B and K Reference 30 Owners manual

B&K Components, Ltd.

Reference 30

A/V S

Owner’s Manual

stem Controller

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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

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Surround Speaker Output Connections Antenna Connections Control Outputs / IR Inputs

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Frequently Asked Questions

Setup

Operation

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The Menu System System Setup

Speakers

Speaker Size Speaker Location Speaker Levels Crossovers + LFE

Room Equalization Display Inputs Presets

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Memory Backup

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Power On/Off Sleep

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Choosing a source AM/FM Tuner Adjusting the Volume

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Temporary Level Adjustments Audio Modes

MONO STEREO SURROUND THX DVD Audio

Special Considerations Equalization ‘EQ’ Zone ‘Z’ Presets Zone 1 (A) Zone 2 (B) Zone 1 Favorite Presets Zone 2 Favorite Presets Getting Processor Status

Advanced Features

Advanced

Zone 1 Setup (A) Zone 2 Setup (B) Power On Titles Control Outputs

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Setup Control Out 1 Setup Control Out 2

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Setup Control Out 3

Setup Control Out 4 Security Options DSP Usage

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RS-232 Control Port

Factory Reset

Troubleshooting A/V System Controller 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.

Accessories included:

Owners manual, Remote control Manual, Power cord, Remote control, 4-AAA batteries

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

Prevent damage to the power cord. Do not bend, pull, place objects on, alter, etc. Replace the power cord if it becomes damaged. Always grasp the plug on the power cord when plugging in or unplugging the proces sor 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 processor is placed on a level surface. Protect the processor from impact. (Do not drop it!!!) Do not climb on top of the processor or place heavy objects on its top cover. The processor is equipped with raised feet to provide ventilation, reduce acoustic feedback, and provide protection

against scratching the surface the unit is resting on. We advise against removing or altering feet. Do not stack anything on top of the proc es sor ( proc es sor , s ourc e, etc .) Leave a minimum of 3” c learanc e f rom the

top of the processor to the next shelf (or component). The processor should be located away from heat sources such as heaters or amplifiers. Do not perform any internal modifications to the processor. Always connect the processor’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 processor’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 processor or other components.

Damage can occur to your speak ers if the power rating of each individual driver is exceeded by the amplif iers connected to your processor. Ensure that all the drivers in your system are capable of handling not only the average power being delivered by the amplifiers, but also the peak power that is likely to be generated during strong passages. where you purchased them.

The processor should be serviced by qualified personnel when:

CONTROL OUTPUT

If you are unsure of your speaker's power rating, contact the speaker manufacturer or the dealer

The processor is not functioning properly. Objects have entered the chassis. The processor was exposed to rain or other type of moisture. The processor 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

connectors for audio/video inputs or outputs may damage your

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FEATURES

Your new processor is a versatile audio/video control center. The processor 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 processor’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 processor 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

Front Panel Operation

Remote Control

of B&K and other brand user equipment.

RS-232 Control 96/24 bit A/D and D/A Conversion 96/24 bit processing

listening modes.

Selectable Bass Management Crossover Frequency and Slope

management to assure optimum performance from your speaker system.

Room Equalization

the best possible room response.

Upgradable

art today, state of the art tomorrow.

- 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.

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

- automatically selects the optimum input, surround sound format, and performs a wide range of

- assign names to presets, inputs, or the turn on message.

- nearly all processor functions can be controlled directly from the front panel.

- Ultra High Resolution reproduction of musical details.

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

- allows system versatility for bass adjustments and

- a sweepable notch filter and variable equalization is available in the digital domain for use in achieving

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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 processor. Your processor 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 processor from the source. Analog signals exactly represent the sound you will hear through a continuously varying voltage. Audio and video cassettes are analog recordings and are normally delivered to your processor 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 processor 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 processor automatically detects the bitstream currently being provided from the source and performs the requir ed decompression and s urround processing. If no digital signal is present your processor will automatically switch to analog processing.

your processor 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 processor before being output to your the speakers.

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

All analog sources add some amount of noise and distortion to the audio signal. Additional noise can be picked up through the cables from the sourc e to your processor. It is im possible for the process or to tell the difference between the desired signal and the added noise and distortion, so it reproduces both of them. The result is inc reased back ground noise and decreased dynamic range and f idelity. Digital signals are virtually immune to noise and distor tion. The processor can, therefor e, 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 processor can produce m ono 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 f rom the seven speaker channels, but your processor can produc e 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 processor 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 form at only. It m us t be deliver ed to your proces s or over a c oax ial 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 processor 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 processors 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 mus t be delivered to your processor 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 s peak ers in your system, but your processor can produc e 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 processor via the analog 5.1 input. Sound will normally come f rom all seven speak ers in your system, but your processor 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 speaker s in your system, but your processor can produce sound in one (mono) to seven channels (see “Mode 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 processor contains a c omplete bass management system. You can use as few as two large fr ont 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 processor 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 speak ers ins talled in it. Your proces sor includes a full pr eam p/proces sor

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 processor 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 processor is capable of s witching com posite, S- video and com ponent signals, but it c annot convert between video types. In addition, your processor 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 processor must be on and in HEADPHONE Mode for proper headphone operation.

2. Front panel buttons

SLEEP

PRESET

ENTER

SAVE

DOWN UP

SOURCE

MODE

3. Main power switch

- Removes all power to the processor. Norm al operation of the processor requires the

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

power switch to remain on. Use the Sleep button f or daily on and off of the proces sor. It places the unit in standby mode that allows turning back on with the remote control. Turn the pr ocess or off with the main power switch when not using the processor 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 processor settings. See THE MENU SYSTEM and OPERATION

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5. Status indicators - Displays current status of the processors audio processor. Indicators 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 processor display is a 16 character alphanum eric fluorescent dis play. Displays current status of processor and any changes being performed.

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REAR PANEL

The processor’s back panel is organized into groups of inputs and outputs f or audio and video as shown below.

See back of this manual for an enlarged view.

1. AC input receptacle

2. AC Line Voltage -

3. IEEE 1394 input (optional) -

4. Control outs

5. IR in

processor. This m ethod of control is useful when the front IR receptor is bloc ked (for ex ample, by a cabinet door) or to control the processor from another room. This input is typically used in place of an emitter attached to the front panel.

6. RS-232 input -

7. Serial number -

8. DVD Audio inputs

9. Surround outputs

10. Antenna inputs -

11. Component Video outputs

- Accepts input from external IR receptor s . Connect an IR repeater (“home run”) to IR IN for controlling the

Red RCA jacks White RCA jacks Gray RCA jacks

Red RCA jack Green RCA jack Blue RCA jack

- Outputs that allow you to remotely control external devices. (See “Making The Connection“).

- For attaching the supplied AC power cord to the processor.

Indicates the proper voltage and frequency needed to operate your processor.

For future interface applications.

Computer interface applications.

The serial number of your unit is located on bottom of unit

- 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. Connections for the AM and FM antennas.

- Switched output connections for your component video monitor.

- 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

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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

processor. 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 processor 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 processor. 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 processor out to digital recorders, personal computers, etc.

21. AC fuse holder - Holds the AC Line fuse. Replace only with same type and value.

- 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 processor and have great sound pour out. Bef ore you do that, take a few minutes to plan out how you want the processor to fit into your audio/video system. Ask yourself the following questions:

What source components do I want to connect to my processor? (CD, VCR, etc.)

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 proces sor. Good preplanning equals great sound. Keep these recommendations in mind:

List all components in your system and indicate which jacks of the processor each component will be connected to. Your processor has seven sets of inputs. It is convenient to c onnect a DVD player to the input labeled DVD or a VCR to the input labeled V1 or TAPE, etc. However, your equipment may differ from the labeling on the back of your processor. In most cas es you can connect any type of source to any input (see FREQUENTLY ASKED QUESTIONS) . For example, 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 nam e that will appear on your processor’s front panel and on-screen display (see SYSTEM SETUP - INPUTS)

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.

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.

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.

If you might expand your audio/video system later, keep these ideas in mind as you plan current cable runs.

To provide the best tuner reception, m ake sure the antenna is at least s everal feet away from the process or and any other equipment that may produce high frequency interference such as Personal computers, CD players, halogen lamps, etc.

Take a look at the back panel of the processor. You will notice that the RCA-type audio input and output connectors are identified by colors, red f or 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 ar e 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 processor Audio / Video source -

connecting a DVD/VLD player to the processor’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 processor. Repeat for the right (red) audio connection. Attach one end of the composite video interconnect cable to the video out on the DVD/VLD player, then attach the other end to the yellow video input on the processor 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

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 processor’s

Attach one end of the composite video

ZONE OUTPUTS. Repeat for the S-video connections if you are using S-video. Dual zone operation requires connections be made 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.

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

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 processor. 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 processor 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 processor. Repeat for the right (red) audio connection. 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 processor 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 s witching, your processor provides two sets of

component video inputs for DVD and TV/DBS type inputs, and one set of component video outputs. Your processors component video connection are passive to minimize the possibility of video format compatibility 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) c onnector on the processor. Repeat f or (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 processor , 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 processor’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 processor. Repeat for the front lef t (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 processor. Repeat for the surround left (white) and surround right (red) audio connection.

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DIGITAL CONNECTIONS

Connect digital inputs (DVD, VLD, etc.) to the processor. You will need either coaxial or optic al 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 processor coaxial digital (orange) 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

Optical digital output from source

the other end to the appropriate digital input on the back of the processor.

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 processor. The AC-3 RF bitstream

INPUT

must first be converted to a normal (non-RF) Dolby

SAT DVDCD

Digital type signal. It is recommended that a B&K DT-1 be used to convert and select between the

Coax digital input

from VLD output

AC-3 RF input

from VLD output

Laser’s AC-3 RF and PCM/DTS signals. T he 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 laser dis c player’s PCM coaxial or optical digital output (not both) to the DT-1’s c oaxial or optical input. Connect the DT-1’s coaxial output to the desired coaxial digital input on your processor.

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 processor has multiple surround outputs for use with external amplifier(s) or powered speakers. The Reference 30 processor allows THX Surr ound EX compatibility via it’s two Surround Back ‘S BACK’ processor outputs.

Here is a typical processor 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 proc essor’s SW output (part of the s urround outputs). If

ZA AUDIO OUT

SUB CENTER

SURR

FRONT

S BACK

Connect to the Center power amplifier input

Connect to the Left Front power amplifier input

Connect to the Right Front power amplifier input

Connect to Zone 1 (A) composite video monitor input

your subwoofer does not contain its own amplifier you will need to purchase an external B&K or other power amplifier. Connect the proces sor’s SW output to the audio input of the external amplifier. Connec t the external amplifier’s speaker output to your subwoofer.

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SURROUND SPEAKER OUTPUT CONNECTIONS

Connect the A/V System Controller’s surround outputs to your external amplifier(s) or powered speakers as described previously. Connect your speakers to your external amplifier(s) as shown below.

FRONT

LEFT

 

SURROUND LEFT SURROUND RIGHT

PLUS

MINUS

PLUS

MINUS

 

CENTER

MINUS

 

SURROUND BACK

PLUS

MINUS

CENTER

LEFT

PLUS

SURROUND BACK

RIGHT

PLUS

MINUS

FRONT

RIGHT

 

FRONT LEFT FRONT RIGHT

PLUS

MINUS

PLUS

MINUS

 

SURROUND

LEFT

Sbl

 

SURROUND

BACK LEFT

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

+12VDC

50mA

IR IN

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 processor using a

3.5 mm control output to amplifier, etc.

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 processor 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 received 38 k H z modulated IR s ignal. The processor will transmit r ec eived 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 processor’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 processor 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 processor using a mono 3.5 m m jack shown above. The plug must be wired as tip (+) and the long barrel section (-). T he 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 processor, how can I hook them up?

Your processor provides 5 identical sets of inputs - V1, V2, DVD, CD, and SAT. Each of thes e 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 processor, 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 processor 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 processor?

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 processor make this connection for me?

Yes, your processor’s digital outputs act much lik e the analog tape outputs. W hen you select a source, if that source has a digital connection to your processor, then that digital signal will appear on the processor’s coaxial and optical digital outputs. Simply connect all of your sources digital outputs to your processors digital inputs. You can then connect up to three digital recorder inputs to your processor’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 processor will convert optical to c oaxial and coaxial to optic al. T he c urrently selected digital input (optical or

coaxial) will appear at both of the processor’s digital outputs (optical and coaxial).

Do I need to connect both analog and digital audio from my processor 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 processor does not provide digital outputs f or non-digital inputs. If you wish make a digital recording from an analog-only source you must also connect analog from your processor (Tape or V1 out) to your recorder.

Can I connect a phonograph directly to my processor?

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 processor. We recom mend 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 processor.

Do I need to connect both S-video and composite video to my processor?

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 processor will not convert S-video to compos ite or composite to S-video. If your monitors and VCRs accept only composite video then ther e is no point in c onnec ting S-video from other sourc es . If you use mixed S-video and com posite sourc es 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 switching between S-video and com posite. Your processor must be setup properly in order to work with auto switching monitors - refer Setup Displays.

S-video and composite to your monitors and VCRs.

To assist you, the processor’s on-screen 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 processor is setup f or

Can I connect mixed composite and S-video monitors and VCRs?

Yes, but you must connect both S-video and composite f rom all of your sources - your processor 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 com plicated for the Zone 1 (A) output because it contains your processor’s internal on-screen display system. You must be sure that you tell your processor 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, perf orm the following set up procedure when you initially install your processor and anytime you change or add sources, speakers, etc. or when you rearrange your listening area

THE MENU SYSTEM

Setup of your processor will require you to navigate through the menu system. W e recommend that you use a video monitor connected to the Zone 1 (A) output along with the remote c ontrol provided with your processor. It is also possible to set up your processor from the f ront panel. Do not leave your video monitor on with the processor in the menu system for long periods of time. This can res ult in permanently burning the menu display into your monitor’s screen. This would take several hours so there is no danger of it happening during normal setup procedures. The following are general instructions for using the menu system. A complete guide to the menu system is included at the back of this manual.

- 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 processor 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. To r eturn c ontr ol to your processor , you must pres s B&K or AUDIO .

that your remote is set to B&K or (AUDIO) before attempting to control your processor. 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 processor and af ter 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



(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



(PAUSE) or



SEL or ENTER2

(STOP)

SLEEP

∠ MENU ∧

(UP) or ∨ (DOWN)

↵

(ENTER)

∧

(UP) or ∨ (DOWN)

↵

(ENTER)

turn on processor

activate menu system

move to System Setup

activate SETUP SYSTEM

SETUP SYSTEM

1 Speakers

1 Speakers 2 Displays 3 Inputs 4 Presets

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 m enu lets you tell your processor how many speakers you have in your system, the relative size of the speakers, and their location in the room. T his is the most important setup procedure you will perform. The processor comes from the factory setup for 7 small speakers and a subwoofer. If this does not match your speakers then audio inf ormation will be lost. For exam ple, if you do not currently have a center channel speak er and you do not perform this s etup procedure, the center channel inform ation will be lost. If you perform this setup correctly, the processor will know that you have no center channel speaker 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 processor 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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