B&K REFERENCE 30 User Manual

B&K Components, Ltd.

Reference 30

A/V System Controller

Owner’s Manual

p/n 12857 Rev. 0717A

USER INFORMATION

SETUP SPEAKER SIZE

Model #

1

Front

Serial #

2

Center

Date purchased

3

Surround

Purchased from:

4

Surround Back

5

Subwoofer

City

State

Phone

Contact

next item

adjust

MENU setup speakers

SPEAKER LOCATION

feet

SETUP SPEAKER LEVELS

1

Left

Front

1

Left

Front

dB

2

Center

2

Center

dB

3

Right Front

3

Right Front

dB

4

Right Surround

4

Right Surround

dB

5

Right Surr Back

5

Right Surr Back

dB

6

Left

Surr Back

6

Left

Surr Back

dB

7

Left

Surround

7

Left

Surround

dB

8

Subwoofer

8

Subwoofer

dB

next item

adjust

next item

adjust

MENU setup speakers

MENU setup speakers

SETUP CROSSOVERS + LFE

SETUP ROOM EQUALIZATION

1

Crossover

Hz

Test Tone 20 Hz

Off

2

High Pass

dB

Notch

Hz

dB

3

Low

Pass

dB

Notch Width

Hz

4

Peak Limiter

dB

Bass

Hz

dB

5

LFE

Level

dB

Treble

Hz

dB

6

DTS

LFE Mode

7

Subwoofer Phase

next item

adjust

next item

adjust

MENU setup speakers

MENU setup speakers

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

Phone [phone], Fax [phone], http://www.bkcomp.com, E-mail: [e-mail]

p/n 12857 Rev. 0717A

TABLE OF CONTENTS

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

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

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

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

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

p/n 12857 Rev. 0717A

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

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

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

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

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

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

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

A/V System Controller Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

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

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

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

1	p/n 12857 Rev. 0717A

ACKNOWLEDGMENTS

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

of Motorola, Inc.

Manufactured under license from Dolby Laboratories. “ Dolby”, ”Pro Logic”, “AC-3", and 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 acoustics” logos are trademarks of DTS Technology LLC. All rights reserved.

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

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

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

© Copyright 2000 All Rights Reserved.

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

Phone [phone], Fax [phone], http://www.bkcomp.com, E-mail: [e-mail]

2	p/n 12857 Rev. 0717A

SAFETY PRECAUTIONS

PLEASE READ BEFORE INSTALLING

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

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

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

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

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

Unplug the 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 processor from the AC outlet.

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

Make sure the 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 processor (processor, source, etc.) Leave a minimum of 3” clearance from 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 extension cord. Excessive loads may cause the insulation on the cord to heat and possibly melt.

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

Damage can occur to your speakers if the power rating of each individual driver is exceeded by the amplifiers 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. If you are unsure of your speaker's power rating, contact the speaker manufacturer or the dealer where you purchased them.

The processor should be serviced by qualified personnel when:

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.

3	p/n 12857 Rev. 0717A

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 - incorporates Lucasfilm Home THX Re-Equalization™, Timbre Matching™ and Adaptive Decorrelation™

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

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

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

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

Analog inputs/outputs - seven A/V inputs and five A/V outputs all with stereo audio, composite video and S-video plus one set of 7.1 surround outputs.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4	p/n 12857 Rev. 0717A

THE BASICS

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

Sources - your processor can directly provide audio from its built-in AM/FM tuner. It can also provide limited video from its on-screen 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.

Source Media	Analog	PCM	Dolby Digital	DTS
Audio Cassette	X
Video Cassette	X
Laser disc (LD)	X	X	X	X
Compact Disc (CD)		X	X	X
Digital Versatile Disc (DVD)		X	X	X
Satellite Broadcast		X	X
Digital Audio Tape (DAT)	X	X	X	X
Digital Compact Cassette (DCC)		X (compressed)
Mini disc (MD)		X (compressed)

Analog vs. Digital Audio - This refers to the method used to place audio information on the source material and how they are delivered to your 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 normally connected to your processor through a coaxial or optical digital cable. There are several different bitstream formats available. The simplest format is called Pulse Code Modulation (PCM). In PCM, the bitstream directly represents the original 2-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 required decompression and surround processing. If no digital signal is present your processor will automatically switch to analog processing.

All sounds that you hear from your speakers are analog. Digital signals are automatically converted to analog by your 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 source to your processor. It is impossible for the processor to tell the difference between the desired signal and the added noise and distortion, so it reproduces both of them. The result is increased background noise and decreased dynamic range and fidelity. Digital signals are virtually immune to noise and distortion. The processor can, therefore, reproduce the signal with the greatest possible fidelity. We recommend you use digital signals wherever possible. Also Dolby Digital and DTS (see “Surround Formats” below) work only with digital signals.

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

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

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

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

Dolby Pro Logic - Dolby Pro Logic is a refinement of Dolby Surround which was the earliest form of true surround processing. Like Stereo, Dolby Surround contains two discrete, full range audio channels. In addition, a monaural, limited range surround channel is encoded on the two stereo channels in a process called matrixing. The surround channel information is encoded in positive polarity on the left channel and in negative polarity on the right channel. The Dolby Processor can detect this encoding (left minus right) and send that information to the surround channels. Dolby Pro Logic adds additional processing to produce a full range center channel by extracting the mono information from the left and right channel. This is the most common format for all but the most recent movies. Music sources are occasionally encoded in Dolby Surround. However, many people prefer to use Pro Logic processing on all of their stereo sources. The center channel extraction process often yields improved stereo imaging, especially when you are sitting away from the “sweet spot” at center of the listening area. The surround channel processing often lends a pleasing ambiance even to material that is not encoded in Dolby Surround. Dolby Pro Logic is fully compatible with stereo and you may get it from any source - digital or analog. Sound will normally come from all seven speakers in your system, but your 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. The LFE channel contains only low frequency information for enhanced sound effects in movies. This combination of five discrete channels plus a LFE channel is often referred to as 5.1 channels. Dolby Digital is a digital format only. It must be delivered to your processor over a coaxial or optical digital cable. As of the writing of this manual, Dolby Digital is commercially available on DVD and Satellite (Also see Dolby Digital RF below). It is also possible to create your own Dolby Digital CDs and DATs if you have the recording equipment. You can’t directly record Dolby Digital onto mini disc or digital compact cassette since these devices add their own compression which is incompatible with the Dolby Digital compression. Not all Dolby Digital recordings will include all five channels, and, in fact, it is common on DVDs to have two channel Dolby Digital with or without Pro Logic processing. Sound will normally come from all seven speakers in your system, but your processor can produce sound in one (mono) to seven channels (see “Audio Modes under Operation”).

Dolby Digital RF - Dolby Digital RF is identical to normal Dolby Digital except that it uses a special RF encoding scheme to put the bitstream on Laser discs without replacing the normal stereo (or Dolby Surround) PCM bitstream that is normally available from laser disc. In order to use Dolby Digital RF laser discs you must have a B&K DT-1 RF demodulator or similar product from another manufacturer. 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 surround channel sound. This system was developed jointly by Lucasfilm THX and Dolby Laboratories, using Lucas film’s idea of improving spatial expression and achieving a 360 degree sound positioning with Dolby Laboratories’ matrix encoding technology. The surround back channel is matrix-encoded and inserted into both Dolby Digital SL (surround left) and Dolby Digital SR (surround right) channels. Upon playback, the signals may be decoded by a high precision digital matrix decoder within the Dolby Digital decoder into SL, SR and SB channels.

DTS (Digital Theater Systems) - DTS is similar to Dolby Digital in that it provides 5.1 discrete audio channels. However, it uses more digital data to encode the information and may provide greater fidelity than Dolby Digital. DTS is a digital format only. It must be delivered to your 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 cassette. As with Dolby Digital, 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”).

DVD Audio (also referred to as MLP) - Meridian Lossless Packing (MLP) is a lossless coding system for high-quality linear PCM audio. For DVD-Audio MLP performs lossless compression of up to 6 channels of up to 24-bit material sampled at rates between 44.1kHz and 192kHz. Lossless coding does not alter the final signal, it ‘packs’ the audio data into a smaller rate and space. Currently, DVD Audio can only be delivered to your processor via the analog 5.1 input. 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”).

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 make your experience of the film soundtrack, in both movie and in your home theater, as faithful as possible to whatever the director intended.

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

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

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

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

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

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

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

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

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

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

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Bass Management - Dolby Digital and DTS formats contain up to 5 full range channels plus LFE. Only a system with five full-range (large) speakers plus a subwoofer can directly reproduce these formats. However, almost all commercially available center channel speakers are small and incapable of reproducing the lowest bass frequencies without distortion or even damage to the speaker. Many people also use small speakers in the rear of their system, while others use small speakers all around. Use of a subwoofer 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 speakers at all. In order to handle any possible combination 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 processor 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 seven full range speakers plus a subwoofer or any combination in between without missing any information. Wherever small 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 speaker that can handle it, usually a subwoofer, but it can also send center, surround, or LFE bass to large front speakers if no subwoofer is available. When center or surround speakers 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 number of sources, adjust volume 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 formats, and convert between digital and analog as required. Your A/V system controller includes a high quality processor capable of decoding the surround formats described above.

Zone - A zone is usually a room that has speakers installed in it. Your processor includes a full preamp/processor for Zone 1 (A) plus an additional analog stereo preamp for Zone 2 (B). This allows, for example, 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 located left front, center front, right front, right surround, and left surround plus a subwoofer located anywhere in the room. With the new developments in surround technology from companies such as Dolby Laboratories, DTS, and Lucasfilm, it is now possible to improve spatial expressions with an additional channel of information for use with a 6th and/or 7th surround back speaker. Although best results are achieved using seven large speakers plus a subwoofer, this is not always practical. Excellent results can be achieved using small and/or fewer speakers, 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 must be separated again for display resulting in some degradation of the video quality. S-video is a newer standard that uses separate conductors for the luminance (Y) and chrominance (C) information 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 - luminance (B - Y). Using these signals a component video capable monitor allows for even better and higher resolution video quality. Your processor is capable of switching composite, S-video and component signals, but it cannot 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

	S L E E P	Puts the receiver in standby (low power) mode.
	P R E S E T	Steps through audio / video presets for instant recall of setups.
		Pressing ENTER recalls the preset.
	E N T E R	Confirm selection or display current status of the receiver.
	S A V E	Pressing SAVE followed by ENTER saves a favorite preset.
	D O W N	U P Step through menus, sources, or audio modes.
	S O U R C E	Steps through the audio / video sources.
	M O D E	Steps through the audio modes.
	M E N U	Enter / exit menu system

3.Main power switch - Removes all power to the processor. Normal operation of the processor requires the power switch to remain on. Use the Sleep button for daily on and off of the processor. It places the unit in standby mode that allows turning back on with the remote control. Turn the processor off with the main power switch when not using the processor for an extended period of time.

4.Volume control - For controlling system volume. Turning the encoder-type volume control clockwise increases the volume level, counterclockwise 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 96kHz 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 alphanumeric fluorescent display. 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 for audio and video as shown below.

See back of this manual for an enlarged view.

1.AC input receptacle - For attaching the supplied AC power cord to the processor.

2.AC Line Voltage - Indicates the proper voltage and frequency needed to operate your processor.

3.IEEE 1394 input (optional) - For future interface applications.

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

5.IR in - Accepts input from external IR receptors. Connect an IR repeater (“home run”) to IR IN for controlling the processor. This method of control is useful when the front IR receptor is blocked (for example, 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 - Computer interface applications.

7.Serial number - The serial number of your unit is located on bottom of unit

8.DVD Audio inputs - Connections for a DVD audio or other 5.1 source device.

Red RCA jacks White RCA jacks Gray RCA jacks

-right front and surround audio inputs

-left front and surround audio inputs

-center and sub audio inputs

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

10.Antenna inputs - Connections for the AM and FM antennas.

11.Component Video outputs - Switched output connections for your component video monitor.

Red RCA jack	- typically connect to the red input on a component video monitor
Green RCA jack	- typically connect to the green input on a component video monitor
Blue RCA jack	- 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.
12.	Component Video inputs - Switched input connections for two component video devices.
	Red RCA jack	- typically connect to the red output of a component video source
	Green RCA jack	- typically connect to the green output of a component video source
	Blue RCA jack	- typically connect to the blue output of a component video source
13.	Line inputs - Connections from your audio/video sources.
	Red RCA jacks	- right analog audio
	White RCA jacks	- left analog audio
	Yellow RCA jacks	- composite video
	4 pin din jacks	- S-video

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 connect digital audio signals from 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 selected 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 from 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.

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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. Before 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:

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

OWhat 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 processor. Good preplanning equals great sound. Keep these recommendations in mind:

OList 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 connect 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 cases 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 name that will appear on your processor’s front panel and on-screen display (see SYSTEM SETUP - INPUTS)

OAlso note the length of the cable for each component’s connection 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.

OThink about the type and length of cable you need and obstacles in the cable’s path (doorways, furniture, walkways, etc.). To decide which ones are right for you talk to your dealer about the various cable products that are available.

OFor 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.

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

OTo provide the best tuner reception, make sure the antenna is at least several feet away from the processor 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 for right channel and white for the left channel audio. Component video input and output connectors are identified by Red/Green/Blue. Composite video input and output connectors are identified by yellow. Coaxial digital inputs are identified by orange. The surround outputs are identified by Red/White/Grey.

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AUDIO / VIDEO CONNECTIONS

Connecting your analog sources to your 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 composite and S-video (Omit the video connections for an audio-only component such as a CD player)

D V D

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 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.

Z A	LINE INPUTS

S-Video output to monitor input

S-Video input from DVD output

Composite video input from DVD output

Left audio input from DVD output

Right audio input from DVD output

Composite video output to monitor input

S BACK

Video Monitor - Attach one end of the composite video interconnect cable to the video input on the monitor, then attach the other end to the yellow video output on the processor’s 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.

VCR or audio recorder - connect a VCR to V1 . Use the same instructions for connecting to the V2 and TAPE analog inputs. If

connecting a cassette deck or other audio-only recorder then omit the video connections.

V 1	V 1
S-Video output	S-Video input
to VCR input	from VCR output
Composite video output	Composite video input
to VCR input	from VCR output
Left audio output	Left audio input
to VCR input	from VCR output
Right audio output	Right audio input
to VCR input	from VCR output
LINE OUTPUTS	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 interconnect 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 interconnect 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 switching, 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.

COMPONEN T VIDEO

IN 1

IN 2

Component video input to DVD red output

Component video input to DVD green output

Component video input to DVD blue output

Component video input to V1 red output

Component video input to V1 green output

Component video input to V1 blue output

O U T

Component video output to the video monitor's red input

Component video output to the video monitor's green input

Component video output to the video monitor's blue input

Attach one end of a video interconnect cable to the red video output on the DVD, then attach the other end to the red component video input (IN 1) connector on the processor. Repeat for (green) and (blue) video connections. Repeat for the other (TV/DBS) component source device using component 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	Connect to the DVD audio
player Subwoofer output	player Center output
Connect to the DVD audio	Connect to the DVD audio
player Left Surround output	player Left Front output
Connect to the DVD audio	Connect to the DVD audio
player Right Surround output	player Right Front output
S U R R	FRONT

Attach one end of an audio interconnect cable to the center output on the DVD Audio source device, then attach the other end to the FRONT center (gray) DVD Audio input on the processor. Repeat for the front left (white) and front right (red) audio connection. 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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Z B OUT S A T C D

DIGITAL CONNECTIONS

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

play Dolby	Digital (AC-3) or DTS surround sound
processing.	Digital	connections	are	also	COAX DIGITAL

Z A OUT T V V2 V1

recommended for PCM sources. If your source has both optical and coaxial outputs connect only one.

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 processor coaxial digital (orange) input.

Coax digital input

from DVD output

D V D

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

OPTICAL DIGITAL

SAT

C D

DVD

V2

V1

Optical digital output from source

					Connecting A Laser disc Player - Dolby Digital
			DT-1		(AC-3) laser discs use a special technique called
					AC-3 RF to encode the Dolby Digital bitstream. If the
	COAX DIGITAL				laser disc player is capable of playing back Dolby
					Digital discs it will have a separate output for this
TV	V2	V1
					bitstream in addition to the normal coaxial and/or
		MAIN	C O A X	AC-3 RF	optical outputs. Do not connect the AC3-RF output
					directly to your processor. The AC-3 RF bitstream
		O U T P U T	INPUT	INPUT
					must first be converted to a normal (non-RF) Dolby
SAT	C D	D V D			Digital type signal. It is recommended that a B&K
					DT-1 be used to convert and select between the
		Coax digital input			Laser’s AC-3 RF and PCM/DTS signals. The output
		from VLD output			from a DT-1 will automatically select between the
		AC-3 RF input			connected PCM/DTS bitstreams and the converted
					AC-3 RF Dolby Digital signal. Other AC-3 RF to
		from VLD output
					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 disc player’s PCM coaxial or optical digital output (not both) to the DT-1’s coaxial 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							OPTICAL DIGITAL		Zone 1 (A) Coax digital output
for Zone 1 (A) and Zone 2							O U T SAT CD DVD V2	V1
(B). Connect to a						digital			to digital recorder
recorder (CD-R, mini disc,									COAX DIGITAL
DAT,	personal				computer,			ZA OUT	TV	V2	V1
etc.) These signals are the							Zone 1 (A) Optical digital output
same	as		the		incoming
digital		signal			from	the	to digital recorder
selected		source			on	each		ZB OUT	SAT	CD	DVD
zone.		If		your		digital
recorder		has		both optical					Zone 2 (B) Coax digital output
and coaxial				inputs		you
									to digital recorder
need	only		connect			one.
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 Surround EX compatibility via it’s two Surround Back ‘S BACK’ processor outputs.

Here is a typical processor surround output setup:

ZA AUDIO OUT

SUB CENTER

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 Center power amplifier input

Connect to the Left Front power amplifier input

Connect to the Right Front power amplifier input

SURR FRONT

Connect to the Surround Back Left 'Sbl' power amplifier input

Connect to the Surround Back Right 'Sbr' power amplifier input

Connect to Zone 1 (A) composite video monitor input

S BACK

Subwoofer Output - Connect an RCA cable from the processor’s SW output (part of the surround outputs). If your subwoofer does not contain its own amplifier you will need to purchase an external B&K or other power amplifier. Connect the processor’s SW output to the audio input of the external amplifier. Connect the external amplifier’s speaker output to your subwoofer.

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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.

	L				C			R
			F R O N T				F R O N T
			LEFT		C E N T E R		R I G H T
	SURROUND LEFT		SURROUND RIGHT	CENTER	SURROUND BACK SURROUND BACK		FRONT LEFT	FRONT RIGHT
					LEFT	RIGHT
		P L U S	P L U S	P L U S	P L U S	P L U S	P L U S	P L U S
	M I N U S		M I N U S	M I N U S	M I N U S	M I N U S	M I N U S	M I N U S
	Sl							Sr
				Sbl		Sbr
	S U R R O U N D							S U R R O U N D
	LEFT							RIGHT
			S U R R O U N D			S U R R O U N D
				BAC K LEFT		BAC K RIGHT
					18		p/n 12857 Rev. 0717A

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.

T U N E R

FM antenna

FM Antenna Input

from Indoor/Outdoor Antenna,

Cable Box, etc.

AM Antenna Input

from Loop Antenna

AM antenna

CONTROL OUTPUTS / IR INPUTS

CONTRO L OUT		IR IN	CAUTION!
1	2	ZA
+12VDC
	50mA
3.5 mm control output			3.5 mm IR in
to amplifier, etc.			from remote repeater
3	4	ZB

Control Outputs - These connections are used for controlling other equipment such as an external B&K Components, Ltd. amplifier, projection screen, etc. Connect your control cable to the processor using a mono 3.5 mm jack shown at left. The plug must be wired as tip (+) and the long barrel section (-).

The Control outputs are programmable 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, off 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. Off (0 VDC) when both zones are off.

Control 4 -REMOTE. It will repeat a received 38 kHz modulated IR signal. The processor will transmit received IR signals even in sleep mode.

Note - The control outputs can output a maximum of 50 mA. 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 mm jack shown above. The plug must be wired as tip (+) and the long barrel section (-). The inputs are standard 38kHz modulated IR type with a voltage range of +5 to +12 VDC.

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FREQUENTLY ASKED QUESTIONS

My collection of equipment differs from the labels on the back of my processor, how can I hook them up?

Your processor provides 5 identical sets of inputs - V1, V2, DVD, CD, and SAT. Each of these has analog audio, composite video, S-video, coaxial digital audio, and optical digital audio. It is convenient to connect components as labeled on the back of your processor, but since all the inputs are identical, you can connect any compatible source to any set of inputs. For example, 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 others except that there is no optical digital. 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.

The seventh input, TAPE, has analog audio, composite video and S-video, but has no digital inputs. It is primarily intended for analog recorders such as VCRs or cassette decks. If you have a three-head cassette or reel-to-reel tape deck you will prefer the TAPE input since 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 connect both left 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 connect both left and right analog audio - the tape monitor 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, like Zone 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 like the analog tape outputs. When 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 coaxial and coaxial to optical. The currently 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 for 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 recommend 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 composite 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 composite or composite to S-video. If your monitors 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 composite sources you must connect both S-video and composite to your monitors and VCRs. 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 composite. Your processor must be setup properly in order to work with auto switching monitors - refer Setup Displays.

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 (remote) 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. These displays appear only if your processor is setup for manual monitors.

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

Yes, but you must connect both S-video and composite from 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 common to have an S-video monitor and a composite VCR. Connect the monitor 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 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 (B) works the same for Zone 2 (B) OUT and V2 OUT with feedback prevention on V2.

Things get a bit more complicated for the Zone 1 (A) output because it contains your 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, perform 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. We recommend that you use a video monitor connected to the Zone 1 (A) output along with the remote control provided with your processor. It is also possible to set up your processor from the front panel. Do not leave your video monitor on with the processor in the menu system for long periods of time. This can result 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.

MENU - If you are not already in the menu system, the MENU button will activate the menu system. Once you are in the menu system, the MENU button will return you to the next higher level menu or, if you are already at the highest level, it will exit from the menu system.

UP/DOWN ARROWS - Once you are in the menu system, use the UP/DOWN ARROWS to move to the desired menu selection. The currently active menu line is highlighted in a contrasting color.

SEL (remote) or ENTER (remote or front panel) - Some menu selections cause another menu to be activated. Use the UP/DOWN ARROWS to move to the desired menu line. Pressing SEL or ENTER will activate the next menu.

NUMERIC KEYS (remote only) - From the remote control you may also go directly to a menu line by typing the 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) - Some menu selections allow you to change 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 are no LEFT/RIGHT ARROWS on the front panel. While in the menu system, the VOLUME KNOB acts as the LEFT/RIGHT ARROWS. This means that you will not be able to adjust the volume from the front panel while in the menu system. The remote control volume will work in most menus.

TEXT EDITING - some menu selections will require you to edit text. Use the UP/DOWN ARROWS to change the current (blinking) character. Use the LEFT/RIGHT ARROWS (or VOLUME KNOB) to move to another character position.

EXIT (remote only) - From the remote control you may instantly EXIT the menu system.

UNIVERSAL REMOTE - Remember that when you press a source button (DVD, CD, etc.) the remote now controls the selected device. To return control to your processor, you must press B&K or AUDIO. ALWAYS check 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.

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SYSTEM SETUP

You should always perform System Setup after first installing your processor and after adding/changing speakers or sources or rearranging your listening area. Check that the remote is in B&K mode.

From Remote

From Front Panel

Action

1

or

turn on processor

B&K

POWER

A

SLEEP

2

activate menu system

MENU

MENU

3

move to System Setup

-(PAUSE)

or

V(STOP)

(UP) or (DOWN)

4

SEL or ENTER

activate SETUP SYSTEM

(ENTER)

MAIN MENU

SETUP SYSTEM

1

Zone 1 Operation

1

Speakers

2

Zone 2 Operation

2

Displays

3

Zone 1 Favorite Presets

3

Inputs

4

Zone 2 Favorite Presets

4

Presets

5

System Setup

6

Memory Backup/Restore

	next item	SEL select	next item	SEL select
	MENU	exit menu system	MENU main menu
	6<67(0 6(783		6(783 63($.(56
	From Remote		From Front Panel	Action
1	-(PAUSE) or V(STOP)		(UP) or (DOWN)	move to Speakers
2	SEL or ENTER		(ENTER)	activate SETUP SPEAKERS

Speakers

The speakers menu 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. This 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 information will be lost. For example, if you do not currently have a center channel speaker and you do not perform this setup procedure, the center channel information will be lost. If you perform this setup correctly, the processor will know that you have no center channel speaker and send this information 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 large amounts of bass. If this bass information is sent to small speakers that are incapable of reproducing so much bass, then the bass information 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 correctly. Typically, all bookshelf or satellite speakers are considered small. Smaller floor standing speakers with single woofers 8” or less should also be considered small. Floor standing speakers with 10” or larger woofers or multiple smaller woofers may be considered 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 strongly recommend use of a subwoofer. If your front left and right speakers (or more) 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 certified speakers are small, regardless of their physical size, and should be used in audio systems along with a subwoofer.

23	p/n 12857 Rev. 0717A