX MusicMode or THX Games Mode.

• Timbre Matching – Matches the sound character, or timbre, of the surround channels to the front channels.

• Adaptive Decorrelation

• ASA

– When the source has one surround channel, adjusts time and phase to restore spaciousness. – Surround and rear channels are processed to provide a wide rear soundstage.

4. OPERATION continued …

4.8.10 DYNAMICS

This allows you to control the difference between the softest and loudest passages on 5.1/6.1-channel soundtracks, as long as the soundtrack contains dynamic scaling information and at least 5.1 speakers are used. Press DYNAMICS and use the Master Control Knob or  keys on the remote control to select:

Reduced: Allows the quieter parts to be heard more easily, and works by raising the level of quieter

sounds and/or reducing the level of louder ones according to cues encoded on the DVD.

Late Night: Further reduces the softest-to-loudest difference.

Reduced and Late Night get reset to Normal when Main power is turned off.

4.9 LIP-SYNC DELAY (remote control only)

To adjust lip-sync while playing a video source instead of viewing the setup menu, press and hold the DISPLAY key until the display shows “LIP-SYNC DELAY”, then use the  keys to move from digit to digit and the  keys to adjust.

4.10 DISPLAY BRIGHTNESS (front panel only)

To change the brightness of the front panel display and LED indicators, press DISPLAY and use the Master Control Knob to select Maximum, High, Medium, Low, or Off.

4.11 VIDEO SOURCE ADJUSTMENT

Source materials sometimes contain anomalies. HD inputs may have the wrong color space, while S-Video and component video signals may need adjustment before being converted to digital, for HDMI output. The processor allows separate adjustment for each source.

Anthem’s video processor allows separate adjustment for each source. Adjust after setting up menu 1 and your display. Upon entering the Video Processing Menu, the on-screen display appears together with the video source so that you can see changes to the picture as you make them in the menu.

The outcome of the settings in the Video Processing Menu depends on settings in your source components,

so set them up first

, for example, set your DVD player’s output to 16:9.

4. OPERATION continued …

FRT CTR

TUNE SEEK

SELECT

SUB

SUR

Entering the video processing menu:

For three seconds, press and hold DISPLAY on the front panel or ON SCREEN on the Remote.

Navigating through menus and items:

Use the  and  keys.

Selecting an item:

Press SELECT. Menu items with a right-arrow beside them lead to further selections or adjustments once SELECT is pressed again.

Making adjustments when a slider is displayed:

Use the  keys. Use  to go to the next slider if the menu has more than one.

Returning after making an adjustment:

Press SELECT to return to the item or BACK to return to the item’s menu.

Exiting from the menu:

Press BACK as many times as necessary.

PICTURE

The Picture menu provides video adjustments for the source material and each source component. Do not make adjustments in this menu if your display has not been calibrated – skip to the Test Patterns section

and return to this section after calibrating your display.

SCALE OUTPICTURE CROP INPUT PATTERNS INFO

OUTPUT

Input Color Space 

Bright / Contrast / Color 

Film Mode 

Detail Enhancement 

Noise Reduction 

Motion Threshold 

Chroma Bug Filter 

Video ADC 

4. OPERATION continued …

Input Color Space

For YCbCr input, the default is Auto, which switches between HD and SD color space according to whether input has HD or SD resolution. In case the source material contains the wrong color space for its resolution, for example, a cable box that converts 480i channels to 1080i output without converting SD color space to HD causing some unnatural hues, the color space can be corrected by forcing the setting to SD or HD.

If the source is in RGB format instead of YCbCr, choose between Studio and Extended – detail in dark scenes can be used to find the correct setting. The default is Studio.

Brightness / Contrast / Color / Tint

If a source needs Brightness (black level), Contrast (white level), Color (saturation), or Tint (hue) adjustment, you can do it here. The default for each of these is 50. If the source component puts out RGB and output in menu1 is set to RGB, Color and Tint are not adjustable so that unnecessary color space conversion is avoided. If you need to adjust the image in such a case, set the source component to YCbCr output.

Film Mode

Did the source originate from film or from video? If from a video camera, which type? If it’s a film source on TV, was a regular pattern of fields deleted to change the playing speed? Is it animation, and if so, according to which animation spec? Is it a mix of sources edited together? Are video characters being scrolled across a film source?

For a video processor to provide best image quality, it must detect the source’s cadence, or pattern of field sequence, and deconstruct it accordingly. The Gennum VXP processor can not only do that, it can do so even when the input is high-definition. Film Mode can be overridden by changing the setting from Auto to Off, but don’t do it unless you need to.

Detail Enhancement

Digital processing is used to do what the name implies – experiment with the level adjustment and leave it where the picture looks best. The factory default is 0.

Noise Reduction

This can be used to reduce or remove “snow” in the picture, often seen in broadcasts – experiment with the level adjustment and leave it where the picture looks best. The factory default is 0.

Motion Threshold

A high-quality deinterlacer has to treat the areas of the picture that contain motion differently from the areas that have very little or no motion. The motion threshold is the point where one type of deinterlacing changes to another. The factory default (4) should work best but adjustment is provided in case it’s needed.

Chroma Bug Filter

An encode/decode error inherent in DVD and digital TV appears as horizontal streaks over areas that are rich in color, especially red areas in cartoons and graphics. Turn correction On if you see such an artifact, but don’t spend energy looking for it – your DVD player, depending on model, may have it taken care of.

Video ADC

S-Video and component video signals containing anomalies may need adjustment before being converted to digital. Video Input Gain (default: Auto) changes the white level and Video Input Offset (default: 50) changes the black level. Sampling Phase adjustment (default: 15) can be useful when video comes from a video DAC (e.g. computer video card) containing ringing edges due to improper filtering – adjust for minimal “ghost” imaging while using a static black and white picture with lots of detail and sharp edges.

For S-Video inputs, two more adjustments are available. Chroma Transient Improvement Level can fix blurred edges where two colors meet. Luma Digital Noise Reduction Level suppresses spikes in the signal which are usually noise. The default for both is 0 – experiment and leave where the picture looks best.

4. OPERATION continued …

CROP INPUT

The Crop Input menu is where the image’s frame is set. If there’s anything outside of the image that you want to remove, this is the best place to do it, i.e. before the image is scaled, preventing unnecessary artifacts.

SCALE OUTPICTURE CROP INPUT PATTERNS INFO

Auto Detect

16:9

4:3

Custom Setting 

Edges Off

Edges On 

Y/C Delay / H Offset 

Input Aspect Ratio – Auto Detect, 16:9, 4:3

The default is Auto Detect. In this mode, a 4:3 input frame is assumed if the input is standard definition (480 or 576 lines), and a 16:9 input frame is assumed if the input is high definition (720p and higher). If a forced setting is needed, select the one that displays the picture correctly – most often, this means selecting 16:9 when the source is standard-definition letterboxed. The most common aspect ratios are:

1.33:1 (4:3)

1.78:1 (16:9)

OUTPUT

2.4:1

SDTV, classic movies

movies also 1.37:1

Custom

If the above settings aren’t suitable, select Custom and adjust Horizontal Size, Vertical Size, Horizontal Position, and Vertical Position. If using an anamorphic projection lens, set Vertical Size to 810 (even if output resolution in menu 1 isn’t 1920x1080 – the relationship is maintained to make setup easy).

Since position can be adjusted after size is adjusted, this can also be the right choice for off-center sources but in this case be sure to adjust size proportionally – you can use a geometry test pattern for a visual adjustment, or calculate the numbers by maintaining the 16:9 ratio between Horizontal Size (default 1920) and Vertical size (default 1080). If the input is standard-definition and letterboxed, use 64:27 to calculate the correct setting for a 16:9 screen. Horizontal and Vertical position defaults are 960 and 540, respectively.

Edges

This selection is independent of the preceding ones. When “On” is selected, the edges of the input are trimmed. Use if you see “garbage” on the edges of the image or for removing the small amount of letterboxing that results from displaying movies with a 1.85:1 aspect ratio on a 16:9 (or 1.78:1) screen when the display is not overscanning. Number of pixels removed is adjustable from 0 to 20.

Y/C Delay and Horizontal Offset

Adjust if image is not centered, or if YCbCr source needs Y/C delay adjustment. See also Sync in menu 1.

HDTV, widescreen movies

movies also 1.66:1, 1.85:1

“Scope” movies, anamorphic projection

also 2.20:1, 2.35:1, 2.55:1 and beyond

4. OPERATION continued …

SCALE OUTPUT

The Scale Output menu provides options for making non-16:9 inputs fit on a 16:9 screen.

SCALE OUTPICTURE CROP INPUT PATTERNS INFO

Panoramic Stretch

Anamorphic Stretch

Letter/Pillar Box

Zoom 

No Scaling 

Panoramic Stretch

Fills the screen by stretching only the sides of the picture while the middle portion stays undistorted. Use with 4:3 input if you don’t like seeing empty sides on a 16:9 screen.

Anamorphic Stretch

Fills the screen by stretching the picture sideways. Use this setting for standard-def DVDs that are anamorphic or “enhanced for widescreen TVs” – the image on these DVDs is squeezed sideways so that no vertical resolution is wasted on a letterbox, and made normal upon playback assuming that the DVD player is properly set (16:9 output). Also use this setting with anamorphic projection and Custom input cropping.

Letterbox and Pillarbox

With this setting, original aspect ratio is preserved for standard-def input, leaving the sides of the screen empty. The shade of the empty areas can be adjusted in menu 1. Not applicable when input is 720p or higher.

OUTPUT

Zoom

Intended for temporary close-up. Zoom Size is adjustable, and if changed from the factory default (100), Horizontal Position and Vertical Position become adjustable. Note that Zoom acts on the output, after processing, and does not produce an image with as high quality as Custom Setting under Crop Input – Zoom enlarges artifacts as well as the image whereas Crop Input discards the unwanted material before processing, thus using the processor’s power towards the part of the frame that you want to view.

No Scaling

To quickly check what the source component is putting out in unscaled form, select No Scaling then make the appropriate selection above. Horizontal Size and Vertical Size adjustments close in on the outside of the image, and if they’re changed from the factory defaults (100), Horizontal Position and Vertical Position become adjustable.

If the source and the display have the same resolution then No Scaling also allows trimming the edges of an input without enlarging it to compensate for the empty area. For example, if you’re using a 1080p-native display and a 1080i source needs trimming, use Edges On in the Crop Input menu (minimum 2 pixels) and select No Scaling. The result is 1:1 pixel mapping for the remaining image.

Since a disc’s menu and the main title do not always have the same aspect ratio, select scaling according to the main title.

4. OPERATION continued …

Aspect Ratio Control Examples – how to crop and scale various sources for display on 16:9 and 2.4:1 screens:

Display as original

Standard-definition 4:3 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Letter / Pillar Box

Stretch sideways to fill screen

Standard-definition 4:3 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Anamorphic Stretch

Stretch sides more than center

Standard-definition 4:3 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Panoramic Stretch

Standard-definition letterboxed source

CROP INPUT: 16:9

SCALE OUTPUT: Anamorphic Stretch

Anamorphic SD-DVD, 16:9 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Anamorphic Stretch

Display as original

Anamorphic SD-DVD, 2.4:1 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Anamorphic Stretch

Display as original

4. OPERATION continued …

Aspect Ratio Control Examples continued

Anamorphic SD-DVD, 2.4:1 source

CROP INPUT: Custom, adjust to taste

SCALE OUTPUT: Anamorphic Stretch

Anamorphic SD-DVD, 2.4:1 source

CROP INPUT: Custom, Vertical Size 810

SCALE OUTPUT: Anamorphic Stretch

Crop and/or stretch to fill screen

Display as original using anamorphic lens

Display as original

Hi-definition 16:9 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Anamorphic Stretch

Hi-definition 2.4:1 source

CROP INPUT: Auto Detect

SCALE OUTPUT: Anamorphic Stretch

Hi-definition 2.4:1 source

CROP INPUT: Custom, adjust to taste

SCALE OUTPUT: Anamorphic Stretch

Display as original

Crop and/or stretch to fill screen

Display as original using anamorphic lens

Hi-definition 2.4:1 source

CROP INPUT: Custom, Vertical Size 810

SCALE OUTPUT: Anamorphic Stretch

4. OPERATION continued …

OUTPUT

The Output menu is used to select gamma correction and to turn frame lock on/off.

SCALE OUTPICTURE CROP INPUT PATTERNS INFO

Gamma Corr Exponential

Gamma Corr Custom Singl

Gamma Corr Custom RGB

Gamma Corr Off

Frame Lock 

Gamma Correction (normally for use only by calibration specialists) The default is Off. Curves other than exponential (default 100) are created with a computer – see section 3.1.

Frame Lock

The default is Off. Frame Lock is useful with video games by cutting processing time. When Auto is selected, buffering is disabled and the processor’s output synchronizes with the source.

If your display accepts various refresh rates and your disc player has passthrough mode, you can also use Frame Lock to match refresh rate to the source material (24 Hz / 50 Hz / 60 Hz), overriding the refresh rate selected in menu 1. Engaging Frame Lock increases source switching time, therefore it should not be used if not needed – assigning different video output configurations in menu 1 is more effective in this case.

OUTPUT

“Auto” means that if the source has a nature that prevents Frame Lock from engaging, it will not engage.

4. OPERATION continued …

TEST PATTERNS

This section is a primer on display calibration and although the procedure is no match for a professional setup, the result will almost always be better than using the display with its factory settings. The only tool needed to adjust color this way is a blue filter that comes with test discs or the glasses from www.thx.com.

These digitally generated patterns can be more accurate than those played from a disc since some discs and players contain errors in design or user settings.

SCALE OUTPICTURE CROP INPUT PATTERNS INFO

Gray Bars

Red Bars

Green Bars

Blue Bars

Gray/Red/Green/Blue Bars

Color Bars

Before starting calibration

Set the room’s lighting to the level that will be used during normal viewing. If your display varies light output according to the brightness of the image and/or ambient light, turn off these functions for now. If color temperature is selectable, select “medium” or the one that is neither too blue nor too red. If your display has DVI input, ensure that the correct output between Studio and Extended RGB is selected in menu 1.

The best setting for the display’s sharpness control is usually at its lowest even when the default position is in the center. Sharpness is the addition of false edges around objects in the image and there is no reason to add false edges on all video sources unless there is something wrong with all video sources.

OUTPUT

Any of these patterns can also be used to check whether the display is showing the whole image – if the bars at the left and right of the screen are narrower than the rest, your display is cropping and rescaling the image. As mentioned in section 3.1, see if you can disable this (select dot-by-dot mode in your display).

This is the gray 20-bar pattern – the red, green, blue, and gray/red/green/blue ones are similar:

Black level is one step below the pattern’s darkest bar and full level is one step beyond the brightest bar.

4. OPERATION continued …

Color Bars is the SMPTE test pattern, with bars at 75% saturation:

D D

BBB

Setting your display’s brightness and contrast

Increase brightness (black level) so that areas A can be seen as two areas with different brightness, then reduce the level until these areas match each other, or in other words, when the A on the left disappears by blending into the background. (Difference in shade will not appear if output in menu 1 is Extended RGB.)

After setting brightness, set contrast (white level) as high as possible so that areas B remain three areas with different and equally-spaced brightness. If the B in the middle starts to get closer in brightness to the B on the right, the contrast setting is too high for most lighting conditions.

Next, select the gray/red/green/blue bars pattern and if the rightmost bars in any of the colored areas are blended, reduce contrast until the areas can be seen separately. Depending on your display and/or lighting conditions, compromises in the settings may be necessary – try some source materials with and without the display’s automatic brightness compensation (where applicable) and trust your senses.

Setting your display’s color and tint

Looking through the blue filter or glasses, adjust color (saturation) so that areas C match as closely as possible, then adjust tint (hue) so that areas D match as closely as possible.

After setting contrast and tint, check brightness and color – some fine tuning back and forth may be needed. Once again, trust your senses if the blue filter does not provide satisfactory results.

D D

INFO

The Info panel shows Input Status (Video Source, Signal Type, Audio Source, and Film Mode) and Output Status (Signal Type, Frame Rate, Line Rate, and Frame Lock).

Shortcuts and emergency exits: Commonly adjusted settings and settings that make displays say “no signal” when the wrong selection is made can be accessed without entering menus. Press and hold MODE until “SCALE OUTPUT” is displayed, then select using the Master Control Knob or the  keys on the remote control. Repeatedly pressing MODE before timeout cycles through Video Output Configuration, Frame Lock, and Gamma Correction.

If you have lost video output by changing settings, use the front panel display to correct the settings.

To quickly access Brightness, Contrast, Color, and Tint press and hold DYNAMICS until the Brightness slider appears, then use the  keys to change slider and the  keys to adjust.

SLEEP

SELECT

4. OPERATION continued …

4.12 SLEEP TIMER (remote control only)

If you would like to go sleep while listening to a program or music, the Sleep Timer will turn the processor power off after the selected amount of time:

• Select the desired path (MAIN, ZONE2, or ZONE3), then press SLEEP (the Sleep timer will operate for that path only).

• The first SLEEP keystroke always resets the timer to 30 minutes. Additional keystrokes then cycle as follows: Second=60, third=90, fourth=Disabled.

• Once set, the time remaining appears as the number following “Zzz” in the display.

4.13 ENABLE / DISABLE TIMERS (remote control only)

To enable or disable all timers without entering the Setup, press and hold the SLEEP key until the display shows “ALL TIMERS”, then use the  keys to enable/disable.

4.14 STATUS DISPLAY

, Release, Press to cycle through display screens that show the following:

Press

• Software version, day, and time.

• Video Input: Resolution and refresh rate of video source, and

copy-protection status if available – “CP” means copy-protected, “NP” means not protected.

• Audio Input: Bit rate / sample rate of digital source, or Analog.

• Input Format: Channels in the source.

• Video Output Configuration: The active one and its resolution/refresh rate. “DnRes” or “Muted” is

also displayed if component video output is reduced in resolution or muted due to copy protection.

• Audio Output: Bit rate / sample rate running in the digital to analog converters. “DIG Mute” is also displayed if DIG1 or DIG2 record output is muted due to copy protection.

• Output Format: Channels producing output.

• Dialog Normalization: Shown if not equal to 0 dB.

• Tone Controls: Enabled, Bypassed, or N/A.

• Serial Number: If the number on the rear panel does not match, contact Anthem immediately.

When in ZONE2 or ZONE3, information relating only to the selected path is displayed.

5. REMOTE CONTROL CUSTOMIZATION

5.1 CODES FOR OTHER BRANDS

The processor remote can control other components – brands and setup instructions are in Appendix B. If the brand for your component is not listed, try searching for a code as follows:

1. Turn on the component, for example the DVD player.

2. Press a control mode key other than

3. Press and hold LEARN until the LED flashes twice then press 9, 9, 1.

4. Press 0 for cable converters, satellite receivers, or video accessories, 1 for TVs, 2 for DVD players or VCRs, or 3 for CD players or audio amps/tuners.

5. Aim the remote towards the player and press POWER (or Play). If the player does not respond, press

CH+to try the next code. If the player responds, press LEARN to lock the code. Codes are sent in

order of popularity. CH goes to the previous code. If no code is found, see section 5.2.

6. After finding a code, record it: Press and hold LEARN until the LED flashes twice, then press 9, 9, 0, 1. Wait 3 seconds and count the number times that the LED flashes. This represents the first digit (for example, 3 flashes = 3, no flash = 0) – write this down. Next, press 2 for the second digit, 3 for the third digit, 4 for the fourth digit, 5 for the fifth digit and write the number of flashes each time.

5.2 LEARNING COMMANDS

Commands from almost any other infra-red remote control can be captured by the processor remote control. The factory command is still available by pressing LEARN before pressing the taught key.

If the factory command is used more than the learned command, the learned command can be programmed in Layer2 instead. In this case, the learned command is sent by pressing LEARN before pressing the key.

Before teaching a key note the following:

• Control mode keys and LEARN can not be taught. These keys never send IR commands

MAIN, Z2, or Z3, for example DVD.

• A multiple key sequence (for example Rec+Pause or Rec+Play) can not be taught to one key.

• A high level of ambient light, light from displays, and exposed fans could interfere with learning.

To teach a key:

1. Point the source and processor remotes at each other, holding them 2 inches apart.

2. Press and hold LEARN until the LED flashes twice then press 9, 7, 5. One long blink indicates low battery or faulty memory – the remote will not go into learn mode under these conditions.

3. Press the desired control mode key.

4. Press the key to be taught, or to program the command into Layer2 press LEARN (don’t hold) then press the key to be taught.

5. The LED flashes rapidly. Within 4 seconds, press and hold the teaching key on the source remote until the LED flashes twice. One long blink means bad capture (try again), memory full (delete another command), or unlearnable code.

6. Repeat steps 3-5 or 4-5 as often as desired until memory is full.

7. To exit, press and hold LEARN until the LED flashes twice or wait 10 seconds.

Deleting learned commands:

1. Press and hold LEARN until the LED flashes twice, then press 9, 7, 6.

2. To delete a learned command from one key, press the control mode key, then the key to be deleted twice. To delete all learned commands in the control mode, press the control mode key twice.

5. REMOTE CONTROL CUSTOMIZATION continued …

5.3 COPYING COMMANDS

The command from one key can be copied to another key (not applicable to Power, Record, and Learn keys).

To copy a command to another key in the same control mode:

1. Press the control mode key.

2. Press and hold LEARN until the LED flashes twice.

3. Press 9, 9, 4.

4. Press the key to be copied.

5. Press the new key that will have the command. The LED flashes twice.

To copy a command into a different control mode:

1. Press and hold LEARN until the LED flashes twice.

2. Press 9, 9, 4.

3. Press the control mode key of the key to be copied then the key to be copied.

4. Press the new control mode key then the new key that will have the command. TheLED flashes twice.

To set the original functions:

1. Press the control mode key.

2. Press and hold LEARN until the LED flashes twice.

3. Press 9, 9, 4.

4. Press the control mode key twice.

5.4 VOLUME LOCK

With Volume Lock engaged, the volume and mute keys control the processor regardless of control mode, making operation more convenient.

To engage Volume Lock for MAIN:

1. Press and hold LEARN until the LED flashes twice.

2. Press 9, 9, 3.

3. Press MAIN.

To dis-engage Volume Lock for ZONE2 (or ZONE3), and re-engage the ZONE2 (or ZONE3) volume control:

1. Press ZONE2 (or ZONE3).

2. Press and hold LEARN until the LED flashes twice.

3. Press 9, 9, 3.

4. Press VOL .

The volume and mute keys now control MAIN for every control mode selection except ZONE2. You may continue to disengage other control modes one at a time. To disengage all, press VOL+in step 4.

5. REMOTE CONTROL CUSTOMIZATION continued …

5.5 PROGRAMMING MACROS

Macros are used to execute multiple functions with one key press, such as powering the processor, cable box, and display On at the same time. Up to 32 commands can be programmed.

Programming a Macro that works regardless of control mode setting:

1. Press and hold LEARN until the LED flashes twice.

2. Press 9, 9, 5.

3. Press the key you want to use to activate your macro (e.g. Power).

4. Enter the command sequence that you want the macro to execute.

5. To exit, press and hold LEARN until the LED flashes twice or wait 10 seconds.

To clear the macro, repeat the steps above but skip step 4.

Programming a Macro that works in one control mode:

1. Press the control mode key.

2. Press and hold LEARN until the LED flashes twice.

3. Press 9, 7, 8.

4. Press the key you want to use to activate your macro (e.g. Power).

5. Enter the command sequence that you want the macro to execute.

6. To exit, press and hold LEARN until the LED flashes twice or wait 10 seconds.

To clear the macro:

1. Press and hold LEARN until the LED flashes twice, then release.

2. Press 9, 7, 8.

3. Press the control mode key where you programmed the macro.

4. Press the key that was programmed to activate the macro.

5. To exit, press and hold LEARN until the LED flashes twice or wait 10 seconds.

5.6 RESETTING THE REMOTE CONTROL

To erase user memory, press and hold LEARN until the LED flashes twice, then press 9, 8, 0. To reset MAIN, Z2, or Z3 control mode, see the beginning of Appendix B.

If your remote control has stopped working, try resetting it before contacting technical support.

6. SOFTWARE UPDATING

The operational characteristics of the processor are controlled by software installed through the RS-232 port on the rear panel. Updates can be downloaded from our web site and installed afterwards.

6.1 SOFTWARE VERSION IDENTIFICATION

To find out which software version is in your processor, press STATUS and the display will show it. The latest software and manual are available from our web site. A list of changes comes with the download.

6.2 SOFTWARE UPDATING VIA YOUR DEALER

If you do not have a computer or wish to do software updates yourself but still want to have them done, please make arrangements with your dealer. Whether your dealer comes to your theater to do the update or you bring your processor to the dealer, the dealer may charge for this service.

6.3 SOFTWARE UPDATING VIA YOUR COMPUTER

Your computer must be running Windows XP or Vista and have a 9-pin serial port or card slot and a serial card or a USB port and a USB to serial adapter. The latter is least preferred. If using a USB to serial adapter to connect the processor:

1. It must be one that supports two stop bits – check with adapter manufacturer.

2. Check the adapter manufacturer’s website for the latest driver. If a message warns that the driver is not Windows-certified as it’s about to be installed, do not use the adapter. Some “budget” adapters load bad data into the processor, possibly causing its operation to freeze.

3. The virtual port must be assigned to COM1-COM6. If the processor software installer cannot locate the processor, use your adapter’s port manager to check the setting.

If you are using a laptop computer, check its power settings and battery meter to ensure that procedures will not be interrupted.

Software installation:

1. Find out which version is installed by pressing STATUS.

2. Go Anthem’s web site www.anthemAV.com and locate the latest software. Proceed only if your version is a lower number, indicating that it is older.

3. Click on the software link. You will be asked where to save a .zip file – save it to Desktop.

4. Double click or right-click on the downloaded file then extract it to Desktop.

5. In the extracted folder see Read Me.txt for the change history.

6. Double click on Installer.exe. The remaining instructions will appear.

Troubleshooting:

If the installer keeps returning a message saying that the processor is not found, make sure that the serial port on your computer isn’t being used by another application – you must go into the application that is using it to turn off the serial port.

APPENDIX A – IR MACROS

Using the factory remote control’s IR codes for MAIN path, the following 3-key sequences can be programmed into macro-capable aftermarket remotes to create a separate button for each mode, source, and tuner bank:

For Stereo sources:

MODE, 0, 1 – Stereo MODE, 0, 2 – AnthemLogic-Music MODE, 0, 3 – AnthemLogic-Cinema MODE, 0, 4 – Pro Logic IIx Music MODE, 0, 5 – Pro Logic IIx Movie MODE, 0, 6 – Dolby Pro Logic MODE, 0, 7 – DTS Neo:6 Music MODE, 0, 8 – DTS Neo:6 Cinema MODE, 0, 9 – All Channel Stereo MODE, 1, 0 – All Channel Mono MODE, 1, 1 – Mono MODE, 1, 2 – Mono-Academy MODE, 1 ,3 – Pro Logic IIx Matrix MODE, 1, 4 – Pro Logic IIx Game THX, 0, 1 – THX Off THX, 0, 2 – THX Cinema THX, 0, 3 – THX Games Mode

For Surround-flagged Dolby Digital 2.0

MODE, 2, 1 – Stereo MODE, 2, 2 – AnthemLogic-Music MODE, 2, 3 – AnthemLogic-Cinema MODE, 2, 4 – Pro Logic IIx Music MODE, 2, 5 – Pro Logic IIx Movie MODE, 2, 6 – Dolby Pro Logic MODE, 2, 7 – DTS Neo:6 Music MODE, 2, 8 – DTS Neo:6 Cinema MODE, 2, 9 – All Channel Stereo MODE, 3, 0 – All Channel Mono MODE, 3, 1 – Mono MODE, 3, 2 – Mono-Academy MODE, 3 ,3 – Pro Logic IIx Matrix MODE, 3, 4 – Pro Logic IIx Game THX, 0, 4 – THX Off THX, 0, 5 – THX Cinema THX, 0, 6 – THX Games Mode

Pro Logic IIx Music adjustment:

MODE, 4, 1 – Center Width display MODE, 4, 2 – Dimension display MODE, 4, 3 – Panorama Off MODE, 4, 4 – Panorama On

Neo:6 Music adjustment:

MODE, 4, 5 – Center Image display

THX Re-EQ:

THX, 3, 0 – Re-EQ Off when THX is on THX, 3, 1 – Re-EQ On when THX is on THX, 3, 2 – Re-EQ Off when THX is off THX, 3, 3 – Re-EQ On when THX is off

sources:

For Dolby Digital 5.1

THX, 1, 0 – None THX, 1, 1 – THX Cinema THX, 1, 2 – THX Ultra2 Cinema THX, 1, 3 – THX MusicMode THX, 1, 4 – THX Surround EX THX, 1, 5 – THX Games Mode THX, 1, 6 – PLIIx Movie THX, 1, 7 – PLIIx Movie+THX Cinema THX, 1, 8 – PLIIx Music THX, 1, 9 – Dolby Digital EX THX, 2, 0 – Neo:6 THX, 2, 1 – Neo:6+THX Cinema

For Dolby Digital Surround EX-flagged

MODE, 5, 1 – None MODE, 5, 2 – Dolby Digital EX MODE, 5, 3 – THX Surround EX MODE, 5, 4 – PLIIx Movie MODE, 5, 5 – PLIIx Movie+THX Cinema MODE, 5, 6 – PLIIx Music MODE, 5, 7 – Neo:6 MODE, 5, 8 – Neo:6+THX Cinema

For 6-Ch

sources (analog or HDMI):

MODE, 7, 0 – None MODE, 7, 1 – THX Cinema MODE, 7, 2 – THX Ultra2 Cinema MODE, 7, 3 – THX MusicMode MODE, 7, 4 – THX Surround EX MODE, 7, 5 – THX Games Mode MODE, 7, 6 – PLIIx Movie MODE, 7, 7 – PLIIx Movie+THX Cinema MODE, 7, 8 – PLIIx Music MODE, 7, 9 – Dolby Digital EX MODE, 8, 0 – Neo:6 MODE, 8, 1 – Neo:6+THX Cinema

sources:

For DTS

sources:

THX, 4, 0 – None THX, 4, 1 – THX Cinema THX, 4, 2 – THX Ultra2 Cinema THX, 4, 3 – THX MusicMode THX, 4, 4 – Neo:6+THX Cinema THX, 4, 5 – THX Games Mode THX, 4, 6 – PLIIx Movie THX, 4, 7 – PLIIx Movie+THX Cinema THX, 4, 8 – PLIIx Music THX, 4, 9 – Dolby Digital EX THX, 5, 0 – Neo:6

For DTS-ES

MODE, 6, 1 – None MODE, 6, 2 – DTS-ES Matrix MODE, 6, 3 – DTS-ES+THX Cinema MODE, 6, 4 – PLIIx Movie MODE, 6, 5 – PLIIx Movie+THX Cinema MODE, 6, 6 – PLIIx Music MODE, 6, 7 – Dolby Digital EX

The macros below also work in ZONE2/3.

Tuner Bank Selection:

MODE, 9, 0 – AM MODE, 9, 1 – FM1 MODE, 9, 2 – FM2 MODE, 9, 3 – FM3

Source Selection:

THX, 8, 0 – CD THX, 8, 1 – 2-Ch BAL THX, 8, 2 – 6-Ch S/E THX, 8, 3 – TAPE THX, 8, 4 – FM•AM THX, 8, 5 – DVD1 THX, 8, 6 – DVD2 THX, 8, 7 – DVD3 THX, 8, 8 – DVD4 THX, 8, 9 – TV1 THX, 9, 0 – TV2 THX, 9, 1 – TV3 THX, 9, 2 – TV4 THX, 9, 3 – SAT1 THX, 9, 4 – SAT2 THX, 9, 5 – VCR THX, 9, 6 – AUX

When using Simulcast mode, all sources must be selected using macros, and within 2 seconds.

sources:

Some tips if you’re using a macro-capable remote control:

• If you do not want separate mode selection according to flagged vs unflagged source material, you can program

macros as a 6-key sequence, for example MODE, 0, 1, MODE, 2, 1 and flag will make no difference to selection.

• You can program your source selection keys with the power-on command preceding each source-select command. This way, when a source is selected, the processor will turn on at the same time if it is off, similar to front panel operation.

• If your source components also have discrete commands for power-on and power-off, you can take the above idea even further, for example, program the TV button with the following sequence: Power-on the processor, select TV, power-on the satellite receiver / cable box, power-on the TV. This way, when the entire system is off and you or a family member wants to watch TV, “just push TV”.

APPENDIX B – PRESET MEMORY CODES

The following codes are for setting operation of other components with the processor’s remote control. If codes for your components are not in this library, see sections 5.1 and 5.2.

To enter a 5-digit code:

1. Press the control mode key near the top of the remote (e.g. DVD).

2. Press and hold LEARN until the LED flashes twice.

3. Enter the 5-digit code. Two LED blinks indicate that the code is accepted.

Anthem Processors:

D1/2, AVM 20/30/40/50 – MAIN 31185 D1/2, AVM 20/30/40/50 – ZONE2 31186 D1/2, AVM 20/30/40/50 – ZONE3 31187 AVM 2 – MAIN 31096 AVM 2 – ZONE2 31097

Audio Amplifiers:

Accuphase 30382 Acurus 30765 Adcom 31100, 30577 Aiwa 30406 AudioSource 30011 Bel Canto Design 31583 Bose 30674 Carver 30269 Classe 31461, 31462 Curtis Mathes 30300 Denon 30160 Durabrand 31561 GE 30078 Harman/Kardon 30892 JVC 30331 Kenwood 30356 Korsun 31483 Left Coast 30892 Lenoxx 31561 Linn 30269 Logitech 31408 Luxman 30165 Magnavox 30269 Marantz 30892, 30321, 30269 Mark Levinson 31483 Nakamichi 30321 NEC 30264 Optimus 30395, 30300 Panasonic 30521, 30308 Parasound 30246 Philips 30892, 30269 Pioneer 30013, 30300 Polk Audio 30892, 30269 PS Audio 31523 RCA 30300 Realistic 30395 Sansui 30321 Shure 30264 Sony 30689, 30220, 30815 Soundesign 30078, 30211 Technics 30521, 30308 Victor 30331 Wards 30078, 30211, 30013 Yamaha 30354, 30143, 30133, 30504, YBA 31502

Audio Amp/Tuners:

ADC 30531 Adcom 31616, 30616, 31617 Aiwa 31405, 30158, 30189, 31243,

Akai 30224, 30076, 31512, 31255 Alco 31390 Amphion Media Works31615, 31563 AMW 31563, 31615 Anam 31609, 31074, 30281 Apex Digital 31430, 31257 Arcam 31120 Audiophase 31387 Audiotronic 31189

31089, 31388, 30121, 30405, 31321, 31641, 31347

Audiovox 31390, 31627 AVLight 30158 Bel Canto Design 31584 Bose 31229, 31253, 30639 Brix 31602 Cambridge Soundwks 31477, 31370 Capetronic 30531 Carver 31189, 30189, 30042, 31089,

Casio 30195 Clarinette 30195 Classic 31352 Coby 31513, 31389, 31263 Compaq 31136 Criterion 31420 Curtis 31596 Curtis Mathes 30080 Daewoo 31250 Dell 31383 Denon 31360, 30004, 31104, 30771,

Dynamic Bass 30360 Emerson 30424, 30255 Fisher 31409, 30360, 30219, 31801,

Fonmix 31360 Fosgate 31487 Garrard 30424, 30281, 30463, 30146,

Gateway 31517, 31567 GE 31379 Glory Horse 31263 Go Video 31532 GoldStar 30281 GPX 31299 Hafler 30146 Harman/Kardon 30110, 30189, 30891 Hewlett Packard 31181 Hitachi 31801, 31273 Initial 31426 Inkel 30027, 30062, 30502, 30491 Integra 30135, 31298 JBL 30110, 31306, 30281 JVC 30074, 31282, 31263, 31495,

Kansai 30440 Kenwood 31313, 31570, 31569, 30027,

KLH 31412, 31390, 31428 Koss 30424, 30255, 31366 Lasonic 31798, 31510 Lenoxx 31437 Lexicon 31076 Linn 30189 Liquid Video 31497 Lloyd's 30195 LXI 30181 Magnavox 31189, 31269, 30189, 30128,

Marantz 31189, 31269, 30039, 30189,

MCS 30039, 30346 Memorex 31596 Mitsubishi 31393 Modulaire 30195 Musicmagic 31089 NAD 30320 Nakamichi 30347, 30097, 31555 NEC 30235 Norcent 31389

30008, 30360

31311, 30273, 31142, 30301

30042

30440

31374

31051, 30077, 30313, 31027, 30042, 30239, 30569, 31052, 30186, 30314

30391, 30195, 31089, 31514, 30531

31089, 31289, 30200, 30128

Onkyo 30135, 31298, 30842, 30380,

Optimus 31023, 30801, 31074, 30080,

Oritron 31497, 31366 Panasonic 31518, 30039, 31548, 31764,

Penney 30195 Philco 31390 Philips 31189, 31269, 30189, 31365,

Pioneer 31023, 30150, 30630, 31184,

Polaroid 31508 Polk Audio 30189, 31289 Proscan 31254 Qisheng 31609, 31390 Quasar 30039 RadioShack 31263 RCA 31023, 31609, 31254, 30346,

Realistic 30195, 30181, 30163 Regent 31437 Rio 31869, 31383 Saba 31519 Samsung 31500, 31295 Sansui 30189, 30346, 30193, 31089 Sanyo 30801, 30360, 31469, 30219,

Scott 30163, 30322 Sharp 31286, 30186, 31386, 31361 Sharper Image 31545, 31556, 30797, 31409,

Sherwood 30491, 31423, 30062, 31077,

Shinco 31390 Shinsonic 31426 Silsonic 30176, 31426 Sonic 30281 Sonic Blue 31383, 31869, 31532 Sony 31058, 31441, 31258, 31759,

Soundesign 30670 Stereophonics 31023 Sunfire 31313, 30314, 30313, 31052 Tae Kwang 30440 Teac 30163, 31267, 31074, 31528,

Technics 31308, 31518, 30039, 30518,

Techwood 30281 Thorens 31189 Venturer 31390, 30849 Victor 30074 Wards 30158, 30189, 30080, 30054 Yamaha 30176, 30081, 31176, 31375,

Yorx 30195 Zenith 31293, 30857, 30281, 31869

31531

30186, 30531, 30797, 30042, 30181, 30440, 30738, 30849, 30177, 30219, 30670

30518, 31350, 31763, 30367, 31316, 31509, 31633, 30309, 31288, 31363

31089, 31266, 31283, 30891, 31368, 30391, 31120, 31268

30080, 30531, 31084, 31384, 30244, 31343

30531, 31154, 31511, 30080, 30530, 31074, 31390, 30054, 30360

31251

31416, 31549, 31385, 31411, 31546, 31723, 31263, 31410

30502, 31653

30158, 31442, 31529, 31758, 31371, 31503, 31042, 31658, 31158, 31858, 31367, 31406, 31458, 30168, 31558, 31131, 31349, 31382

30463, 31390

30309, 31309, 30208

30186, 31331, 31276

APPENDIX B – PRESET MEMORY CODES continued …

Cable Converters:

ABC 00003, 00008, 00014, 00001,

Allegro 00315, 00153 Americast 00899 Antronix 00207, 00022 Archer 00797, 00207, 00153, 00022 Belcor 00056 Bell & Howell 00014 Bell South 00899 Cable Star 00056 Cabletenna 00022 Cableview 00022 Century 00153 Citizen 00315, 00153 Clearmaster 00883 ClearMax 00883 Colour Voice 00025, 00031 Comtronics 00040 Contec 00019 Coolmax 00883 Daeryung 01877, 00877, 00477, 00008 Digi 00637 Director 00476 Dumont 00637 Eastern 00002 Emerson 00797 Everquest 00040, 00015 Focus 00400 Funai 00019 Garrard 00153 GC Electronics 00207, 00056 Gehua 00476 Gemini 00797, 00015 General Instrument 00476, 00810, 00276, 00003,

Global 01327 GMI 00015, 00797 GoldStar 00144, 00040 Goodmind 00797 Hamlin 00009, 00273, 00034, 00020,

Hitachi 00014, 00011 Hytex 00007 Jasco 00015, 00315, 00153 Jebsee 00400 Jerrold 00476, 00810, 00276, 00003,

Leon 00015 LG 00144, 00040 Linsay 00440 Magnavox 00027 Memorex 00000 Motorola 00476, 00810, 00276, 01254,

Movie Time 00156, 00063 MS 00015 MultiVision 00012 Novaplex 00618 NSC 00063, 00156 Oak 00019, 00007 Optimus 00021 Pace 01877, 00237 Panasonic 00000, 00008, 00107, 00040,

Panther 00637 Paragon 00000 Philips 00317, 00027, 00025, 00153,

Pioneer 01877, 00877, 00144, 00533,

Popular Mechanics 00400 Pulsar 00000 Quasar 00000 RadioShack 00015, 00883, 00797, 00315 RCA 00021 Realistic 00207 Recoton 00400

00007, 00013, 00011, 00017

00014, 00011, 00015

00259

00012, 00014, 00011, 00015

01106, 01376

00021

00013, 00031, 01305

01021

Regal 00279, 00273, 00259, 00020 Regency 00002 Rembrandt 00011 Runco 00000 Samsung 00000, 00144, 00040 Scientific Atlanta 01877, 00877, 00477, 00008,

Seam 00510 Signal 00040, 00015 Signature 00011 SL Marx 00040 Sony 01006 Sprucer 00021 Starcom 00003, 00014, 00015 Stargate 00015, 00797, 00040 Starquest 00015 Supercable 00276 Supermax 00883 Sylvania 00001 Tandy 00258 Teleview 00040 Texscan 00001 TFC 00310 Timeless 00040 Tocom 00012, 00013 Torx 00003 Toshiba 00000 Trans PX 00276, 00153, 00315 Tristar 00883 TS 00003 Tusa 00015 TV86 00063 Unika 00207, 00153, 00022 United Artists 00007 Universal 00153, 00056, 00207, 00022,

V2 00883 Viewmaster 00883 Viewstar 00063, 00027, 00258 Vision 00883 Vortex View 00883 Zenith 00000, 00525, 00899 Zentek 00400

00017

00191

CD Players:

ADC 30018 Adcom 30155, 30234 Aiwa 30157, 30124, 30012 Akai 30156 Audio Alchemy 30194 Audio-Technica 30170 BSR 30245, 30194 Burmester 30420 California Audio Labs 30029, 30303 Carrera 30194 Carver 30157, 30437, 30179 Classic 31297 Crown 30122 DAK 30245 DBX 30254 Denon 30873, 30003 DKK 30000 DMX Electronics 30157 Dynamic Bass 30179 Emerson 30305, 30164, 30155, 30469 Fisher 30179, 30174, 31325, 30088,

Garrard 30245, 30420, 30393, 30280,

GE 30009 Gemini 30625 Genexxa 30032, 30305, 30164 GoldStar 30417 GPX 31296 Harman/Kardon 30157, 30173, 31202, 30426 Hitachi 30032, 30155 Inkel 30196, 30180, 30437 Integra 30101

30342

30425

JVC 30072, 31294, 30655 Kenwood 30681, 30826, 30626, 30028,

KLH 31318 Kodak 30287 Korsun 31484 Koss 31317 Krell 30157 Kyocera 30018 LG 31208 Linn 30157 Luxman 30093 LXI 30305 Magnavox 30157, 30305 Marantz 30626, 30029, 30157, 30180 Mark Levinson 31484 McIntosh 30287 MCS 30029, 30043 Miro 30000 Mission 30157 MTC 30420, 30625 Nakamichi 30147 NEC 30043, 30234 Nikko 30174, 30170, 30164, 30625 NSM 30157 Onkyo 30868, 30101 Optimus 31063, 30000, 30032, 30037,

Panasonic 30029, 30752, 30303 Parasound 30420, 30194 Philips 30626, 30157, 30287 Pioneer 31063, 31062, 30032, 30305,

Polk Audio 30157 Proton 30157 QED 30157 Quad 30157 Quasar 30029 RadioShack 31075 RCA 31062, 30032, 30305, 30764,

Realistic 30164, 30180, 30155, 30179,

Rotel 30157, 30420 SAE 30157 Sansui 30157, 30305, 30202 Sanyo 30179, 30087 SAST 30157 Scott 30305, 30164, 30155 Sears 30305 Sharp 30861, 30037, 30180 Sherwood 31067, 30196, 30180, 30426 Shure 30043 Silsonic 30888, 30036

Sonic Frontiers 30157

Sony 30490, 30000, 31364, 30185,

Soundesign 30425, 30145 STS 30018 Symphonic 30305 TAG McLaren 30157 Tascam 30420 TDK 31208 Teac 30393, 30180, 30174, 30420 Technics 30029, 30207, 30303 Tivoli Audio 31553 Vector Research 30194, 30417 Victor 30072 Wards 30157, 30053 Yamaha 30888, 30036, 30187, 30170,

YBA 30625 Yorx 30461 Zonda 30157

30037, 30036, 30190

30342, 30437, 31075, 30145, 30194, 30305, 30426, 30087, 30179, 30280, 30420, 30468, 30175, 30196

30468, 31087

30179, 30468, 30009, 30155, 30420, 30053

30175, 30420

30605, 30100, 30604

31292

APPENDIX B – PRESET MEMORY CODES continued …

DVD Players:

Adcom 21094 Advent 21016 Aiwa 20641, 21912 Akai 20899, 20770, 21975, 21089 Allegro 20869 Amphion Media Works22016, 22001 AMW 20872, 22016, 22001, 21176 Anam 21913 Apex Digital 20672, 20717, 20797, 21020,

Aspire Digital 21168 Audiologic 20736 Audiovox 21071, 21122, 21041, 21121,

Axion 21071, 21072 B & K 20662, 20655 Bel Canto Design 21571 Blaupunkt 20717 Blue Parade 20571 Broksonic 20868, 20695 Cambridge Soundwks 21916 CAVS 21057 Changhong 20627, 21061 CineVision 20876, 20869 Classic 21917 Coby 20778, 21107, 21086, 21923,

Criterion 22007 Curtis Mathes 21087 CyberHome 21023, 21129, 20816, 21117,

Daewoo 20784, 20869, 20833, 21918,

Denon 20490, 20634 Dual 21085, 21068 DVD2000 20521 Emerson 20591, 20675, 20821 Enterprise 20591 Fisher 20670, 21919 Funai 20675 Gateway 21077, 21073, 21158 GE 20522, 20815, 20717 Go Video 20744, 20869, 21099, 21970,

GPX 20699, 20769 Greenhill 20717 Harman/Kardon 20582, 20702 Hitachi 20573, 20664, 21919 Hiteker 20672 Initial 20717, 21931 Integra 20627, 21924 Jamo 22003 Jaton 21078 JBL 21926, 20702 Jensen 21016 JVC 20558, 20623, 21940, 21901,

jWin 21051, 21049 Kenwood 20490, 20534, 21063, 20682 KLH 20717, 21939, 21149, 21020 Konka 20720, 20719, 20711, 20721 Koss 20651 Landel 20826 Lasonic 20798, 21173 Lenoxx 21938 LG 20801, 20101 Lite-On 21158, 21058 Loewe 20511 Magnavox 20503, 20675, 21976, 21914,

Malata 21159, 20782 Marantz 20539 Memorex 20695

21100, 20796, 21004, 21061, 21937, 20794, 20830, 21056, 21915, 20755

21072

20852, 21165

21024

21172, 20705

20715, 20833, 21075, 21730, 20783, 21044, 21144

20867

20821

Microsoft 20522 Mintek 20839, 20717 Mitsubishi 21521, 20521 Momitsu 21082 NEC 20785 Nesa 20717 Next Base 20826 Niro 22024 Norcent 21003, 20872, 21923, 21107 Onkyo 20503, 20627, 21924, 20792,

Oritron 20651, 21980 Panasonic 20490, 21462, 21907, 21910,

Philco 22000 Philips 20503, 20539, 20646, 20885,

Pioneer 20525, 20571, 20638, 20632,

Polaroid 21086, 21061, 21998, 21200 Polk Audio 20539 Portland 20770 Prima 21016 Princeton 20674 Proscan 20522 ProVision 20778 Qwestar 20651 RCA 20522, 20571, 20717, 20822,

Regent 21938 Rio 20869 Rotel 20623 Rowa 20823 Saba 21977 Sampo 20752, 20698 Samsung 20490, 20573, 20820, 21932,

Sansui 20695 Sanyo 20695, 20670, 21967, 20873 Sharp 20630, 20752 Sharper Image 21995, 21117 Sherwood 21043, 20770, 20633, 21077 Shinco 20717 Shinsonic 20533, 20839, 21931 Sigma Designs 20674 Sonic Blue 20869, 21970, 21099 Sony 20533, 21533, 20864, 21033,

Sungale 21074 Superscan 20821 SVA 20717, 20860, 21105 Sylvania 20821, 20675 Symphonic 20675 Teac 21984, 20809 Technics 20490 Technosonic 20730 Techwood 20692 Terapin 21031 Theta Digital 20571 Tivo 21996 Toshiba 20503, 21154, 22006, 21045,

Tredex 20803, 20800, 20799, 20804 TYT 20705 Urban Concepts 20503 US Logic 20839 V Inc. 21226, 21064 Vocopro 21027 Xbox 20522 Xwave 21001 Yamaha 20490, 20539, 20545 Zenith 20503, 20591, 21906, 20869,

21985

21990, 21362, 21762, 21909, 21986, 20632, 21490, 21908, 21925, 22017

20854, 21914

20631, 21902

21193, 21974, 21132, 21965, 21022, 21913

21075, 20899, 21979

21904, 22020, 21903, 21981, 20772, 21934

21996, 20695, 21988

22002

Satellite Receivers:

AlphaStar 00772 Chaparral 00216 Crossdigital 01109 DirecTV 00392, 00566, 00639, 01639,

Dish Network System 01005, 00775, 01775, 01505,

Dishpro 01005, 00775, 01505, 01775 Echostar 01005, 00775, 01170, 01775,

Expressvu 00775, 01775 Funai 00338 GE 00566 General Instrument 00869 GOI 00775, 01775 Goodmans 01246 Hisense 01535 Hitachi 00819, 01250, 00214, 00491,

HTS 00775, 01775 Hughes Network Sys 01142, 00749, 01749, 01443,

I-Lo 01535 JVC 00775, 01170, 00492, 01775 LG 01414, 01226 Magnavox 00724, 00722 Matsushita 00340, 00214, 00500 Memorex 00724 Mitsubishi 00749, 00491 Motorola 00869 NEC 00496, 01270 Next Level 00869 Panasonic 00247, 00701, 00214, 00500,

Paysat 00724 Philips 01142, 00749, 01749, 00724,

Proscan 00392, 00566 Proton 01535 RadioShack 00869 RCA 00392, 00566, 00855, 00143,

Samsung 01276, 01109, 01108 Sanyo 00493, 01219 Sharp 00494 SKY 00856 Sony 00639, 01639, 00294, 01640,

Star Choice 00869 Tivo 01142, 01444, 01443, 01442 Toshiba 00749, 01749, 00790, 00486,

UltimateTV 01392, 01640 Uniden 00724, 00722 US Digital 01535 USDTV 01535 Victor 00492 Voom 00869 Zenith 00856, 01856

01142, 00247, 00749, 01749, 00724, 00819, 01856, 01076, 01109, 00099, 01444, 01108, 01392, 01443, 01640, 01442, 01414

01170

01505

00489, 00201

01442, 01444

00340

01076, 00722, 00099, 01442

01392

00163

01285

APPENDIX B – PRESET MEMORY CODES continued …

TVs:

888 10264 A-Mark 10003 Abex 10032 Addison 11150, 10653, 10092 Admiral 10093, 10463 Advent 10761, 10817, 10815, 11933,

Adventura 10046 Aiko 10092 Aiwa 11914, 11910 Akai 10812, 10702, 10030, 10672,

Alaron 10179 Albatron 10843, 10700 Ambassador 10177 America Action 10180 Ampro 10751 Anam 10250, 10180, 10003, 10700,

Anam National 10250, 10161, 10055, 10650 Anhua 10051 AOC 10451, 10093, 10180, 10060,

Aolinpike 10264 Apex Digital 10748, 10765, 10767, 11943,

Archer 10003 Audiovox 10451, 10180, 10875, 11952,

Axion 11937 Baihe 10264 Baile 10001, 10391 Baohuashi 10264 Baosheng 10817 Beijing 10812, 10391, 10264, 10817,

Belcor 10019 Bell & Howell 10154, 10016 BenQ 11032 Bradford 10180 Brockwood 10019 Broksonic 10236, 10463, 11911, 11938,

Caihong 10817 Cailing 10748 Candle 10030, 10046, 10186, 10056 Carnivale 10030 Carver 10054, 10170 Celebrity 10000 Celera 10765 Changcheng 10051, 10817, 10001, 10391,

Changfei 10817 Changfeng 10817, 10264 Changhai 10817 Changhong 10156, 10765, 10817, 10264,

Chengdu 10817 Ching Tai 10003, 10474, 10179, 10092 Chun Yun 10000, 10180, 10161, 10474,

Chunfeng 10264 Chung Hsin 10180, 10053, 11150, 10036,

Chunsun 10817 Cinema 10672 Citizen 10060, 10030, 10039, 10280,

Clairtone 10185 Clarion 10180 Colt 11906 Concerto 10056 Conrowa 10156, 10145, 10264 Contec 10180, 10157, 10185 Craig 10180, 10161 Crosley 10054 Crown 10180, 10039

10783, 10842

11903, 10264

10161, 10628

10030, 10178, 10019, 10185, 11150, 10018, 10052, 10474, 10003, 10092, 10179

10879

10802, 11951, 10092, 10623, 11937, 10003

10001

10003, 11905, 11935, 11929

10264

10783, 10767, 11910

11150, 10092, 10843, 10003, 10179, 10700

10474

10056, 10186, 10046, 10092, 11928

Curtis Mathes 10047, 10054, 10154, 10451,

CXC 10180 Daewoo 10154, 10451, 10180, 10030,

Daytron 10019 Dayu 10391 Dell 11080 Denon 10145, 10511 Dumont 10017, 10019 Durabrand 10463, 10180, 10178, 10171,

Dwin 10774, 10720 ECE 10037 Electroband 10000, 10185 Electrohome 10381 Elektra 10017, 11661 Emerson 10154, 10236, 10463, 10180,

Envision 10030, 10813 Epson 10833, 10840 Ether 10030, 10161, 10003 Feilu 10817 Feiyan 10264 Feiyue 10817 Firstar 10236 Fisher 10154, 10159 Fortress 10093 Fujitsu 10186, 10853, 10179, 10809,

Funai 10180, 10171, 10264, 11904,

Furi 10145, 10817, 10264 Futuretech 10180 Ganxin 10817 Gateway 11756, 11755 GE 11447, 10047, 11454, 10051,

General 10186 Gibralter 10017, 10030, 10019 Gintai 11150, 10474 Go Video 10886 GoldStar 10154, 10030, 10178, 11926,

Goodmans 10360 Grunpy 10180, 10179 Haier 11034, 10768 Haiyan 10264, 10817 Hallmark 10178 Hankook 10180, 10030, 10178, 10019,

Harley Davidson 11904, 10179 Harman/Kardon 10054 Harvard 10180 Havermy 10093 Hello Kitty 10451 Himitsu 10180, 10628 Hisense 10156, 10748, 10145 Hitachi 11256, 10156, 10030, 10178,

Hongmei 10093, 11910, 10817, 10264 Hongyan 10817, 10264 Hua Tun 11150

10093, 10060, 10702, 10030, 10145, 10166, 10466, 11347, 10039, 10056, 11147, 10016, 11919

10178, 11661, 10474, 10003, 10628, 10032, 11150, 10092, 11928, 10627, 10700, 10056, 11909, 10170, 10391, 10623, 10019, 10672, 10039

11034, 10003

10178, 10171, 10280, 10623, 10038, 11911, 11944, 10179, 10019, 11909, 11929, 10185, 10282, 11905, 10039, 11928, 10177

10683

10179, 10342

10451, 10180, 10030, 10178, 10092, 11147, 11919, 10055, 10027, 11917, 10135, 10282, 11347, 10021, 11907, 11922

10019, 10037, 11910, 10001, 10032, 10056, 11150, 10039

10056, 10628

11145, 10145, 10038, 11245, 10092, 10027, 10381, 10036, 11150, 10056, 11904, 10151, 10165, 10019, 10186, 10032, 10039, 10157, 10016, 10179, 10474

Huafa 10145 Huanghe 10817 Huangshan 10264, 10817 Huanyu 11910, 10817, 10264 Huaqiang 10264 Huari 10145, 10264 Huodateji 10051 Hyundai 10849 Imperial Crown 10001, 10391, 10264 Infinity 10054 Inteq 10017 Janeil 10046 JBL 10054 JCB 10000 Jean 10156, 10051, 10236, 10092,

Jensen 10761, 10815, 11933, 10817 Jiahua 10051 Jialicai 10264 Jinfeng 10051, 10817 Jinhai 11910 Jinque 10817, 10264 Jinta 10264, 11910 Jinxing 10054, 10156, 10145, 10264,

Juhua 10817, 10264 JVC 10053, 10160, 11923, 11253,

Kaige 10264, 10817 Kangchong 11910 Kangli 10001, 10817, 10391, 10264 Kangyi 10264 Kaypani 10052 KEC 10180 Kenwood 10030, 10019 KLH 10765, 10767 KLL 10037 Kloss 10046, 10024 Kolin 10180, 10053, 11150, 10036,

Kongque 10264, 10817 Konka 10632, 10707, 11940, 10628,

KTV 10180, 10030, 10185, 10039,

Kuaile 10264 Kunlun 10051, 10817, 10264 LG 10060, 10030, 10178, 10056,

Lihua 10817 Lloyd's 11904 Loewe 10136 Logik 10016 Longjiang 10264, 10817 Luxman 10056 LXI 10047, 10054, 10154, 10156,

Magnasonic 11928, 11913 Magnavox 11454, 10054, 10030, 10706,

Magnin 11907 Majestic 10016 Marantz 10054, 10030, 10854, 10704,

Maruman 10627, 10391 Matsushita 10250, 10650, 10161 Megapower 10700 Megatron 10178, 10145, 10003 MEI 10185 Meile 10264, 11910, 10817 Memorex 10154, 10463, 10150, 10178,

Mermaid 10037 MGA 10150, 10030, 10178, 11907,

Midland 10047, 10017, 10051, 10039,

10179, 10003, 10474

10037, 10817

10036, 10653

10474

10703, 11939, 10638, 10817

10280

10442, 10856, 10001, 10038, 10700, 10019, 10037, 10474, 11178, 10003, 10032, 10006

10178

11904, 10020, 11944, 10036, 10179, 10386, 11931, 10096, 10187, 11254, 11913, 10024, 10186

11154, 10855

10179, 11920, 11927, 10016, 11911, 11926, 11924

10019

10135, 10032

APPENDIX B – PRESET MEMORY CODES continued …

TVs continued:

Minutz 10021 Mitsubishi 10154, 10250, 10093, 10236,

Monivision 10843, 10700 Motorola 10093, 10055 MTC 10060, 10030, 10185, 10019,

Mudan 10051, 10817, 10264 Multitech 10180 NAD 10156, 10178, 10866 Nanbao 11910, 10264 Nansheng 10817, 10264 National 10051 NEC 10154, 10156, 10051, 10053,

Newave 10093, 10178, 11150, 10092,

Nikko 10030, 10178, 10092 Nikon 11910 Norcent 10748, 10824 Noshi 10018 NTC 10092 Onking 10280 Onwa 10180 Optimus 10154, 10250, 10166, 11924,

Optoma 10887 Optonica 10093, 10165 Orion 10236, 10463, 11911, 11905,

Panasonic 10054, 10250, 10051, 10161,

Panda 10051, 10706, 10817, 10264,

Penney 10047, 10156, 10051, 10060,

Philco 10054, 10180, 10030, 10178,

Philips 11454, 10054, 10000, 10051,

Pilot 10030, 10019, 10039 Pioneer 10166, 10038, 10866, 10679 Portland 10092, 10039, 10019 Prima 10761, 10815, 10783, 11933,

Princeton 10717, 10700 Prism 10051 Proscan 11447, 10047, 11347, 11922 Proton 10030, 10178, 10001, 10039,

Pulsar 10017, 10019 Qingdao 10051, 10817, 10264 Quasar 10250, 10051, 11924, 10165,

RadioShack 10047, 10154, 10180, 10030,

10180, 11250, 10150, 10030, 10178, 10381, 10836, 10036, 10179, 10817, 11150, 10474, 10019, 10868, 10056, 11917

10056

10030, 10178, 10046, 11150, 10056, 10165, 10186, 10474, 10036, 10882, 10381, 10817, 11704, 10170, 10264, 10019, 10497

10161

11913, 10650, 11927

10179, 11463, 11929

11410, 11927, 11947, 10037, 10055, 10650, 11924, 11946, 11919, 11941

11910

10030, 10178, 10135, 11347, 11926, 10018, 10027, 10039, 11919, 10003, 10021, 10032, 11907, 10019

10628, 10474, 10020, 10037, 10096, 10186, 10774, 10019, 10032, 10056

10030, 10178, 10474, 10019, 11154, 10092, 10187, 10774, 10024, 10037, 10056, 10186, 10690, 10020, 10032

10817

10466, 10003, 10052, 10474

11919, 10055, 10650

10178, 10032, 10056, 11920, 10165, 11904, 10019, 10039

RCA 11447, 10047, 11454, 10000,

Realistic 10154, 10180, 10030, 10178,

Rhapsody 10185 Rowa 10748, 10037, 10817 Runco 10017, 10030, 10603, 10497 Ruyi 10817 Saige 10817 Sampo 10154, 10093, 10030, 10178,

Samsung 10154, 10156, 10060, 10812,

Samsux 10039 Sanjian 10264 Sansui 10463, 11904, 11929, 11911 Sanyo 10154, 10156, 10180, 10145,

Sanyuan 10093, 10817 Scimitsu 10019 Scotch 10178 Scott 10236, 10180, 10178, 10179,

Sears 10047, 10054, 10154, 10156,

Shancha 10817, 10264 Shanghai 10264, 11910, 10817 Shaofeng 10145, 10817 Sharp 10093, 10030, 10157, 10386,

Sharper Image 11950 Shen Ying 10092, 10003, 10474, 10179 Shencai 10145, 10264 Sheng Chia 10093, 10236, 10179, 11150,

Shenyang 10817, 10264 Shogun 10019 Signature 10016 Simpson 10187, 10186 Skygiant 10180 Skyworth 10748, 10264, 10037, 10817 Sony 11100, 10000, 10036, 10650,

Soundesign 10180, 10178, 10179, 10186 Sowa 10156, 10051, 10060, 10178,

Spectricon 10003 Squareview 10171 SSS 10180, 10019 Starlite 10180 Studio Experience 10843 Supre-Macy 10046 Supreme 10000 SVA 10748, 10587, 10865, 10872,

Sylvania 10054, 10030, 10171, 11931,

10030, 10178, 10679, 11247, 11917, 10090, 11948, 11147, 10019, 11907, 11922, 10135, 11958, 11047, 11347, 10018, 11547, 10038, 11919, 10092, 11953

10056, 10019, 10039, 10165, 10032

10171, 10032, 10052, 10474, 11755, 10039, 10700, 10036, 10092, 10650

10702, 10030, 10178, 10019, 10056, 11060, 10092, 10474, 10774, 10032, 10817, 10090, 11903, 10264, 10766, 10814, 11150, 10179

10376, 10474, 10036, 10893, 11907, 10159, 10280, 10424, 10799, 11154, 10157, 10264, 10381, 10798, 10088, 11150

10019

10178, 10171, 11926, 11904, 10056, 10159, 10179

10650, 10720, 10032, 10851, 10256, 10491, 10689, 10818, 10039, 10165, 10474, 10688, 10787, 10036, 11917

10474

11300, 10111, 11925, 10080, 10834, 11904

10036, 10092, 10474, 11150

10768, 10871, 10870

Symphonic 10180, 10171, 11913, 11904 Synco 10000, 10451, 10093, 10060,

Tacico 10178, 10179, 11150, 10092,

Tai Yi 11150 Taishan 10817, 10391 Tandy 10093 Tashiko 11150, 10650, 10092 Tatung 10054, 10154, 10156, 10051,

Technics 10250, 10051 Technol Ace 10179 Techview 10847 Techwood 10051, 10003, 10056 Teco 10051, 10093, 10178, 10474,

Teknika 10054, 10180, 10150, 10060,

Telefunken 10702, 10056 Tera 10030, 10466, 10474 Thomas 11904 Tiane 10093, 10817 TMK 10178, 10177, 10056 TNCi 10017 Tobo 10748, 10264 Tongguang 10264 Toshiba 10154, 11256, 10156, 10060,

Tosonic 10185 Totevision 10039 Trical 10157 Tuntex 10030, 10474, 10092 TVS 10463 Ultra 10391 Universal 10027 V Inc. 11756, 10885, 10864 Vector Research 10030 Victor 10250, 10053, 10160, 10650,

Vidikron 10054 Vidtech 10178, 10019, 10036 Viewsonic 10857, 11755, 10885, 10864 Viking 10046 Wards 10054, 10030, 10178, 10020,

Warumaia 10391 Waycon 10156 Westinghouse 10889 White Westinghouse 10463, 10186, 11909, 10623 Xiahua 10817, 10264 Xiangyang 10264 Xihu 10817, 10264 Xinghai 10264 Xinrisong 11910 Xuelian 11910 Yamaha 10030, 10838, 10019, 10833,

Yapshe 10250 Yongbao 11910 Youlanasi 10817 Yousida 11910 Zenith 10017, 10463, 10178, 11911,

Zonda 10003

10381, 11944, 10020, 10096

10178, 10092, 10036, 10474

10474

10060, 11150, 10474, 10036, 10055, 11756, 10003

10036, 10280, 10092, 10264, 10653

10019, 10056, 10186, 10016, 10092, 10039, 10179

10145, 11918, 11945, 10381, 10832, 10036, 11704, 11936, 10264, 10650, 11150, 11656, 11935, 10161, 10509, 10845, 11356

10376, 10036, 10653

10080, 10165, 10866, 10019, 10027, 10056, 10111, 10179, 10016, 10021, 10096

10769, 10839

10016, 11909, 10092, 11904, 11929

APPENDIX B – PRESET MEMORY CODES continued …

VCRs:

ABS 21972 Admiral 20048, 20209 Adventura 20000 Aiko 20278 Aiwa 20037, 20000, 20307, 20468,

Akai 20041, 20061, 20175, 20106 Alienware 21972 America Action 20278 American High 20035 Amoisonic 20479 Anam 20162, 20037, 20240, 20278,

Anam National 20162, 20226 Asha 20240 Audiovox 20037, 20278 Beaumark 20240 Bell & Howell 20104 Blaupunkt 20226 Broksonic 20184, 20121, 20209, 20002,

Calix 20037 Canon 20035, 21174, 20167 Carver 20081 CCE 20072, 20278 Changhong 20048, 20081 Citizen 20037, 20278, 21278 Colt 20072 Craig 20037, 20047, 20240, 20072,

Curtis Mathes 20060, 20035, 20162, 20041,

Cybernex 20240 CyberPower 21972 Daewoo 20045, 20104, 20278, 20210,

Dell 21972 Denon 20042 DirecTV 20739, 21989, 21954, 21949 Dish Network System 21943, 21946, 21945, 21944 Dishpro 21944, 21943 Durabrand 20039, 20038 Dynatech 20000 Echostar 21943, 21946, 21945, 21944 Electrohome 20037 Electrophonic 20037 Emerex 20032 Emerson 20035, 20037, 20184, 20240,

Euro1 21962 Expressvu 21944 Fisher 20047, 20104, 20066, 20054 Fuji 20035, 20033 Fujitsu 20045, 20052, 20366 Funai 20000, 20593, 21593 Garrard 20000 Gateway 21972 GE 20060, 20035, 20240, 21060,

General 20045, 20366, 20052 Go Video 20643, 20526, 20432 GOI 21944 GoldStar 20037, 20209, 20038, 20226,

Gradiente 20000 Haojie 20240 Harley Davidson 20000 Harman/Kardon 20081, 20038 Harwood 20072, 20068 Hauppauge 21992 Headquarter 20046 Hewlett Packard 21972 HI-Q 20047 Hitachi 20037, 20000, 20042, 20041,

20124, 20406, 20348, 20479

20226, 21037

20348, 20295, 21479, 20479

20271

20760, 21035

20368, 21278, 20637, 20046, 20212, 20561

20045, 20000, 20121, 20043, 20209, 20002, 20278, 20295, 20036, 20637, 21593, 20561, 21479, 20068, 20208, 20479, 21278, 20061, 20212

20202, 20760, 21035, 20807, 20226, 20761

20225, 21237

Howard Computers 21972 HP 21972 HTS 21944 Hughes Network Sys 20042, 21949, 20739 Hyundai 21951 iBUYPOWER 21972 Jensen 20041 JVC 20045, 20067, 20041, 21945,

KEC 20037, 20278 Kenwood 20067, 20041, 20038, 20384 KLH 20072 Kodak 20035, 20037 Kolin 20043, 20041 LG 20037, 20045, 20042, 20209,

Lloyd's 20000, 20208 Logik 20072 LXI 20037 Magnasonic 21278, 20593 Magnavox 20035, 20039, 20081, 20000,

Magnin 20240 Marantz 20035, 20081, 21381 Marta 20037 Matsushita 20035, 20162, 20226, 21162,

Media Center PC 21972 MEI 20035 Memorex 20035, 20162, 20037, 20048,

MGA 20240, 20043, 20061 MGN Technology 20240 Microsoft 21972 Mind 21972 Minolta 20042, 20105 Mitsubishi 20067, 20043, 20041, 20061,

Motorola 20035, 20048 MTC 20240, 20000 Multitech 20000, 20072 NAD 20058 National 20226 NEC 20035, 20037, 20048, 20104,

Newave 20037 Nikko 20037 Nikon 20253, 20034 Noblex 20240 Northgate 21972 Olympus 20035, 20226, 21046 Onkyo 20222 Optimus 21062, 20162, 20037, 20048,

Optonica 20062 Orion 20184, 20209, 20002, 20479,

Panarex 21950 Panasonic 21062, 20035, 20162, 20077,

Pansat 21950 Penney 20035, 20037, 20240, 20042,

Pentax 20042, 20105 Philco 20035, 20000, 20226, 20479 Philips 20035, 20081, 20000, 20226,

Pilot 20037 Pioneer 20042, 20067, 20058 Polk Audio 20081 Profitronic 20240 Proscan 20060, 20760, 21954, 20202,

20166, 20105, 20089

20008, 21944, 20384, 20366

20038, 22010, 21037, 20040

20593, 20563, 20110, 21781

20367, 20227

20039, 20047, 20240, 20000, 20104, 20209, 21237, 20046, 20479, 21162, 20348, 21048, 21262, 20307, 21037

20807, 20173

20067, 20041, 20038, 20040, 20008, 20370

20104, 21048, 21262, 20593, 21162, 20058, 20432

20295, 21479

20226, 20616, 21162, 20225, 20367, 20227, 21035, 21262

20038, 21035, 20040, 20054, 21237

20739, 21381, 20110, 20618, 21181, 20563, 21081, 21949, 20062

Protec 20072 Pulsar 20039 Qisheng 20060 Quarter 20046 Quartz 20046 Quasar 20035, 20162, 21035, 20077,

RadioShack 20000, 21037 Radix 20037 Randex 20037 RCA 20060, 20035, 20240, 20000,

Realistic 20035, 20037, 20048, 20047,

ReplayTV 20614, 20616 Ricoh 20253, 20034 Runco 20039 Sampo 20037, 20048 Samsung 20240, 20045, 20212, 20760,

Samtron 20643 Sanky 20048, 20039 Sansui 20000, 20067, 20209, 20041,

Sanyo 20047, 20240, 20104, 20046,

Scott 20184, 20045, 20121, 20043,

Sears 20035, 20037, 20047, 20000,

Sharp 20048, 20209, 20363, 20848,

Shinco 20000 Shintom 20072 Shogun 20240 Singer 20072 Sonic Blue 20614, 20616 Sony 20035, 20032, 20033, 20000,

STS 20042 Sunpak 20253 Sylvania 20035, 20081, 20000, 20043,

Symphonic 20000, 21593, 20593 Systemax 21972 Tagar Systems 21972 Tashiko 20037 Tatung 20045, 20067, 20041, 20366,

Teac 20000, 20041 Technics 20035, 20162 Teco 20035, 20037, 20048, 20041,

Teknika 20035, 20037, 20000, 20052 Thomas 20000 Tivo 20739, 21957, 20636, 21956,

TMK 20240, 20208, 20036 Toshiba 20045, 20067, 20043, 20041,

Totevision 20037, 20240 Touch 21972 UltimateTV 21989 Unitech 20240 Vector 20045 Vector Research 20038, 20040 Victor 20067, 20041, 20008, 20384 Video Concepts 20045, 20040, 20061 Videomagic 20037 Videosonic 20240 Viewsonic 21972

21060, 20761

21162

20042, 20807, 21060, 21989, 20106, 20761, 21035, 20058, 21964, 20105, 20226, 20760, 20880, 21954, 20077, 20202, 20453

20000, 20104, 20066, 20046, 20062

20210, 20432, 21014

20479, 20271, 21479

20159, 20369, 20368

20210, 20212

20042, 20104, 20046, 20066, 21237, 20054, 20105

20807, 20062, 20738, 21048

20253, 20639, 21232, 21972, 20636, 21032, 21957, 20034, 20586, 20640, 21956

20110, 21781, 21593, 20593

20008

20038, 20040

20618, 21503

20210, 20384, 21008, 21972, 20366, 20845, 21503, 20066, 20212, 20828, 21145, 20008

APPENDIX B – PRESET MEMORY CODES continued …

VCRs continued:

Villain 20000 Wards 20060, 20035, 20048, 20047,

White Westinghouse 20209, 20072, 20637 XR-1000 20035, 20000, 20072 Yamaha 20041, 20038 Zenith 20039, 20033, 20000, 20209,

ZT Group 21972

20081, 20240, 20000, 20042, 20072, 20062, 20212, 20760

20034, 20479, 21479, 21139, 20637

Video Accessories:

ABS 01272 Alienware 01272 CyberPower 01272 Gateway 01272 Hewlett Packard 01272, 01267 Howard Computers 01272 HP 01272 iBUYPOWER 01272 InterVideo 01393 Jensen 01165 JVC 01384 Keyspan 01344 KWorld 01403 LG 01415 Linksys 01365 Macro Image Tech 01383 Media Center PC 01272 Microsoft 01272 Mind 01272 Motorola 01363

MyHD 01383 Northgate 01272 Panasonic 01120 Pinnacle Systems 01268 Pioneer 01010 Princeton 00113, 00295 Rabbit 00081 Roku 01486 Samsung 01190, 01490 Sensory Science 01126 Sharp 01010 SMC 01456 Sony 01272, 01324, 01364 Streamzap 01309 Systemax 01272 Tagar Systems 01272 TeleCaption 00171 Toshiba 01272 Touch 01272 Viewsonic 01272, 01329 ZT Group 01272

SPECIFICATIONS

ANALOG VIDEO SWITCHING

Bandwidth from input jack to output jack (bypass mode for component video)

Composite & S-Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 MHz

Component: Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 MHz

All analog video inputs and outputs are 75 Ω, 1.5 Vp-p.

ANALOG AUDIO

Input Impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 kΩ

Output Impedance

Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Ω (RCA), 600 Ω (XLR)

Zone2/3 & Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Ω

Rated Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.0 Vrms

Maximum Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.3 Vrms

Minimum Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 kΩ

Pr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 MHz

Pb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 MHz

Rated Output (100 kΩ load) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.0 Vrms

Maximum Output

RCA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.3 Vrms

XLR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.6 Vrms

Headphone Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 mW into 32 Ω at 0.2% THD+N

Volume Control Range

Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -95.5 to +31.5 dB in 0.5 dB increments

Zone2/3 and Headphone. . . . . . . . . . . . . . . . . . . . . . . . . . . -62.5 to +10.0 dB in 1.25 dB increments

Crosstalk (at 1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 dB between channels, 86 dB between inputs

XLR Pin Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pin 1: Ground, Pin 2: Positive, Pin 3: Negative

DIGITAL AUDIO

Crossover

High-Pass Slope (Small Speaker Setting) . . . . . . . . . . . . . . . . . . . . . . . . 12 dB/octave (2nd order)

Low-Pass Slope (Subwoofer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 dB/octave (4th order)

Frequency (Adjustable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 to 160 Hz in 5 Hz increments

Tone Control

Filter Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shelf

Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±12 dB

Bass Turnover Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Hz

Treble Turnover Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 kHz

Analog to Digital Conversion S/N Ratio at digital Rec output (IEC-A filter) . . . . . . . . . . . . . . . . . . . 100 dB

All digital inputs and outputs comply with HDMI, S/PDIF, or AES/EBU standards. Sample rate converter output is 24-bit / 192 kHz regardless of input.

SPECIFICATIONS continued …

MAIN Path (RCA & XLR output)

Frequency Response and Bandwidth

Analog-Direct Inputs. . . . . . . . . . . . . . . . . 10 Hz to 20 kHz (+0, -0.2 dB), 1 Hz to 130 kHz (+0, -3 dB)

Analog-DSP Inputs at 24/96 . . . . . . . . . . . . 10 Hz to 20 kHz (+0, -0.3 dB), 2 Hz to 44 kHz (+0, -3 dB)

Digital Inputs at 24/96 . . . . . . . . . . . . . . . . . 10 Hz to 20 kHz (+0, -0.2 dB), 1 Hz to 45 kHz (+0, -3 dB)

THD+N (at Rated Input & Output)

Analog-Direct Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.006% (80 kHz BW)

Analog-DSP Inputs at 24/48 or 24/96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.004% (AES17 filter)

Digital Inputs at 24/48 or 24/96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.004% (AES17 filter)

IMD (CCIF at 15 kHz & 16 kHz)

Analog-Direct Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.001%

Analog-DSP Inputs at 24/48. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.001%

Digital Inputs at 24/48 or 24/96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.001%

S/N Ratio (ref. 2.0 Vrms, IEC-A filter)

Analog-Direct Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 dB

Analog-DSP Inputs at 24/48 or 24/96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 dB

Digital Inputs at 24/48 or 24/96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 dB

ZONE2 and ZONE3 Paths

Frequency Response and Bandwidth . . . . . . . . . . 20 Hz to 20 kHz (+0, -0.1 dB), 3 Hz to 140 kHz (+0, -3 dB)

THD+N (at Rated Input & Output) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.06% (80 kHz BW)

IMD (CCIF at 15 kHz & 16 kHz). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.06%

S/N Ratio (ref. 2.0 Vrms, IEC-A filter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 dB

FM TUNER

Sensitivity

50 dB S/N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 dBµ typ., 25 dBµ max.

IHF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 dBµ typ., 20 dBµ max.

S/N Ratio

Mono. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 dB typ., 65 dB min.

Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 dB typ., 60 dB min.

Distortion

Mono. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.2% typ., 1.0% max.

Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.3% typ., 1.5% max.

Stereo Separation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 dB typ., 25 dB min.

Adjacent Channel Selectivity (±400 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 dB typ., 60 dB min.

Frequency Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Hz to 15 kHz (+0, -2 dB)

AM TUNER

Sensitivity (20 dB S/N) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 dBµ typ., 56 dBµ max.

S/N Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 dB typ., 43 dB min.

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.7% typ., 2.0% max.

One Signal Selectivity (±10 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 dB typ., 18 dB min.

SPECIFICATIONS continued …

CONTROL

Infra Red

Carrier Frequency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 kHz

Max. 12V Supply Current . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 mA

Max. Emitter Current. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 mA per output

RS-232 Interface

Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DB-9F, straight-wired

Pinout (Statement D2 side) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pin 2: Tx, Pin 3: Rx, Pin 5: Ground

Baud rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1200, 2400, 4800, 9600, 19200, 38400, 57600, 115200

Configuration . . . . . . . . . . . . . 8 data bits, 1 stop bit, no parity bits, flow control (RTS/CTS, None)

Trigger Outputs

Polarity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . tip positive, sleeve ground

Max. Current at 12 VDC . . . . . . . . . . . . . . . . . . . . Triggers 1 and 2: 50 mA each, Trigger 3: 200 mA

Sequential Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 ms

POWER REQUIREMENT

Consumption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maximum 170 W

Low voltage version: In countries where the line voltage is 120V, this product operates from a single phase AC power source that supplies between 108V and 132V at a frequency of 60 Hz.

High voltage version: In countries where the line voltage is 220, 230, or 240V, this product operates from a single phase AC power source that supplies between 216V and 264V at a frequency of 50 or 60 Hz.

DIMENSIONS

Height . . . . . . . . . . . . . . . . . . . 57/8in. (14.9 cm) including feet, rackmounting – 3 rack units without feet

Width Standard Version. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191/4in. (49 cm)

Rackmount Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 in. (48.3 cm)

No-Handle Version. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171/4in. (43.8 cm)

Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151/4in. (38.7 cm)

Weight (unpacked, not including 8 lb (3.5 kg) microphone kit) . . . . . . . . . . . . . . . . . . . . . . . . 27 lb (12.3 kg)

WARRANTY

CANADA & USA

Anthem Electronics warrants to the original purchaser that each Anthem Statement D2 processor is free from defects in workmanship and materials, during normal use, for a period starting from the date of sale of three (3) years, except for video circuitry, which is covered for two (2) years, and remote controls which are covered for one (1) year. During the warranty period, Anthem Electronics will repair or replace any defective components free of charge.

This warranty is not transferable unless the product is traded-in with an Authorized Anthem Dealer, who may resell the product with the remaining warranty if it is cosmetically acceptable, in perfect working condition, and has not been internally or externally altered.

Warranty is void if the Anthem product is not purchased from an Authorized Anthem Dealer, if the serial number has been removed, altered, or defaced, if the product has been operated or handled other than in accordance with the instructions in its Operating Manual or otherwise abused, misused, damaged by accident or while in transport, tampered with, modified, or repaired by anyone other than Anthem Electronics or an authorized Anthem Electronics service center. If inspection by Anthem Electronics discloses that the repair required is not covered by this warranty, regular repair charges shall apply.

Display products sold by an Authorized Anthem Dealer are covered under the same warranty terms, except that the warranty period commences from the date of the dealer invoice, not the purchaser’s invoice, and cosmetic flaws, if there are any, are excluded.

If a problem or defect is discovered in your Anthem product, please contact your Authorized Anthem Dealer. It is the Dealer’s responsibility to determine the nature of the problem and arrange for the appropriate replacement parts, or the return of the product to Anthem Electronics.

A Return Authorization (RA) number must be obtained from Anthem Technical Support before any product can be returned to Anthem Electronics for any reason. The RA Number must be clearly visible on the outside of the shipping

carton for Anthem Electronics to accept the return. Product shipped to Anthem Electronics without a RA Number will be refused and returned to the sender, freight collect. Product shipped to Anthem Electronics for repair must have shipping and insurance prepaid by the sender, be packaged in the original carton and packing material, and should be accompanied by a written description of the defect. Anthem Electronics will accept no responsibility for any damage occurring to a product that is shipped in any type of carton and packing material other than the original carton and packing material.

To receive service under warranty, an accompanying copy of the original sales receipt is required. Product repaired under warranty will be returned with shipping and insurance prepaid by Anthem Electronics (within Canada and USA only). All other repairs are subject to charges for labor, parts, return shipping, and insurance.

Disclaimer of Liability

Under no circumstances does Anthem Electronics assume liability or responsibility for injury or damages sustained in the use or operation of Anthem products, or for damages to any other connected products.

In no event shall Anthem Electronics, its agents, representatives, or employees, be responsible for any incidental or consequential damages. Some jurisdictions do not allow limitations of incidental or consequential damages, so this exclusion may not apply to you.

Anthem Electronics reserves the right to make design changes or improvements to products without any obligation to revise prior versions. All specifications are subject to change without notice.

On the expiration of the warranty period all liability of Anthem Electronics in connection with the product shall terminate.

This warranty constitutes the only warranty applicable to products sold by Anthem Electronics. No other warranty or condition, statutory or otherwise, expressed or implied, shall be imposed upon Anthem Electronics, nor shall any representation made by any person, including a representation by a representative or agent of Anthem Electronics, be effective to extend the warranty coverage provided herein.

INTERNATIONAL

Outside of Canada and USA, terms and conditions are set and maintained by the Authorized Anthem Distributor, not Anthem Electronics.

THE BIG PICTURE FRONT PANEL

Anthem D2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

1. INTRODUCTION

2. CONNECTIONS

3. SETUP

4. OPERATION

6. SOFTWARE UPDATING

SPECIFICATIONS

WARRANTY