B and K AVR-305 Owners manual
B&K Components, Ltd.
AVR305
AVR307
A/V Receiver
Owner’s Manual
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Model #
Serial #
Date purchased
Purchased from:
City
State
Phone
Contact
USER INFORMATION
SETUP SPEAKER SIZE
1 Front
2 Center
3 Surround
4 Surround Back
5 Subwoofer
next item adjust
MENU setup speakers
SPEAKER LOCATION feet
1 Left Front
2 Center
3 Right Front
4 Right Surround
5 Right Surr Back
6 Left Surr Back
7 Left Surround
8 Subwoofer
next item adjust
MENU setup speakers
SETUP CROSSOVERS + LFE
1 Crossover Hz
2 High Pass dB
3 Low Pass dB
4 Peak Limiter dB
5 LFE Level dB
6 DTS LFE Mode
7 Subwoofer Phase
next item adjust
MENU setup speakers
SETUP SPEAKER LEVELS
1 Left Front dB
2 Center dB
3 Right Front dB
4 Right Surround dB
5 Right Surr Back dB
6 Left Surr Back dB
7 Left Surround dB
8 Subwoofer dB
next item adjust
MENU setup speakers
SETUP ROOM EQUALIZATION
Test Tone 20 Hz Off
Notch Hz dB
Notch Width Hz
Bass Hz dB
Treble Hz dB
next item adjust
MENU setup speakers
B&K Components, Ltd., 2100 Old Union Road, Buffalo New York 14227-2725
Phone (716) 656-0026, Fax (716) 656-1291, http://www.bkcomp.com, E-mail: info@bkcomp.com
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TABLE OF CONTENTS
Acknowledgments
Safety Precautions
Features
The Basics
Front panel
Rear Panel
Making the connection
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Audio / Video connections
Digital Connections
Surround Outputs
Speaker Outputs
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Antenna Connections
Control Outputs / IR Inputs
Frequently Asked Questions
Setup
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The Menu System
System Setup
Speakers
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Speaker Size
Speaker Location
Speaker Levels
Crossovers + LFE
Room Equalization
Display
Inputs
Presets
Memory Backup
Operation
Power On/Off
Sleep
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Choosing a source
AM/FM Tuner
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Adjusting the Volume
Temporary Level Adjustments
Audio Modes
MONO
STEREO
SURROUND
THX
DVD Audio
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Special Considerations
Equalization ‘EQ’
Zone ‘Z’
Presets
Zone 1 (A)
Zone 2 (B)
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Zone 1 Favorite Presets
Zone 2 Favorite Presets
Getting Receiver Status
Advanced Features
Advanced
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Zone 1 Setup (A)
Zone 2 Setup (B)
Power On Titles
Control Outputs
Setup Control Out 1
Setup Control Out 2
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Setup Control Out 3
Setup Control Out 4
Security Options
DSP Usage
RS-232 Control Port
Factory Reset
Troubleshooting
Receiver Specifications
Returning Equipment
Rear Panel Enlarged View
The Menu System
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ACKNOWLEDGMENTS
Motorola® ,, “ * DigitalDNA™, “Powered by Motorola”™, Motorola name and logo are registered trademarks
of Motorola, Inc.
Manufactured under license f rom Dolby Laboratories. “Dolby”, ”Pro Logic”, “AC-3", and the double-D symbol are
trademarks of Dolby Laboratories. Confidential Unpublished Works. © 1992-1997 Dolby Laboratories, Inc. All
rights reserved.
Surround EX is a trademark of Dolby Laboratories. Used under authorization.
®
DTS
is a registered trademark of Digital Theater Systems, LLC. Additionally licensed under the following US
Patent 5,451,942 & National Patent applications derived from PCT/US95/00959. Additional U.S. and Foreign
Patents pending. “DTS”, “digital sound” , and “coherent acoustic s” logos are tradem arks of DTS Technology LLC.
All rights reserved.
Manufactured under license from Lucasfilm Ltd. U.S. patent numbers 5,043,970; 5,189,703; and/or 5,222,059.
European patent number 0 323 830. Other U.S. and foreign patents pending. Lucasfilm and THX are registered
trademarks of Lucasfilm Ltd. Surround EX is a trademark of Dolby Laboratories. Used under authorization.
THX, Home THX Cinema, Lucasfilm THX, Re-Equalization, Timbre Matching, Adaptive Decorrelation and THX
Ultra are registered trademarks of Lucasfilm Ltd.
The AVR305 Series II
Lucasfilm Home THX Ultra Certification. Additionally, the AVR305 offers full THX Surround EX system
compatibility with the use of an external surround back power amplifier.
The AVR307 Series II
Lucasfilm Home THX Ultra Certification. Additionally, the AVR307 offers full THX Surround EX system
compatibility.
Accessories included:
A/V Receiver with five 150 watts into 8 ohms channels of power amplification and
A/V Receiver with seven 150 watts into 8 ohms channels of power amplification and
Owners manual, Remote control Manual, Power cord, Remote control, 4-AAA batteries
© Copyright 2000 All Rights Reserved.
B&K Components, Ltd., 2100 Old Union Road, Buffalo New York 14227-2725
Phone (716)656-0026, Fax (716)656-1291, http://www.bkcomp.com, E-mail: info@bkcomp.com
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SAFETY PRECAUTIONS
PLEASE READ BEFORE INSTALLING
WARNING: to prevent f ire or shock hazard, do not expose this unit to rain or moisture. Care should be taken to
prevent objects or liquid from entering the enclosure. Never handle the power cord with wet hands.
The lightning flash with arrowhead, within an equilateral triangle, is intended to alert the user of the presence of
uninsulated “dangerous voltage
The exclamation point within an equilateral triangle is intended to alert the user of the presence of important
operating and maintenance (servicing) instructions in the literature accompanying the unit.
Caution: To prevent the risk of electric shock, do not remove cover. No user-serviceable
servicing to qualified service personnel.
If an outdoor antenna is connected to the antenna input, be sure it is grounded to provide som e protection agains t
voltage surges and built up static charges. Keep the outdoor antenna away from power lines.
Unplug the receiver from the AC outlet when plugging in or unplugging cables, when left unused f or an extended
period of time, moving the receiver, or when you suspect lightning in your area.
Prevent damage to the power cord. Do not bend, pull, place objects on, alter, etc. Replace the power cord if it
becomes damaged. Always grasp the plug on the power c ord when plugging in or unplugging the receiver from
the AC outlet.
Your system may produce sound levels capable of causing perm anent hearing los s. Do not operate f or extended
periods of time at high volume levels.
Make sure the receiver is placed on a level surface.
Protect the receiver from impact. (Do not drop it!!!)
Do not climb on top of the receiver or place heavy objects on its top cover.
The receiver is equipped with raised f eet to provide ventilation, reduce acoustic feedback, and provide protec tion
against scratching the surface the unit is resting on. We advise against removing or altering feet.
Do not stack anything on top of the receiver (proc essor, source, etc .) Leave a minimum of 3” c learance from the
top of the receiver to the next shelf (or component).
The receiver should be located away from heat sources such as heaters or amplifiers.
Do not perform any internal modifications to the receiver.
Always connect the receiver’s power cord to an unswitched AC outlet for normal operation.
If young children are present, adult supervision should be provided until the children are capable of following all
rules for safe operation.
Do not plug the receiver’s power cord into an outlet with an unreasonable number of other devices. Be careful if
using extension cords and ensure the total power used by all devices does not exceed the power rating
(watts/amperes) of the extens ion cord. Exc ess ive loads m ay cause the ins ulation on the c ord to heat and pos sibly
melt.
Mistaking
receiver or other components.
Damage can occur to your speakers if the power rating of each individual driver is exceeded by the receiver.
Ensure that all the drivers in your system are capable of handling not only the average power being delivered by
the amplifiers, but also the peak power that is likely to be generated during str ong passages.
your speaker's power rating, contact the speaker manufacturer or the dealer where you purchased them.
The receiver should be serviced by qualified personnel when:
CONTROL OUTPUT
The receiver is not functioning properly.
Objects have entered the chassis.
The receiver was exposed to rain or other type of moisture.
The receiver was dropped, or the chassis is damaged.
” within the product’s enclosure that may constitute a risk of electric shock to you.
parts inside. Refer
IR INPUT
or
connectors for audio/video inputs or outputs may damage your
If you are unsure of
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FEATURES
Your new receiver is a versatile audio/video control center. The receiver is designed to sound sensational and be an
attractive, easy-to-use addition to your audio/video system. Although you already have a good idea of your receiver’s
features, we would like to take a moment to point out certain highlights.
THX Ultra Certified -
to correct for the tonal and spatial errors that occur during the translation from the movie theater environment into the home.
In addition to the these correction processes, the unit has passed a rigorous series of Lucasfilm THX quality and performance
tests which is your guarantee that this Home Theater product will give superb performance for years to come.
THX Surround EX -
Surround EX signals.
Two-zone operation
preamp internally for use with a second listening/viewing area - Zone 2 (B).
Internal Digitally Synthesized AM/FM Stereo tuner
Analog inputs/outputs
set of 7.1 surround outputs.
Component Video
allows full pass through of HDTV signals and maintains full signal integrity.
Digital inputs/outputs
Control Outputs
projection screen or B & K amplifier.
IR inputs/outputs
system.
Gold Plated Connectors -
incorporates Lucasfilm Home THX Re-Equalization™, Timbre Matching™ and Adaptive Decorrelation™
incorporates further Home THX Cinema processing to allow for the precise decoding of Dolby Digital
- complete digital/analog preamp/processor for Zone 1 (A) plus an additional independent analog A/V
- store up to 40 AM or FM stations in A/V presets.
- seven A/V inputs and five A/V outputs
- two switchable inputs and one set of outputs assignable to any of the seven A/V inputs. Passive design
- six coaxial inputs and one coaxial output plus five optical inputs and one optical output.
- four 12 VDC @ 50 mA outputs for turning on amplifiers and controlling external systems such as a
- two IR inputs and up to four IR outputs let you integrate the receiver with an infrared repeater control
better sound with minimum signal loss and degradation.
all
with stereo audio, composite video and S-video plus one
Plug and Play operation
automated functions to provide invisible and easy operation.
A/V presets
Customized input and A/V preset names
Remote Control
of B&K and other brand user equipment.
RS-232 Control
State-of-the-art power amplifier section -
96/24 bit A/D and D/A Conversion - Ultra High Resolution reproduction of musical details.
96/24 bit processing - 96/24 bit digital data and analog source material use 96 kHz, 24 bit DSP processing during all stereo
listening modes.
Selectable Bass Management Crossover Frequency and Slope - allows system versatility for bass adjustments and
management to assure optimum performance from your speaker system.
Room Equalization - a sweepable notch filter and variable equalization is available in the digital domain for use in achieving
the best possible room response.
- 40 preset memories allow instant system configuration recall of user settings.
- 8 device universal remote control, 100% pre-programmed, 100% learning, provides easy and total control
- easy control and interface of your B&K product with other system controllers.
Toroidal transformer and computer-grade electrolytic capacitors combine to provide for improved dynamics and
extended low frequency control.
Discrete Circuitry for more accurate, 3-dimensional reproduction.
Class A Predriver improves low level detail for smoother, more musical sound.
AB MOSFET Output Stage for efficient and linear power delivery.
- automatically selects the optimum input, surround sound format, and performs a wide range of
- assign names to presets, inputs, or the turn on message.
Upgradable - modular design allows for future A/D, D/A, DSP, Digital Receiver, and IEEE 1394 enhancements. State of the
art today, state of the art tomorrow.
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THE BASICS
The following is intended to familiarize users with common terms and applications of Home Theater equipment.
Sources -
from its on-sc reen menu system. Typically you will want to connect a number of additional sources ( VCR, DVD
player, etc.) to your receiver. Your receiver is designed to accommodate a wide range of audio and video signals.
The following table lists the most popular home theater media and how the audio information is stored.
Analog vs. Digital Audio -
how they are delivered to your receiver from the source. Analog signals ex actly represent the sound you will hear
through a continuously varying voltage. Audio and video cassettes are analog recordings and are normally
delivered to your receiver over a pair of coaxial audio cables.
Digital signals closely approximate the original audio signals with a set of numbers referred to as a bitstream . CDs
and DVDs are sources of digital audio and are norm ally connected to your receiver through a coaxial or optical
digital cable. There are several different bitstream formats available. The simplest form at is called Pulse Code
Modulation (PCM). In PCM, the bitstream directly represents the original 2-channel audio. In Dolby Digital and
DTS (see “Surround Formats” below) bitstreams are modified using a process called compression to squeeze
more information into limited space. DTS squeezes 5.1 channels into the space normally required for two
uncompressed channels, while Dolby Digital squeezes 5.1 channels into about ¼ the space required for two
channels. Your receiver automatically detects the bitstream curr ently being provided from the sourc e and perfor ms
the required decompression and surround processing. If no digital signal is present your receiver will automatically
switch to analog processing.
your receiver can directly provide audio from its built-in AM/FM tuner. It can also provide limited video
DTSDolby DigitalPCMAnalogSource Media
XAudio Cassette
XVideo Cassette
XXXXLaser disc (LD)
XXXCompact Disc (CD)
XXXDigital Versatile Disc (DVD)
XXSatellite Broadcast
XXXXDigital Audio Tape (DAT)
X (compressed)Digital Compact Cassette (DCC)
X (compressed)Mini disc (MD)
This refers to the m ethod used to place audio inform ation on the source m aterial and
All sounds that you hear from your speakers are analog. Digital s ignals are automatically converted to analog by
your receiver before being output to your the speakers.
If analog signals exactly represent the audio, while digital signals only approximate it, why would I want to
use digital?
All analog sources add some amount of noise and distortion to the audio signal. Additional noise can be
picked up through the cables f rom the source to your receiver. It is impossible for the receiver to tell the
difference between the desired signal and the added noise and distortion, so it reproduces both of them.
The result is increas ed background noise and decreased dynamic range and fidelity. Digital signals are
virtually immune to noise and distortion. The receiver can, therefore, reproduce the signal with the
greatest possible fidelity. We recommend you use digital signals wherever possible. Also Dolby Digital and
DTS (see “Surround Formats” below) work only
Audio and Surround Formats
Monaural (Mono)
Modern recordings are seldom m ade in this for m at, but mos t older m ovies and m usic ar e available only in
this format. You m ay get mono from any source - digital or analog. Sound will norm ally come from the
- This is the oldest format available. It contains a single, full range audio channel.
- Your source material will be in one of seven possible formats described below.
with digital signals.
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seven speaker channels, but your receiver can produce mono in one to seven channels (see “Audio
Modes under Operation”). Since all modern sources are stereo, the mono information is usually replicated
from both the left and right channels.
Stereo - Stereo contains two discrete, front left and right full range audio channels. This is the most
common f orm at f or mus ic and is als o used on m any movies. You may get stereo from any source - digital
or analog. Sound will normally come from the seven speaker channels, but your receiver can produce
stereo in one (mono) to seven channels (see “Audio Modes under Operation”).
Dolby Pro Logic - Dolby Pro Logic is a refinement of Dolby Surround which was the earliest form of true
surround processing. Like Stereo, Dolby Surround contains two discrete, full range audio channels. In
addition, a monaural, lim ited range surr ound channel is encoded on the two s tereo channels in a proces s
called matrixing. T he surround channel inform ation is encoded in positive polarity on the left channel and
in negative polarity on the right channel. The Dolby Processor can detect this encoding (left minus right)
and send that information to the surround channels. Dolby Pro Logic adds additional processing to
produce a full range center channel by extracting the mono inf ormation from the left and right channel.
This is the most common format for all but the most recent movies. Music sources are occasionally
encoded in Dolby Surround. However, many people prefer to use Pro Logic processing on all of their
stereo sources. The c enter channel extraction process often yields improved stereo imaging, es pecially
when you are sitting away from the “sweet spot” at center of the listening area. The surround channel
processing often lends a pleasing ambiance even to m ater ial that is not encoded in Dolby Surround. Dolby
Pro Logic is fully compatible with stereo and you may get it from any source - digital or analog. Sound will
normally come from all seven speakers in your system, but your receiver can produce sound in one
(mono) to seven channels (see “Audio Modes under Operation”).
Dolby Digital - Dolby Digital contains up to five discrete, full range audio channels plus an additional Low
Frequency Effects (LFE) channel. T he LFE channel contains only low frequency information f or enhanced
sound effects in movies . This combination of five discrete c hannels plus a LFE channel is of ten ref err ed to
as 5.1 channels. Dolby Digital is a digital format only. It must be delivered to your receiver over a c oaxial
or optical digital cable. As of the writing of this manual, Dolby Digital is commerc ially available on DVD and
Satellite (Also see
DATs if you have the recording equipment. You can’t direc tly record Dolby Digital onto mini disc or digital
compact cassette since these devices add their own compression which is incompatible with the Dolby
Digital compression. Not all Dolby Digital recordings will include all five channels, and, in fact, it is
common on DVDs to have two channel Dolby Digital with or without Pro Logic processing. Sound will
normally come from all seven speakers in your system, but your receiver can produce sound in one
(mono) to seven channels (see “Audio Modes under Operation”).
Dolby Digital RF
below). It is also possible to create your own Dolby Digital CDs and
Dolby Digital RF - Dolby Digital RF is identical to normal Dolby Digital except that it uses a special RF
encoding scheme to put the bitstream on Laser discs without replacing the normal stereo (or Dolby
Surround) PCM bitstream that is norm ally available from laser disc. In order to use Dolby Digital RF laser
discs you must have a B&K DT-1 RF demodulator or sim ilar product f rom another m anuf acturer. For best
results with your receivers Plug and Play capability we recommend the B&K DT-1.
Dolby Digital Surround EX - Dolby Digital Surround EX is a new movie sound track that greatly
enhances the sense of spatial and positioning of the s ur round c hannel s ound. This system was developed
jointly by Lucasfilm THX and Dolby Laboratories, using Lucas film ’s idea of improving spatial expres sion
and achieving a 360 degree sound positioning with Dolby Laboratories’ matrix encoding technology. The
surround back channel is matrix-encoded and inserted into both Dolby Digital SL (surround lef t) and Dolby
Digital SR (surround right) channels. Upon playback, the signals may be decoded by a high precision
digital matrix decoder within the Dolby Digital decoder into SL, SR and SB channels.
DTS (Digital Theater Systems) - DTS is similar to Dolby Digital in that it provides 5.1 discrete audio
channels. However, it uses m ore digital data to encode the information and may provide greater fidelity
than Dolby Digital. DTS is a digital format only. It must be delivered to your receiver over a coaxial or
optical digital cable. No RF demodulator is required for DTS laser discs since the DTS bitstream replaces
the normal PCM bitstream. Like Dolby Digital,
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you can create your own DTS DATs or CDs but not mini disc or digital compact cas sette. As with Dolby
Digital, sound will normally come from all seven speak ers in your system, but your receiver can produce
sound in one (mono) to seven channels (see “Audio Modes under Operation”).
DVD Audio (also referred to as MLP) - Meridian Lossless Pack ing ( MLP) is a los s less c oding s ystem f or
high-quality linear PCM audio. For DVD-Audio MLP perform s lossless c om press ion of up to 6 c hannels of
up to 24-bit material sam pled at rates between 44.1kHz and 192k Hz. Lossless coding does not alter the
final signal, it ‘packs’ the audio data into a smaller rate and space. Currently, DVD Audio can only be
delivered to your receiver via the analog 5.1 input. Sound will normally com e from all seven speak ers in
your system, but your receiver can produce sound in one (mono) to seven channels (see “Audio Modes
under Operation”).
Home THX Cinema Processing - THX is an exclusive set of standards and technologies established by
the world-renowned film production company, Lucasfilm Ltd. THX grew from George Lucas’ personal
desire to mak e your experience of the film soundtr ack , in both m ovie and in your home theater, as f aithful
as possible to whatever the director intended.
Movie soundtracks are mixed in special movie theaters called dubbing stages and are designed to be
played back in movie theaters using similar equipm ent and conditions. The soundtrack c reated for movie
theaters is then directly put onto reproducible media, DVD, VHS tape Laser disc, etc... With no changes to
account for playback in a smaller home theater environment.
THX engineers developed patented technologies to accurately translate the sound from the m ovie theater
environment into the home, correcting for the tonal and spatial errors that occur. While Home THX
Cinema mode is active, T HX proces s ing is added after the Dolby Pro Logic, Dolby Digital or DTS decoder.
Sound will normally come from all seven speak er s in your system, but your receiver can produce sound in
one (mono) to seven channels (see “Audio Modes under Operation”).
Re-Equalization™ - restores the correct tonal balanc e for watching a movie soundtrack in a small hom e
theater.
Timbre Matching™ - filters the information going to the surround speakers so that they more closely
match the tonal characteristics of the sound coming from the front speakers. This ensures seamless
panning from the front to surround speakers.
Adaptive Decorrelation™ - slightly changes one surround channel’s time and phase relationship with
respect to the other surround channel. This expands the listening position and creates a more spatial
sense using only two speakers.
THX Surround EX – Dolby Digital Surround EX is a joint developm ent of Dolby Laboratories and the TH X
division of Lucasfilm Ltd.
In a movie theater, film soundtr acks that have been encoded with Dolby Digital Surround EX technology
are able to reproduce an extra channel which has been added during the mixing of the program. This
channel, called Surround Back, places sounds behind the listener in addition to the currently available
front left, front center, f ront right, surround right, surround left and subwoofer channels. This additional
channel provides the opportunity for more detailed imaging behind the listener and brings more depth,
spacious ambiance and sound localization than ever before.
When releas ed to the home c onsum er m ark et, m ovies that were created us ing the Dolby Digital Surround
EX technology, may have a note to that effect on the packaging. A list of movies created using this
technology can be found on the Dolby web site at http://www.dolby.com.
Only receiver and controller products bear ing the THX Surround EX logo, when in the THX Sur round EX
mode, faithfully reproduce this new technology in the home.
This product m ay also engage the “THX Sur round EX” m ode during the playback of 5.1 channel m aterial
not
that is
Back channel will be program dependent and may or may not be very pleasing depending on the
particular soundtrack and the tastes of the individual listener.
Dolby Digital Surround EX encoded. In such case the inf ormation delivered to the Surround
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Bass Management - Dolby Digital and DTS formats contain up to 5 full range channels plus LFE. Only a system
with five full-range (large) speak ers plus a subwoofer can directly reproduce these f ormats. However, almost all
commercially available center channel speakers are small and incapable of reproducing the lowest bass
frequencies without distortion or even dam age to the speak er. Many people also use sm all speak ers in the rear of
their system, while others use sm all s peakers all around. Use of a s ubwoofer is almost mandatory when using five
small speakers , but people with at least two large speakers may or may not choose to use a subwoofer . Some
people may not use a center channel or surround speak ers at all. In order to handle any possible combination of
large, small, or m issing speak ers, a hom e theater system must contain good bass m anagement, a concept often
missing from two-piece systems where the Dolby Digital or DTS decoder is separate from the preamp. Your
receiver contains a complete bass management system. You can use as few as two large front left and right
speakers or two sm all left and right speakers plus a subwoofer or as m any as seven full range speakers plus a
subwoofer or any combination in between without miss ing any information. Wher ever s mall speakers are used the
bass management system prevents low bass information from going to that speaker (“high pass”). This bass
information is rerouted to a speak er that can handle it, usually a subwoofer, but it can also send center, surr ound,
or LFE bass to large front speakers if no s ubwoofer is available. W hen center or surround s peakers are not used
at all, the missing channel is sent (“down mixed”) to the front speakers.
Preamp - A preamp typically includes the capability to select from a num ber of s ources, adj ust volum e levels and
route the data to an amplifier. Your receiver includes a high quality preamp.
Processor - A processor typically includes the capability to decode one or more surround form ats, and convert
between digital and analog as required. Your A/V system controller includes a high quality processor capable of
decoding the surround formats described above.
Zone - A zone is usually a room that has speakers installed in it. Your receiver includes a full preamp/proc essor
for Zone 1 (A) plus an additional analog stereo pr eam p for Zone 2 (B) . This allows, for ex am ple, watching a Dolby
Digital movie in zone one while simultaneously using the built-in AM/FM tuner in another room.
Amplifier - An amplifier takes the output of a preamp/processor and increases its level to that necessary to drive a
speaker.
Speakers - A surround sound system use to typically use 5 speakers loc ated left front, center front, right f ront,
right surround, and left surr ound plus a subwoofer located anywhere in the room. W ith the new developm ents in
surround technology from companies such as Dolby Laboratories, DTS, and Lucasfilm, it is now possible to
improve spatial expres sions with an additional channel of inf ormation for use with a 6th and/or 7th s urround back
speaker. Although best results are achieved using seven large speakers plus a subwoofer, this is not always
practical. Excellent results can be achieved us ing sm all and/or fewer speak ers, as long as you go through the set
up procedures described later in the manual. Your receiver includes the capability of reproducing up to 6.1
channels of surround information.
Component video vs. S-video vs. Composite video - Composite video is the oldest standard for color video. It
combines the luminance (brightness or black-and-white) and chrominance (color) information onto a single
conductor. These signals m ust be separated again for display resulting in som e degradation of the video quality.
S-video is a newer standard that uses separate conductors for the lum inance ( Y) and chrom inanc e (C) inf or mation
resulting in better video quality. Component video is the newest form of video introduced with DVD. This video
format uses separate conductors for luminance (Y), red - luminance ( R - Y), and blue - lum inance (B - Y). Using
these signals a component video capable monitor allows for even better and higher resolution video quality. Your
receiver is capable of switching com posite, S-video and component signals, but it cannot convert between video
types. In addition, your receiver is capable of switching between two pairs of component video inputs.
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FRONT PANEL
1. Headphone Jack
- Stereo headphones having a standard ¼ inch binaural plug can be connected to the
headphone output. The receiver must be on and in HEADPHONE Mode for proper headphone operation.
2. Front panel buttons
SLEEP
PRESET
ENTER
SAVE
DOWN UP
SOURCE
MODE
MENU
3. Main power swit ch
- Removes all power to the receiver. Normal operation of the receiver r equires the power
Puts the receiver in standby (low power) mode.
Steps through audio / video presets for instant recall of setups.
Pressing ENTER recalls the preset.
Confirm selection or display current status of the receiver.
Pressing SAVE followed by ENTER saves a favorite preset.
Step through menus, sources, or audio modes.
Steps through the audio / video sources.
Steps through the audio modes.
Enter / exit menu system
switch to remain on. Use the Sleep button f or daily on and off of the receiver. It places the unit in standby mode
that allows turning back on with the rem ote control. Turn the receiver off with the m ain power switch when not
using the receiver for an extended period of time.
4. Volume control
- For controlling system volume. Turn ing the encoder-type volume control cloc kwise increas es
the volume level, countercloc kwise decreases the volume level. The volume knob is also used to change other
receiver settings. See THE MENU SYSTEM and OPERATION
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5. Status indicators - Displays current status of the receivers audio processor. Indic ators have been supplied to
show when the DSP is decoding Dolby Digital ‘ Digital’, Dolby Pro Logic ‘ Pro Logic’, or DTS audio. There is
an indicator to show the input to the S/PDIF digital receiver is 96k Hz 24 bit data ‘96/24’ or an analog input that is
being sampled using 96kHz/24bits. Finally, there is an indicator to show processed audio is sourced from the
selected analog input ‘Analog’. See MODE OPERATION
6. Display - The receiver display is a 16 character alphanumer ic fluorescent display. Displays current status of
receiver and any changes being performed.
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REAR PANEL
The receiver’s back panel is organized into groups of inputs and outputs for audio and video as s hown below. See
back of this manual for an enlarged view.
1. AC fuse holder
2. AC input receptacle
3. IEEE 1394 input (optional) -
4. Control outs
5. IR in
receiver. This m ethod of c ontrol is usef ul when the front IR rec eptor is bloc ked ( for exam ple, by a cabinet door) or
to control the receiver from another room . This input is typically used in place of an emitter attached to the front
panel.
6. RS-232 input -
7. Speaker outputs
8. DVD Audio inputs
9. Surround outputs
- Accepts input from external IR receptor s . Connect an IR repeater (“home run”) to IR IN for controlling the
Red binding posts
Black binding posts
Red RCA jacks
White RCA jacks
Gray RCA jacks
- Holds the AC Line fuse. Replace only with same type and value.
- For attaching the supplied AC power cord to the receiver.
For future interface applications.
- Outputs that allow you to remotely control external devices. (See “Making The Connection“).
Computer interface applications.
- Connections for your speakers.
- speakers (+)
- speakers (-)
- Connections for a DVD audio or other 5.1 source device.
- right front and surround audio inputs
- left front and surround audio inputs
- center and sub audio inputs
- Variable level outputs for driving external power amplifiers or powered speakers.
10. Antenna inputs -
Connections for the AM and FM antennas.
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11. Component Video outputs - Switched output connections for your component video monitor.
Red RCA jack
Green RCA jack
Blue RCA jack
12. Component Video inputs - Switched input connections for two component video devices.
Red RCA jack
Green RCA jack
Blue RCA jack
13. Line inputs - Connections from your audio/video sources.
Red RCA jacks
- right analog audio
White RCA jacks
Yellow RCA jacks
4 pin din jacks
14. Line level outputs - Fixed level outputs to an audio or video recorder.
15. Zone 2 (B) outputs - Variable level outputs to your video monitors and external amplifiers.
16. Zone 1 (A) outputs - Variable level outputs to your video monitors.
17. Optical Digital inputs - Optical digital inputs are used to c onnect digital audio signals f rom your source to the
receiver. The incoming signal may be PCM, Dolby Digital or DTS.
18. Optical Digital output - Zone 1 (A) optical output to carry digital information from the select ed digital input of
the receiver out to digital recorders, personal computers, etc.
19. Coax Digital inputs - Coax digital inputs are used to connect digital audio signals from your source to the
receiver. The incoming signal may be PCM, Dolby Digital (AC-3) or DTS.
20. Coax Digital output - Independent Zone 1 (A), and Zone 2 (B), coax outputs to carry digital information fr om
the selected digital input of the receiver out to digital recorders, personal computers, etc.
21. AC Line Voltage - Indicates the proper voltage and frequency needed to operate your receiver.
Serial number - The serial number of your unit is located on bottom of unit.
- typically connect to the red input on a component video monitor
- typically connect to the green input on a component video monitor
- typically connect to the blue input on a component video monitor
- typically connect to the red output of a component video source
- typically connect to the green output of a component video source
- typically connect to the blue output of a component video source
- left analog audio
- composite video
- S-video
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MAKING THE CONNECTION
It’s tempting to just plug in your new A/V receiver and have gr eat sound pour out. Before you do that, take a f ew
minutes to plan out how you want the receiver to fit into your audio/video system. Ask yourself the following
questions:
y
What source components do I want to connect to my receiver? (CD, VCR, etc.)
y
What equipment will be receiving the audio and video? (TV monitor, Speakers, etc.)
The answers to your questions determine how many cables you need to connect to the back of the receiver. G ood
preplanning equals great sound. Keep these recommendations in mind:
y
List all components in your system and indic ate whic h j acks of the receiver eac h c omponent will be connected
to. Your receiver has seven sets of inputs. It is convenient to connect a DVD player to the input labeled DVD
or a VCR to the input labeled V1 or TAPE, etc. However, your equipm ent may differ from the labeling on the
back of your receiver. In m ost cases you can connect any type of source to any input (see FREQUENTLY
ASKED QUESTIONS). For exam ple, if you don’t have a satellite receiver you can connect a DAT player or a
second cassette deck to SAT . You can also reprogram the source name that will appear on your receiver’s
front panel and on-screen display (see SYSTEM SETUP - INPUTS)
y
Also note the length of the cable for each component’s connec tion and describe how it should be routed or
draw your routing scheme below your list. You may want to label each cable with a name or number at both
ends. Use high quality connections to maintain high quality audio and video.
y
Think about the type and length of cable you need and obstacles in the cable’s path (doorways, furniture,
walkways, e tc.). To dec ide which ones are right for you talk to your dealer about the various cable products
that are available.
y
For safety, keep all cables out of high traffic areas (hallways or doorways) and away from equipment that
radiates power, including amplifiers, power cords, heaters, etc.
y
If you might expand your audio/video system later, keep these ideas in mind as you plan current cable runs.
y
To provide the best tuner reception, m ake sure the antenna is at least several f eet away from the rec eiver and
any other equipment that may produce high frequency interference such as Personal com puters, CD players,
halogen lamps, etc.
Take a look at the back panel of the r eceiver. You will notice that the RCA-type audio input and output connectors
are identified by colors, red for right channel and white for the left channel audio. Component video input and
output connectors are identified by Red/Green/Blue. Composite video input and output connectors are identified by
yellow. Coaxial digital inputs are identified by orange. The surround outputs are identified by Red/White/Grey.
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AUDIO / VIDEO CONNECTIONS
Connecting your analog sources to your receiver
Audio / Video source -
connecting a DVD/VLD player to the receiver’s analog inputs. Use the same instructions
for connecting to other audio / video sources such as a television, satellite receiver, cable box, etc. See
Connecting Video for use with other than com posite and S-video (Omit the video connections f or an audio-only
component such as a CD player)
DVD
Attach one end of the audio interconnect cable to the left audio
output on the DVD/VLD player, then attach the other end to the
S-Video input
from DVD output
left (white) DVD/VLD audio input on the receiver. Repeat for the
right (red) audio connection. Attach one end of the com posite
video interconnect cable to the video out on the DVD/VLD
player, then attach the other end to the yellow video input on the
receiver labeled DVD/VLD. Repeat for the S-video connections
if you are using S-video.
Composite video input
from DVD output
Left audio input from
DVD output
Right audio input from
DVD output
ZA
LINE INPUTS
S-Video output
to monitor input
Composite video output
to monitor input
Video Monitor -
interconnect cable to the video input on the monitor, then attach
the other end to the yellow video output on the receiver’s ZONE
Attach one end of the composite video
OUTPUTS. Repeat for the S- video connections if you are using
S-video. Dual zone operation requires connections be m ade to
(ZA) for Zone 1, and (ZB) for Zone 2.
S BACK
VCR or audio recorder -
connect a VCR to V1 . Use the same
instructions for c onnecting to the V2 and T APE analog inputs . If
connecting a cassette deck or other audio-only recorder then omit the video connections.
V1
S-Video output
to VCR input
Composite video output
to VCR input
Left audio output
to VCR input
Right audio output
to VCR input
LINE OUTPUTS
V1
S-Video input
from VCR output
Composite video input
from VCR output
Left audio input
from VCR output
Right audio input
from VCR output
LINE INPUTS
Attach one end of the audio interconnect cable to the left audio output on the VCR, then attach the other end to the
left (white) V1 audio input on the receiver. Repeat for the right (red) audio connection. Attach one end of the
composite video interc onnect cable to the composite video output on the VCR, then attach the other end to the
yellow video input on the receiver labeled V1. Repeat for the S-video connections if you are using S-video.
Attach one end of the audio interconnec t cable to the left audio input on the VCR, then attach the other end to the
left (white) V1 audio output on the receiver. Repeat for the right (red) audio c onnection. Attach one end of the
composite video interconnect cable to the composite video input on the VCR, then attach the other end to the
yellow video output on the receiver labeled V1. Repeat for the S-video connections if you are using S-video.
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Component Video - in addition to S-video and composite video switching, your receiver provides two sets of
g
g
g
g
g
component video inputs for DVD and TV/DBS type inputs, and one set of component video outputs. Your
receivers com ponent video connection ar e passive to m inimize the poss ibility of video form at com patibility issues.
Use the same instructions to connect a second (TV/DBS) component video device.
COMPONENT VIDEO
IN 1
Component video input to DVD
red output
Component video input to DVD
reen output
Component video input to DVD
blue output
OUT
Component video output to the
video monitor's red input
Component video output to the
video monitor's
Component video output to the
video monitor's blue input
IN 2
Component video input to V1
red output
Component video input to V1
reen output
Component video input to V1
blue output
reen input
Attach one end of a video interconnect cable to the red video output on the DVD, then attach the other end to the
red component video input (IN 1) connector on the receiver. Repeat for (green) and (blue) video connections.
Repeat for the other (TV/DBS) com ponent sour ce device us ing com ponent video input ( IN 2). Attach one end of a
video interconnect cable to the red component video output (OUT) on the receiver, then attach the other end to the
red video input on the video monitor. Repeat for (green) and (blue) video connections.
DVD Audio - connect a DVD Audio or other 5.1 surround format device, to the receiver’s DVD Audio input.
DVD AUDIO IN
SUB CENTER
Connect to the DVD audio
player Subwoofer output
Connect to the DVD audio
player Left Surround output
Connect to the DVD audio
player Ri
ht Surround output
SURR
FRONT
Connect to the DVD audio
player Center output
Connect to the DVD audio
player Left Front output
Connect to the DVD audio
player Ri
ht Front output
Attach one end of an audio interconnec t cable to the center output on the DVD Audio s ource device, then attach
the other end to the FRONT center (gray) DVD Audio input on the receiver. Repeat for the f ront left (white) and
front right (red) audio connec tion. Attach one end of an audio interconnect cable to the sub output on the DVD
Audio source device, then attach the other end to the SURR subwoofer (gray) DVD Audio input on the receiver.
Repeat for the surround left (white) and surround right (red) audio connection.
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DIGITAL CONNECTIONS
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Connect digital inputs (DVD, VLD, etc.) to the receiver. You will need either coaxial or optical digital inputs to play
Dolby Digital (AC-3) or DTS surround sound
processing. Digital connections are also
recommended for PCM sources. If your source has
both optical and coaxial outputs connect only one.
ZA OUT
COAX DIGITAL
TV V2 V1
Coaxial digital inputs
- standard RCA type
connectors. Attach one end of your digital coaxial
ZB OUT
SAT DVDCD
Coax digital input
from DVD output
cable to your source coaxial digital out and the other
end to the appropriate receiver c oaxial digital (or ange)
input.
Optical digital inputs -
First, remove the cap on
the optical digital input. Save the cap. Attach one
end of your digital optical cable to your source and
OPTICAL DIGITAL
V2DVDCDSAT
V1
Optical digital output
from source
the other end to the appropriate digital input on the
back of the receiver.
Dolby Digital
COAX DIGITAL
TV V2 V1
DT-1
Connecting A Laser disc Player -
(AC-3) laser discs use a special technique called
AC-3 RF to encode the Dolby Digital bitstream. If the
laser disc player is capable of playing back Dolby
Digital discs it will have a separate output for this
bitstream in addition to the normal coaxial and/or
MAIN
OUTPUT
COAX
INPUT
AC-3 RF
optical outputs. Do not connect the AC3-RF output
directly to your receiver. The AC-3 RF bitstream mus t
INPUT
first be converted to a norm al (non-RF) Dolby Digital
SAT DVDCD
type signal. It is recommended that a B&K DT- 1 be
used to convert and select between the Laser’s AC-3
Coax digital input
from VLD output
AC-3 RF input
from VLD output
RF and PCM/DTS signals. The output from a DT-1
will automatically select between the connected
PCM/DTS bitstreams and the converted AC-3 RF
Dolby Digital signal. Other AC-3 RF to Dolby Digital
decoders may not make this switch automatically.
Connect the laser disc’s AC3-RF output to the DT-1’s AC-3 RF input. Connect either the las er disc player’s PCM
coaxial or optical digital output (not both) to the DT-1’s c oaxial or optical input. Connec t the DT-1’s c oaxial output
to the desired coaxial digital input on your receiver.
Digital Outputs -
Separate
and independent coax
digital outputs are available
for Zone 1 (A) and Zone 2
(B). Connect to a digital
recorder (CD-R, mini disc,
DAT, personal computer,
OUT V1
OPTICAL DIGITAL
V2DVDCDSAT
ZA OUT
Zone 1 (A) Coax digital output
to di
ital recorder
COAX DIGITAL
TV V2 V1
etc.) These signals ar e the
same as the incoming
digital signal from the
selected source on each
zone. If your digital
recorder has both optical
and coaxial inputs you
need only connect one.
Zone 1 (A) Optical digital output
ital recorder
to di
ZB OUT
SAT DVDCD
Zone 2 (B) Coax di
to di
ital recorder
ital output
Zone 1 (A) selected digital
input is converted to both
coaxial and optical. You
may connect one digital recorder to the optical output and another recorder to the coaxial. Zone 2 (B) digital output
is coax.
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SURROUND OUTPUTS
Your receiver has multiple sur round pr oc ess or outputs for use with external amplifier( s) or powered s peakers. The
AVR 305 receiver allows THX Surround EX compatibility via it’s two Surround Back ‘S BACK’ processor outputs.
Here is a typical surround output setup
Connect to the Subwoofer 'SW'
power amplifier input
Connect to the Surround Left
'Sl' power amplifier input
Connect to the Surround Right
'Sr' power amplifier input
Connect to the Surround Back Left
'Sbl' power amplifier input
Connect to the Surround Back Right
'Sbr' power amplifier input
Subwoofer Output -
Connect an RCA cable from the receiver ’s SW output ( part of the s urround outputs). If your
:
ZA AUDIO OUT
SUB CENTER
Connect to the Center power
amplifier input
Connect to the Left Front
power amplifier input
Connect to the Right Front
SURR
S BACK
FRONT
power amplifier input
Connect to Zone 1 (A)
composite video monitor input
subwoofer does not contain its own am plifier you will need to purchase an exter nal B&K or other power am plifier.
Connect the receiver’s SW output to the audio input of the external amplifier. Connect the external amplifier’s
speaker output to your subwoofer.
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SPEAKER OUTPUTS
Five-way binding posts are provided, one pair for each channel. T hey are designed to accept a banana- type plug
or spade lug connector (shown below) and are color coded for easy identification. The red (+) post should always
be connected to the speaker’s red (+) jack . The black (-) post should always be connected to the speaker’s black
(-) jack.
Spade connector Banana jack
The amplifier section of the receiver will produce 150 watts / channel into 8 ohms. See SPECIFICATIONS for
more information. Here is a typical receiver output setup:
L
FRONT
LEFT
SURROUND LEFT SURROUND RIGHT
PLUS
MINUS
PLUS
MINUS
Sl
CENTER
MINUS
SURROUND BACK
PLUS
MINUS
C
CENTER
LEFT
PLUS
SURROUND BACK
RIGHT
PLUS
MINUS
R
FRONT
RIGHT
FRONT LEFT FRONT RIGHT
PLUS
MINUS
PLUS
MINUS
Sr
SURROUND
LEFT
Sbl
SURROUND
BACK LEFT
18
Sbr
SURROUND
RIGHT
SURROUND
BACK RIGHT
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ANTENNA CONNECTIONS
The FM jack is a standard screw on F-type
connector. The AM is a push type. Strip ¼ inch of
insulation off your AM antenna wires and insert one
wire end into each hole while holding the tabs
down. Release the tabs to lock in the AM antenna
wires.
CONTROL OUTPUTS / IR INPUTS
TUNER
FM antenna
AM antenna
FM Antenna Input
from Indoor/Outdoor Antenna,
Cable Box, etc.
AM Antenna Input
from Loop Antenna
CONTROL OUT
12
+12VDC
50mA
IR IN
ZA
CAUTION!
Control Outputs -
controlling other equipment such as an external B&K
Components, Ltd. amplifier, projection screen, etc.
These connections are used for
Connect your control cable to the receiver using a
3.5 mm control output
to amplifier, etc.
34
ZB
3.5 mm IR in
from remote repeater
mono 3.5 mm jack shown at left. The plug must be
wired as tip (+) and the long barrel section (-).
The Control outputs are program mable for each source in your system (see “Advanced Setup”). However, the
receiver provides the following factory preprogrammed setup that should serve for most standard system
applications.
Control 1
- HEADPHONE - On (+12 VDC) when Zone 1 (A) is on and not in Headphone mode, of f when Zone 1
(A) is off or in Headphone Mode. This mode may be used for controlling external amplifiers or powered
subwoofers in Zone 1 (A).
Control 2
- Zone 2 (B). On (+12 VDC) when Zone 2 (B) is on, off (0 VDC) when Zone 2 (B) is off. This mode is
used for controlling external amplifiers, projection screens, etc. in Zone 2 (B).
Control 3
- Z1 + Z2. On (+12 VDC) when Zone 1 ( A), Zone 2 (B), or both zones are turned on. O ff (0 VDC) when
both zones are off.
Control 4
-REMOTE. It will repeat a r eceived 38 kHz modulated IR signal. The receiver will tr ansmit received IR
signals even in sleep mode.
Note - The control outputs can output a maxim um of 50 m A. Check to see that the source you are connecting to
the control out requires 50 mA or less current.
WARNING - Not all manufacturers adhere to the +12 VDC control specification. Check to see if your
sources control inputs are +12 VDC compatible. Do not connect your receiver’s control outputs to a
source with control or remote inputs rated at +5 VDC or other voltage rating. Damage to your source may
result.
IR Inputs -
Your receiver can be controlled by a directly connected IR repeater system in combination with or in
place of the supplied remote control. Connect your IR input cable to the receiver using a mono 3.5 mm jac k s hown
above. The plug must be wired as tip (+) and the long barrel section (-). The inputs are standard 38kHz modulated
IR type with a voltage range of +5 to +12 VDC.
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FREQUENTLY ASKED QUESTIONS
My collection of equipment differs from the labels on the back of my receiver, how can I hook them up?
Your receiver provides 5 identical sets of inputs - V1, V2, DVD, CD, and SAT. Each of these has analog
audio, composite video, S-video, coaxial digital audio, and optical digital audio. It is convenient to connect
components as labeled on the back of your receiver, but since all the inputs are identical, you can connect any
compatible source to any set of inputs. For ex ample, you can connect a DAT player to V1 instead of a VCR. You
can program your receiver to display any 5 character name for any input (see System Setup - Inputs).
The sixth input, TV, is identical to the other s except that there is no optical digital. You can also connect
portables to any other coaxial digital input using adapters or special c ables. If you have a source with only optical
digital output don’t connect it to TV.
The seventh input, TAPE, has analog audio, com posite video and S-video, but has no digital inputs. It is
primarily intended for analog recorders s uch as VCRs or cassette decks. If you have a three-head cassette or
reel-to-reel tape deck you will prefer the TAPE input s ince it allows a full tape monitor capability. Tape monitor
allows you to listen to what is actually on the tape as you are recording it. The V2 input also provides full tape
monitor capabilities for Zone 2 (B) . If you don’t use Zone 2 (B) you can use V2 as a second independent analog
tape monitor loop. V1 includes a line level output but does not provide true tape monitor capability.
My DVD player (or other source) has both optical and coaxial digital outputs. Should I connect both?
No, connect only one digital cable per source.
Do I need an AC-3 RF demodulator (B&K DT-1 or equivalent) to playback Dolby Digital
DVDs?
No, this is required only for Dolby Digital laser discs.
Do I need an AC-3 RF demodulator (B&K DT-1 or equivalent) to playback DTS laser discs?
No, this is required only for Dolby Digital laser discs.
Do I need to connect both analog and digital audio from my DVD player (or other digital audio source) to
the receiver?
In general, it is simpler to connect both. However, if you can meet all of the following criteria you need only
connect digital:
1. I do not use Zone 2 (B). (Zone 2 (B) is analog only - if you use Zone 2 (B) you must c onnec t both lef t and right
analog to hear audio.)
2. I do not own any old laser discs. (Early laser discs contained only analog audio tracks - you must connect both
left and right analog audio to play these back.)
3. I do not use Tape Monitor. (It is possible to tape digital-only sources. However, if you wish to listen directly to
the tape as you are recording - you must connec t both lef t and r ight analog audio - the tape m onitor loops are
strictly analog.)
If the tape monitor loop is strictly analog, how do I make an analog recording of a digital-only source?
Do not select TAPE. Select the source you wish to record. Select STEREO 9, the LtRt mode. If that
source is digital, the converted digital-to- analog will appear at the tape and V1 outputs. V2 out, lik e Z one 2 ( B) out,
is analog only. (See also Operation - Zone 1 Operation - Mode.)
I want to make direct digital recordings from my CD player (or other digital source) on my CD Recorder,
DAT (or other digital recorder). Can my receiver make this connection for me?
Yes, your receiver’s digital outputs act much lik e the analog tape outputs. When you select a source, if
that source has a digital c onnection to your receiver, then that digital signal will appear on the receiver’s coaxial
and optical digital outputs. Simply connect all of your sources digital outputs to your receivers digital inputs . You
can then connect up to three digital recorder inputs to your receiver’s three digital outputs.
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My laser disc player (or other digital source) has only optical output, but my CD recorder (or other digital
recorder) has only coaxial input. Do I need some sort of converter to make direct digital recordings?
No, your receiver will convert optical to coaxial and coaxial to optical. The cur rently selected digital input
(optical or
coaxial) will appear at both of the receiver’s digital outputs (optical and coaxial).
Do I need to connect both analog and digital audio from my receiver to my CD, DAT, MD, etc. recorder?
In general, yes. If all of the sources you wish to record are digital, then you need only connect digital to
your recorder. However, your receiver does not provide digital outputs for non-digital inputs. If you wish mak e a
digital recording from an analog-only source you must also connec t analog from your receiver (T ape or V1 out) to
your recorder.
Can I connect a phonograph directly to my receiver?
No, you will need a separate outboard phono preamplifier. The output of the phono preamp can then be
connected to any analog input on your receiver. We recomm end our Phono 10 phono preamp. In addition to it’s
superb analog audio processing, it has an option for S/PDIF coax output. Talk to the dealer where you purchased
your receiver.
Do I need to connect both S-video and composite video to my receiver?
If all of your video equipment has S- video then you need only connect S-video. S-video is a higher quality
video format and you will probably not want to use composite. If all or most of your video equipment is com posite
then it is simplest to just connect the composite and omit S-video.
Can I connect mixed composite and S-video sources?
Yes, but your receiver will not convert S-video to com posite or com posite to S-video. If your monitor s and
VCRs accept only composite video then there is no point in connecting S-video from other sources. If you use
mixed S-video and com posite sour ces you must connec t both
You will need to change your monitor or VCR S-video / composite inputs manually when you change sources. This
can normally be done via the monitor’s or VCR’s remote control (or the supplied universal remote). Some monitors
or VCRs may require you to physically disconnect S-video before they will accept composite video. Some m onitors
are capable of automatic s witching between S-video and composite. Your receiver mus t be s etup pr operly in order
to work with auto switching monitors - refer Setup Displays.
S-video and composite to your monitors and VCRs.
To assist you, the receiver’s on-sc reen display will tell you what video is currently selected whenever you
change sources or hit the SEL (rem ote) or ENTER ( remote or front panel) key, but it cannot switch your monitor or
VCR input for you.
If you are watching S-video, but the source is composite video only, you will see “Switch
Monitor to Composite” on your Monitor. If you are watching Composite video but your source is S-video only , you
will see “Switch Monitor to S-video” on your monitor
manual monitors.
. These displays appear only if your receiver is setup for
Can I connect mixed composite and S-video monitors and VCRs?
Yes, but you must connect both S-video and com posite from all of your sources - your receiver will not
convert between S-video and composite. Refer to the previous question if not all of your sources have both
S-video and composite outputs.
For example, it is com m on to have an S-video monitor and a compos ite VCR. Connect the m onitor to the
Zone 1 (A) S-video and composite outputs and the VCR to the V1 or TAPE composite output. The composite
inputs will appear at the composite outputs for TAPE and V1. (The S-video inputs also appear at the TAPE and V1
S-video outputs, but, in this example, they are not connected.) To prevent f eedback, TAPE IN will not appear on
TAPE OUT and V1 IN will not appear on V1 OUT - this also applies to the audio outputs. Zone 2 (B) works the
same for Zone 2 (B) OUT and V2 OUT with feedback prevention on V2.
Things get a bit more complicated for the Zone 1 (A) output because it contains your receiver’s internal
on-screen display system. You must be sure that you tell your receiver if you have a monitor which can
automatically switch between S-video and composite outputs, or one which must be manually switched (see Setup
Displays)
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SETUP
For best results, per form the following set up procedure when you initially install your receiver and anytime you
change or add sources, speakers, etc. or when you rearrange your listening area
THE MENU SYSTEM
Setup of your receiver will require you to navigate through the menu system. We recom m end that you use a video
monitor connected to the Zone 1 (A) output along with the rem ote control provided with your receiver. It is also
possible to set up your receiver from the front panel. Do not leave your video monitor on with the receiver in the
menu system for long periods of tim e. T his can r esult in perm anently burning the m enu display into your monitor’s
screen. This would take s everal hours so there is no danger of it happening during norm al setup procedures . The
following are general instructions for us ing the menu s ystem. A com plete guide to the m enu system is included at
the back of this manual.
MENU
- If you are not already in the menu system, the MENU button will activate the menu system. Once you are
in the menu system, the MENU button will return you to the next higher level menu or , if you are already at the
highest level, it will exit from the menu system.
UP/DOWN ARROWS
menu selection. The currently active menu line is highlighted in a contrasting color.
SEL (remote) or ENT ER (remote or front panel)
Use the UP/DOW N ARROWS to move to the des ired menu line. Pressing SEL or ENTER will activate the nex t
menu.
NUMERIC KEYS (remote only)
corresponding line number . If there is another menu below that line it will be activated immediately (no ENTER
required).
LEFT/RIGHT ARROWS (remote) or VOLUME KNOB (front panel)
one of the receiver settings. Use the UP/DOWN ARROWS to move to the desired menu line. Pressing the
LEFT/RIGHT ARROWS will change the setting. There ar e no LEFT/RIGHT ARROWS on the front panel. While in
the menu system, the VOLUME KNOB acts as the LEF T/RIGHT ARRO W S. This means that you will not be able
to adjust the volume from the front panel while in the menu system . The remote control volum e will work in mos t
menus.
TEXT EDITING
current (blinking) charac ter. Use the LEFT/RIGHT ARROW S (or VOLUME KNOB) to m ove to another character
position.
EXIT (remote only) UNIVERSAL REMOTE
controls the selected device. T o return control to your receiver, you mus t press B&K or AUDIO.
that your remote is set to B&K or (AUDIO) before attempting to control your receiver. B&K or (AUDIO) will
be displayed in the remote’s LCD window.
- Once you are in the menu system, us e the UP/DOW N ARROW S to move to the desired
- Some menu selections caus e another menu to be activated.
- From the remote control you may also go directly to a menu line by typing the
- Some m enu s elec tions allow you to change
- some m enu selections will require you to edit text. Use the UP/DOWN ARROWS to change the
From the remote control you may instantly EXIT the menu system.
- Remember that when you press a source button (DVD, CD, etc.) the remote now
ALWAYS check
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SYSTEM SETUP
You should always perform System Setup after fir st installing your receiver and after adding/changing speak ers or
sources or rearranging your listening area. Check that the remote is in B&K mode.
ActionFrom Front PanelFrom Remote
B&K or POWER1
MENU2
3
(PAUSE) or (STOP)
SEL or ENTER4
MAIN MENU
1 Zone 1 Operation
2 Zone 2 Operation
3 Zone 1 Favorite Presets
4 Zone 2 Favorite Presets
5 System Setup
5 System Setup
6 Memory Backup/Restore
next item SEL select
MENU exit menu system
1
(PAUSE) or
SEL or ENTER2
(STOP)
A
SLEEP
∠ MENU
∧
(UP) or ∨ (DOWN)
↵
(ENTER)
∧
(UP) or ∨ (DOWN)
↵
(ENTER)
turn on receiver
activate menu system
move to System Setup
activate SETUP SYSTEM
SETUP SYSTEM
1 Speakers
1 Speakers
2 Displays
3 Inputs
4 Presets
5 Equalization
next item SEL select
MENU main menu
6(783 63($.(566<67(0 6(783
ActionFrom Front PanelFrom Remote
move to Speakers
activate SETUP SPEAKERS
Speakers
The speakers menu lets you tell your receiver how many speakers you have in your system, the relative size of the
speakers, and their location in the room. This is the most impor tant s etup procedure you will perform . T he rec eiver
comes from the factory setup for 7 small s peakers and a subwoofer. If this does not match your speakers then
audio information will be lost. For example, if you do not currently have a center channel speaker and you do not
perform this setup pr ocedure, the center channel information will be los t. If you perform this setup correctly, the
receiver will know that you have no center channel speak er and send this inform ation to your front left and right
speakers (along with the normal front left and right information) so no audio information is lost.
Speaker Size
Speaker size generally refers to the size of your speakers. Audio material, particularly Dolby Digital and DTS
movies, often contain lar ge amounts of bass. If this bass infor mation is sent to sm all speakers that are incapable
of reproducing so muc h bass, then the bass infor mation will be lost or distorted. MANY SMALL SPEAKERS MAY
BE DAMAGED BY TOO MUCH BASS. By telling your receiver the size of your speakers, it will be able to
intelligently route the bass to speakers that can reproduce it correc tly. Typically, all bookshelf or satellite speak ers
are considered sm all. Smaller floor standing speakers with single woofers 8” or less should also be cons idered
small. Floor standing s peakers with 10” or larger woofers or m ultiple smaller woofers may be consider ed large.
These are general guidelines only - if you are unsure consult your speaker manufacturer or check with the dealer if
they are unsure. If you have all small speakers we str ongly recommend use of a subwoofer. If your front lef t and
right speakers (or m ore) are large then you may not require a subwoofer, but you may still get better results using
a subwoofer, especially with Dolby Digital and DTS movies. All THX cer tified speakers are small, regardless of
their physical size, and should be used in audio systems along with a subwoofer.
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