B&K AVR202, AVR101 User Manual

B&K Components, Ltd.

AVR101 series 100 AVR202 series 200

A/V Receiver

Owner’s Manual

p/n 12699 Rev. 9812C

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

Setup

Operation

Advanced Features

Troubleshooting Receiver Specifications The Menu System Rear Panel Enlarged View Notes Limited Warranty Returning Equipment

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1 2 3 4 7 8

10Audio / Video connections .....................................................................

11Digital Connections ...........................................................................

12Speaker outputs ..............................................................................

13Antenna Connections .........................................................................

13Control outputs / IR Inputs .....................................................................

14Frequently Asked Questions ...................................................................

16The Menu System ............................................................................

17User Preference Setup ........................................................................

17Display Setup .............................................................................

21Edit Preset Options ........................................................................

22Surround Mode Operation ..................................................................

24Setup/Configure ..............................................................................

24Speaker Size and Delay ....................................................................

28Speaker Calibration ........................................................................

29Source Levels .............................................................................

29AM Tuner Settings .........................................................................

30FM Tuner Settings .........................................................................

31Memory Backup ...........................................................................

32Power On/Off ................................................................................

32Sleep .......................................................................................

33Choosing a source ...........................................................................

33Tuner Operation ..............................................................................

34Adjusting the Volume .........................................................................

34Temporary Level Adjustments ..................................................................

35Surround Modes .............................................................................

37Overrides ...................................................................................

38Presets .....................................................................................

39Getting receiver Status ........................................................................

40Zone 2 Operation .............................................................................

41Advanced Security Options ....................................................................

42Zone Configuration ...........................................................................

42Z1 Setup .................................................................................

44Z2 Setup .................................................................................

46Power On Titles ..............................................................................

46Control Out Setup ............................................................................

48Factory Reset ................................................................................

49 50 51 52 53 55 55

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ACKNOWLEDGMENTS

“

is a registered trademark of Digital Theater Systems, LLC. Additionally licensed under the following US

DTS 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.

Motorola

, , “Powered by Motorola”™, Motorola name and logo are registered trademarks of Motorola, Inc.

Dolby”, ”Pro Logic”, “AC-3", and the double-D symbol are

The AVR101 series 100 may be used to process Dolby Pro Logic and Dolby Digital The AVR202 series 200 may be used to process Dolby Pro Logic, Dolby Digital, and DTS.

Accessories included:

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

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

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

p/n 12699 Rev. 9812C

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 receiver, but also the peak power that is likely to be generated during strong 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

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 c enter. The r eceiver is designed to s ound 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.

Remote Control Front Panel Operation

Two-zone operation

for second listening/viewing area.

Plug and Play operation

A/V presets

Customized input and A/V preset names Internal Digitally Synthesized AM/FM Stereo tuner Analog inputs/outputs

S-video plus one set of 5.1 channel surround outputs

Digital inputs/outputs

output.

Control Outputs

B & K amplifier.

IR inputs/outputs

control system.

- easy control of your B&K equipment.

- nearly all functions can be controlled directly from receiver.

- complete digital/analog preamp/proces sor f or zone 1 plus fully independent analog preamp

- automatically selects the optimum input and surround sound format.

- 20 preset memories allow instant recall of user settings.

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

- seven A/V inputs and five A/V outputs

- seven coaxial inputs and one coaxial output plus five optical inputs and one optical

- four 12 VDC @ 50 mA outputs f or controlling ex ternal system s suc h as a proj ection sc reen or

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

- stores 20 AM and 20 FM channels.

all

with stereo audio, composite video and

Gold Plated Connectors State-of-the-art power amplifier section -

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Toroidal transformer and computer-grade electrolytic capacitors combine to provide for improved dynamics and extended low frequency control.

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Discrete Circuitry for more accurate, 3-dimensional reproduction.



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

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AB MOSFET Output Stage for efficient and linear power delivery.

Upgradable - modular design allows for future A/D, D/A, digital receiver, DSP and bass management

enhancements.

better sound with minimum signal loss and degradation.

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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 sourc es (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

XXXXLaserdisc (LD) XXXCompact Disc (CD) XXXDigital Versatile Disc (DVD)

XXXSatellite Broadcast

XXXDigital Audio Tape (DAT) X (compressed)Digital Compact Cassette (DCC) X (compressed)Minidisc (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 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

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 only from

- Your source material will be in one of five possible formats described below.

- This is the oldest format available. It contains a single, full range audio channel.

with digital signals.

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your center channel speaker, but your receiver can produce m ono in two or four channels ( see “Surround Mode”). Since all moder n sources are ster eo, the mono inform ation is usually replicated on both the left and right channels.

Stereo - Stereo contains two discrete, full range audio channels. This is the most common format for

music and is also used on many movies. You may get stereo from any source - digital or analog. Sound will normally come only from your front left and right speakers , but your receiver can additionally produce stereo in four or five channels (see “Surround Mode”).

Dolby Pro Logic - Dolby Pro Logic is a refinement of Dolby Surround which was the earliest form of true

surround processing. Like Stereo, Dolby Surround contains two discrete, full range audio channels. In addition, a monaural, limited range rear channel is encoded on the two stereo channels in a process called matrixing. T he rear channel information is encoded in positive polarity on the left channel and in negative polarity on the right channel. The Dolby Processor can detect this encoding (lef t m inus right) and send that information to the rear channels. Dolby Pro Logic adds additional processing to produc e a full range center channel by extracting the m ono inform ation from the left and right channel. T his is the m ost common f orm at for all but the mos t recent m ovies. Mus ic sourc es are oc casionally encoded in Pro Logic. However, many people prefer to use Pro Logic processing on all of their stereo sources. The center channel extraction process often yields improved stereo imaging, especially when you are sitting away from the “sweet spot” at center of the listening area. The rear channel processing of ten lends a pleasing ambiance even to mater ial that is not Pro Logic encoded. Dolby Pro Logic is fully compatible with ster eo and you may get it from any source - digital or analog. Sound will normally com e from all f ive speak ers in your system, but your receiver can reduce the number of channels to two or four (see “Surround Modes”).

Dolby Digital (also referred to as AC-3) - Dolby Digital contains up to five discrete, full range audio

channels plus an additional Low Frequency Effects (LFE) channel. The LFE channel contains only low frequency information for enhanced sound eff ects in movies. This combination of f ive discrete channels plus a LFE channel is often r eferred to as 5.1 channels. Dolby Digital is a digital f ormat only. It must be delivered to your receiver over a coaxial or optical digital cable. As of the writing of this manual, Dolby Digital is comm ercially available on DVD (Also see your own Dolby Digital CDs and DATs if you have the recording equipment. You can’t directly record Dolby Digital onto minidisc or digital c ompact cass ette since these devices add their own compress ion which is incompatible with the Dolby Digital compression. Sound will normally come from all five speakers in your system, but your receiver can reduce the number of channels to two or four (see “Surround Mode”). 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.

Dolby Digital RF

below). It is also possible to cr eate

Dolby Digital RF (also referred to as AC3-RF) - Dolby Digital RF is identical to normal Dolby Digital

except that it uses a special RF encoding scheme to put the bitstream on Laserdiscs without replacing the normal stereo (or Pro Logic) PCM bitstream that is normally available from laserdisc. In order to use Dolby Digital RF laserdiscs you must have a B&K DT-1 RF demodulator or similar product from another manufacturer. For best results with your receivers Plug and Play capability we strongly recommend the DT-1.

DTS (Digital Theater Systems) - DTS is the latest surround sound technology. DTS is similar to Dolby

Digital in that it provides 5.1 discrete audio channels. However, it us es more digital data to encode the information and may provide greater fidelity than Dolby Digital. DTS is a digital format only. It must be delivered to your receiver over a coaxial or optical digital cable. As of the writing of this manual, DTS is commerc ially available only on laserdisc and CD with DVD coming soon. No RF demodulator is required for DTS laserdiscs since the DTS bitstream replaces the normal PCM bitstream. Like Dolby Digital, you can create your own DTS DATs or CDs but not minidisc or digital compact cassette. As with Dolby Digital, sound will normally come from all f ive speakers in your system, but your rec eiver can reduce the num ber of channels to two or four (see “Surround Mode”).

NOTE: The AVR101 series 100 processes Dolby Pro Logic and Dolby Digital, it DOES NOT process DTS. The AVR101 can be upgraded to process DTS. Contact B&K or your B&K dealer for information on upgrades. The AVR202 series 200 processes Dolby Pro Logic, Dolby Digital, and DTS.

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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 rear speak ers at all. In order to handle any possible com bination of large, small, or missing speakers, a home theater system must contain good bass management, 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 small left and right speakers plus a subwoofer or as many as five 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, rear, or LFE bass to large front speak ers if no subwoofer is available. W hen center or rear speak ers are not used at all, the missing channel is sent (“downmixed”) 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 receiver 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/pr ocessor

for zone 1 plus an additional analog stereo pream p for zone 2. This allows, for exam 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. Your receiver includes a high quality five-channel amplif ier capable of excellent resu lts with most speaker systems. Your receiver also inc ludes direc t pream p/proc essor outputs if you wish to use exter nal am plifiers . If you are using a subwoofer it must be a self -powered type or a passive sub with an external amplifier. You must also provide external amplification for the second zone if you should use that capability.

Speakers - A surround sound system typically uses 5 speak ers located left front, center front, right front, right

rear, and left rear plus a subwoof er located anywhere in the room. Best results are achieved using five identical full range speakers plus subwoofer. This is not always prac tical. Excellent results can be ac hieved using smaller and/or fewer speakers, as long as you go through the set up procedures described later in the manual.

Composite vs. S-video - Composite video is the oldest standard for color video. It combines the luminance

(brightness or black-and-white) and chr ominance (color) inf ormation onto a single conductor. T hese signals must be separated again for display resulting in som e degr adation of the video quality. S-video is a newer s tandard that uses separate conductors f or the luminance ( Y) and chrominance (C) inf ormation res ulting in better video quality. Your receiver is capable of switching both c omposite and S-video signals, but it cannot convert between video types.

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FRONT PANEL

Components,&KB Ltd.

HEADPHONE

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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

DOWN UP

SOURCE

MODE

LEVEL

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 ENTER and PRESET simultaneously will save preset. Enter / exit menu system

Step through menus, sources, or surround modes.

Steps through the audio / video sources.

Steps through the surround modes. Selects MASTER, CENTER, REAR, and SUBWOOFER level

Also allows ZONE 2 operation.

3. Main power swit ch - Removes all power to the receiver. Norm al operation of the rec eiver requires the power 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. Turning the shuttle-type volume control clock wise increases the volume level, countercloc kwise decreases the volume level. The volume knob is also us ed to change other receiver settings. See THE MENU SYSTEM and OPERATION

5. Level indicators - Display which volume level is being changed - MASTER, CENTER, REAR, or SUBWOOFER. The bottom indicator is for the activation of ZONE 2. It is lit when changes are made to zone 2.

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. RS-232 input (optional) -

4. Speaker outputs

Red binding posts Black binding posts

5. Serial number -

6. Antenna inputs -

7. Line inputs

Red RCA jacks White RCA jacks Yellow RCA jacks 4 pin din jacks

8. Line level outputs

9. Zone outputs -

10. IR in

the receiver. This m ethod of control is useful when the front IR r eceptor is blocked (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.

11. Control outs

12. Digital outputs

input of the receiver out to digital recorders, personal computers, etc.

13. Surround outputs

14. Digital inputs

signal may be PCM, Dolby Digital (AC-3) or DTS (AVR202 only).

- Accepts input from external IR rec eptors. Connect an IR repeater (“ home run”) to IR IN f or controlling

- Holds the AC Line fuse. Replace only with 12 Amp / 250 Volt Slow Blow fuse.

- For attaching the supplied AC power cord to the receiver. For future interface applications.

- Connections for your speakers.

- speakers (+)

- speakers (-)

B&K Components, Ltd. serial number of your unit.

Connections for the AM and FM antennas.

- connections from your audio/video sources.

- right analog audio

- left analog audio

- composite video

- S-video

- Fixed level outputs to an audio or video recorder.

Variable level outputs to your video monitors and external amplifiers.

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

- One optical and one 3.5 mm coax ial that carry digital information from the selected digital

- Variable level outputs for driving external power amplifiers or powered speakers.

- Inputs used to connect a digital audio signal from your source to the receiver. The incom ing

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MAKING THE CONNECTION

It’s tempting to just plug in your new receiver and have great sound pour out. Before you do that, take a few minutes to plan out how you want the receiver to fit into your audio/video system. Ask yourself the following questions:

What source components do I want to connect to my receiver? (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 receiver. G ood preplanning equals great sound. Keep these recommendations in mind:

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 SETUP - SOURCE NAMES)

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 decide which ones are right f or 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 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. Composite video input and output connectors are identified by yellow. Coaxial digital inputs are identified by orange. The surround outputs are identified by black.

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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. (O mit the video connections for 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

Right audio input from DVD output

Left 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 receiver’s ZONE

Attach one end of the composite video

OUTPUTS. Repeat for the S- video connections if you are using S-video. Use Z1 for zone 1 and Z2 for zone 2.

ZONE OUTPUTS

VCR or audio recorder -

connect a VCR to V1 . Use the same instructions f or connecting to the V2 and TAPE

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

Right audio output to VCR input

Left audio output to VCR input

LINE OUTPUTS

S-Video input from VCR output

Composite video input from VCR output

Right audio input from VCR output

Left 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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DIGITAL CONNECTIONS

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.

COAX DIGITAL INPUTS

Coaxial digital inputs

- standard RCA type connectors. Attach one end of your digital coaxial cable to your source coaxial digital out and the other end to the appropriate receiver coaxial digital (orange) input.

TV-V3 V2 V1

SAT DVD/VLDCD

Coax digital input from DVD output

DIGITAL OUTPUTS

OPTICAL

3.5mm COAX

3.5 mm digital input

3.5mm

COAX INPUT

from PC or portable

Optical digital inputs -

First, remove the cap on

3.5 mm coaxial digital input - You may connect the V3 coax ial input using a

3.5 mm m ono jack instead of the RCA type jack. T his input works the same as the other digital inputs but us es a 3.5 m m m ono jac k ins tead of an RCA. The plug must be wired as tip (+) and the long barrel section (-).

the optical digital input. Save the cap. Attach one end of your digital optical cable to your source and the other end to the appropriate digital input on the back of the receiver.

DT-1

Receiver

COAX DIGITAL INPUTS

TV-V3 V2 V1

MAIN

OUTPUT

SAT DVD/VLDCD

Coax digital input

from VLD output

AC-3 RF input

from VLD output

OPTICAL DIGITAL INPUTS

AC-3 RF

COAX

INPUT

V2DVDCDSAT

Optical digital output from source

Connecting A Laserdisc Player -

Dolby Digital (AC-3) laserdiscs use a special technique called AC-3 RF to encode the Dolby Digital bitstream. If the laserdisc 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 optical outputs. Do not connect the AC3-RF output directly to your receiver. The AC-3 RF bitstream must first be conver ted to a normal (non-RF) Dolby Digital type signal. It is recommended that a B&K DT-1 be used to convert and select between the Laser’s AC-3 RF and PCM/DT S 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 laserdisc’s AC3- RF output to the DT-1’s AC-3 RF input. Connect either the laserdisc 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 -

Connect to a digital recorder (CD- R, minidisc, DAT, pers onal computer, etc.) This signal is the same as the incoming digital signal from the selected source. If your digital recorder has both

Optical digital output

DIGITAL OUTPUTS

to digital recorder

OPTICAL

3.5mm COAX

optical and coaxial inputs you need only connect one. The receiver converts optical to coax ial and coaxial to optical. You can connect one digital recorder to the optical output and another recorder to the coaxial. The

3.5mm

COAX INPUT

3.5 mm digital output to digital recorder

coaxial connector is a 3.5 mm type for direct connection to a personal com puter. You will need an adapter to connect the 3.5mm type to a standard RCA type coaxial input

p/n 12699 Rev. 9812C

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 105 watts / channel into 8 ohms. See SPECIFICATIONS for more information.

Here is a typical receiver output setup

POWERED

SUBWOOFER

SURROUND OUTPUTS

SUB 1 CENTER 1 REAR L FRONT L

SUB 2 CENTER 2 REAR R FRONT R

 

PLUS

 

MINUS

CENTERREAR RIGHT REAR LEFT

PLUSMINUS

 

Front Right

PLUSMINUS

 

Front Left

PLUSMINUS

 

Rear Right Rear Left Center

Subwoofer Output -

our receiver does not include a power am plifier f or a subwoofer speaker . Most subwoofers

Front Right

Front Left

contain their own internal amplifier, so none is needed in the receiver. Connect an RCA cable f rom one of the receiver’s two SUB outputs (part of the s ur round outputs ). You m a output if desired. If

our subwoofer does not contain its own amplifier you will need to purchase an external B&K or

connect a second subwoofer to the other SUB

other power amplifier. Connec t the receiver’s SUB output to the audio input of the external am plifier. Connect the external amplifier’s speaker output to

our subwoofer.

p/n 12699 Rev. 9812C

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 receiver 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 receiver provides the following factory preprogrammed setup that should serve for most standard system applications.

Control 1

- HEADPHONE - On (+12 VDC) when zone 1 is on and not in Headphone mode, of f when zone 1 is off

or in Headphone Mode. This mode m ay be used for controlling exter nal am plifier s or powered subwoof ers in zone

Control 2

- ZONE 2. On (+12 VDC) when zone 2 is on, off ( 0 VDC) when zone 2 is off. This mode is us ed for

controlling external amplifiers, projection screens, etc. in zone 2.

Control 3

- Z1 + Z2. On (+12 VDC) when zone 1, zone 2, or both zones are turned on. Off (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.

p/n 12699 Rev. 9812C

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 identic al 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 SETUP - SOURCE NAMES).

The sixth input, TV-V3, is identical to the others except that the optical digital input is replaced by a 3.5 mm coaxial f or simple connection to portable equipm ent or personal com puters. You can also connect portables to any other coaxial digital input using adapters or special cables. If you have a source with only optical digital output don’t connect it to TV-V3.

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 m onitor 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 f or zone 2. If you don’t use zone 2 you can use V2 as a second independent analog tape monitor loop. V1 includes a line level output but does not provide a 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. (See also next question.)

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 (AC-3) laserdiscs.

Do I need an AC-3 RF demodulator (B&K DT-1 or equivalent) to playback DTS laserdiscs?

No, this is required only for Dolby Digital (AC-3) laserdiscs.

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. (Zone 2 is analog only - if you use zone 2 you must connect both left and right analog to

hear audio.)

2. I do not own any old laserdiscs. (Early laserdiscs contained only analog audio tracks - you must c onnect both

left and right analog audio to play these back.)

3. I do not use T ape Monitor. (It is poss ible 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 recor d. Select STEREO Lt Rt mode. If that s ource is digital, the converted digital-to-analog will appear at the tape and V1 outputs. V2 out, like Z2 out, is analog only. (See also Operation - Source Selection and Operation - Surround Mode.)

I want to make direct digital recordings from my CD player (or other digital source) on my 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 two digital recorder inputs to your receiver’s two digital outputs.

p/n 12699 Rev. 9812C

My laserdisc 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 phone preamp can then be connected to any analog input on your receiver. There are s everal high- quality outboard phono pr eamps available. 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 monitors are capable of automatic switching between S-video and com posite, but this may not work correctly using your receiver’s Z1 output. Refer to your monitor or VCR manual.

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. Note that if the currently selected sourc e is S-video and your monitor is switched to c om posite, you will see a black-and-white picture on your monitor. If the currently selected source is composite and your monitor is set to S-video, you will see a grainy color picture.

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 S-video output and the VCR to the V1 or TAPE composite output. T he compos ite inputs will appear at the composite outputs for TAPE and V1. (T he S-video inputs also appear at the T APE and V1 S-video outputs, but, in this example, they are not connected.) To prevent feedback, 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 works the sam e for Z2 OUT and V2 OU T with feedback prevention on V2.

Things get a bit more complicated for the Zone 1 output because it contains your receiver’s internal on-screen display system. You must be sure that you tell your receiver which type of monitor you have in Zone 1 (see the following SETUP procedures). For the above example, connect your monitor to the Zone 1 S-video output and set the Zone 1 monitor type to S-video in the SETUP procedure The S-video inputs will appear at he Zone 1 S-video outputs along with your receiver’s on-sc reen dis play. Note that, f or the ex ample, to view the tape made on the composite VCR you will need to switch your monitor to composite - see the previous question.

p/n 12699 Rev. 9812C

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