JBL SP MK II User Manual

JBL SP MK II

Surround Processor

User's Manual

Quick-Start

ADVANCED

OPERATIONS

Press AMBIENCE
UP to add more
volume to Ambient
Speakers. Press	Press SIBILANCE
AMBIENT DOWN to
have less. Press	if dialogue is too
REF to return to	loud from Ambient
pre-set levels	Speakers

Press SOUND STAGE to increase Stereo Separation. Press DOWN to decrease Separation. Press CENTER to return to pre-set levels

Press DELAY UP to increase Ambient

Spaciousness.

Press DELAY DOWN to decrease

Press BYPASS to turn off Center and Ambient Speakers

Cinema Surround

MODES: 70mm,

35mm, THX, Dolby

					Press CENTER ON
		+			to turn on Center
					Speaker. Press
Ambience		Ref.	Master		CENTER BOOST to
			Volume		increase volume
		-			from Center Speaker
Sound
Stage
		Sib			Press MUTE to cut
Center		Fil	Center On	Mute	off sound
	Delay				Press HI FREQ EQ
		Bypass	Center	Hi Freq	if sound appears
					too bright
			Boost	EQ
Rock	Pop	Jazz	Hall 1	Hall 2

70 mm	35 mm	THX	Mono
Movie	Movie		Enhance
S-VID-1 S-VID-2		VCR
VDP	CD	Aux	Power

Music Surround

MODES

Press MONO ENHANCE to add simulated stereo to Monaural Sources

S Y N T H E S I S

JBL Consumer Products, Incorporated

240 Crossways Park West Woodbury, NY 11797 8500 Balboa Boulevard Northridge, CA 91329 800-645-7484

A Harman International Company

Part #: OMSPMKII M8/93

S ®

I

S

E

H

T

N

Y

S

SYNTHESIS

SURROUND

PROCESSOR

Model SP MK II

THX® Controller—

A/V Surround Processor

USER'S MANUAL

TABLE OF CONTENTS
FOR PEOPLE WHO DON’T READ INSTRUCTION MANUALS .............................................................	1
A STEP BY STEP “QUICK GUIDE” .......................................................................................................	2
MOTION PICTURE SOUND: A BRIEF HISTORY ...................................................................................	3
THE GOAL OF LUCASFILM HOME THX® CINEMA ..............................................................................	4
PLANNING AND INSTALLATION GUIDE .............................................................................................	5
SP MK II OVERVIEW ................................................................................................................	6
SP MK II OPERATING PARAMETERS ......................................................................................	7
LUCASFILM HOME THX CINEMA ...........................................................................................	9
PLANNING YOUR HOME SURROUND AUDIO SYSTEM ...................................................................	11
ELECTRONICS PLACEMENT & VIDEO REQUIREMENTS .....................................................	12
MAIN SPEAKER PLACEMENT ...............................................................................................	13
SUBWOOFER PLACEMENT ..................................................................................................	14
SURROUND SPEAKER PLACEMENT ....................................................................................	15
INSTALLING YOUR SP MK II ..............................................................................................................	16
SP MK II FRONT PANEL DISPLAY .........................................................................................	17
SETUP & CALIBRATION .....................................................................................................................	18
SP MK II USER FEATURES .................................................................................................................	22
FINE TUNING YOUR AUDIO SYSTEM ................................................................................................	24
SUGGESTED DEMONSTRATION TITLES (MOVIES AND STEREO RECORDINGS) ..........................	33
TROUBLESHOOTING .........................................................................................................................	34
SERVICE AND LIMITED WARRANTY .................................................................................................	35
SP MK II SPECIFICATIONS .................................................................................................................	36
TRADEMARK AND LICENSING INFORMATION ................................................................................	36

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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

	The lighting flash with arrowhead		The exclamation point within an
	symbol, within an equilateral trian-		equilateral triangle is intended to
	gle, is intended to alert the user to		alert the user to the presence of
	the presence of uninsulated ”dan-		important operating and mainte-
	gerous voltage” within the product's		nance (servicing) instructions in
enclosure that may be of sufficient magnitude to		the literature accompanying the unit..
constitute a risk of electric shock to persons.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE.

CAUTION: TO PREVENT ELECTRIC SHOCK, DO NOT USE THIS (POLARIZED) PLUG WITH AN EXTENSION CORD RECEPTACLE OR OTHER OUTLET UNLESS THE BLADES CAN BE FULLY INSERTED TO PREVENT BLADE EXPOSURE.

ATTENTION: POUR PREVENIR LES CHOCS ELECTRIQUES NE PAS UTILISER AVEC UN PROLONGATEUR. UNE PRISE DE COURANT OUUNE AUTRE SORTIE DE COURANT SAUF SI LES LAMES PEUVENT ETRE INSEREES A FOND SANS EN LAISSER AUCUNE PARTIE A DECOUVERT.

This digital apparatus does not exceed the Class B limits for radio noise emissions form digital apparatus as set out in the Radio Interference Regulations of the Canadian Department of Communications. Le présent appareil numérique n'émet pas de Bruits Radioélectriques Déspassant les limites applicable aux appareiles numériques de Classe B prescites dans le règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

IMPORTANT SAFEGUARDS FOR AUDIO PRODUCTS

PLEASE READ CAREFULLY ALL THE FOLLOWING IMPORTANT SAFEGUARDS THAT ARE APPLICABLE TO YOUR EQUIPMENT

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

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

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

4.Follow Instructions - All operating and use instructions should

be followed.

5.Water and Moisture - The product should not be used near water - for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, and the like.

6.Carts and Stands - The product should be used only if a cart or stand is recommended by the manufacturer.

6a. A product and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the product and cart combination to overturn.

7.Wall or Ceiling Mounting - The product should be mounted on a wall or ceiling only when and as recommended by the manufacturer.

8.Ventilation - The product should be situated so that its location or position does not interfere with its proper ventilation. For example, the product should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings.

9.Heat - The product should be situated away from heat sources such as radiators, heat registers, stoves, or other products that produce heat. If placed near an amplifier, check with the manufacturer for applicability.

10.Power Sources - The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product.

11.Grounding or Polarization - Precautions should be taken so that the grounding or polarization means of an product is not defeated.

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

13.Cleaning - The product should be cleaned only as recommended by the manufacturer.

14.Power Lines - An outdoor antenna should be located away from power lines.

15.Nonuse Periods - the power cord of the product should be unplugged from the outlet when left unused for a long period of time.

16.Object and Liquid Entry - Care should be taken so that the objects do not fall and liquids are not spilled into the enclosure through the openings

i

FIGURE-1

EXAMPLE OF ANTENNA GROUNDING AS PER NATIONAL ELECTRICAL CODE

ANTENNA

LEAD IN

WIRE

ANTENNA DISCHARGE UNIT (NEC SECTION 810-20)

GROUNDING CONDUCTORS (NEC SECTION 810-21)

GROUND CLAMPS

POWER SERVICE GROUNDING ELECTRODE SYSTEM

(NEC ART 250, PART H)

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

See Figure 1.

18.Damage Requiring Service - The product should be serviced by a qualified service personnel when:

a.The power-supply or the plug has been damaged; or

b.Objects have fallen, or liquid has been spilled into the product; or

c.The product has been exposed to rain; or

d.The product does not appear to operate normally or exhibits a marked change in performance; or

e.The product has been dropped, or the enclosure damaged.

19.Servicing - The user should not attempt to service the product beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel.

Note to CATV system installer:

This reminder is provided to call the CATV system installer’s attention to Article 820-22 of the NEC that provides guidelines for proper grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of cable entry as practical.

ii

JBL SP MK II A/V SURROUND PROCESSOR

THX® CONTROLLER

FOR PEOPLE WHO DON’T READ MANUALS

Please read this one. The time you invest will be worth it.

If you feel you absolutely do not have time to read it just now, here is a short list of key information you will need in order to get the most from your SP MK II. Reviewing these points will take only a few minutes.

•PLANNING AND INSTALLATION GUIDES: An introduction and overview of surround sound, Home THX Audio, and the SP MK II

•Installing your SP MK II

•Calibrating and using your SP MK II

•Fine Tuning your system

The time you can save by having this information at your fingertips will more than pay for itself.

IF YOU DON’T HAVE TIME TO READ THIS MANUAL, A STEP-BY-STEP QUICK INSTALLATION GUIDE IS PROVIDED ON THE NEXT PAGE. IN ORDER TO ACHIEVE OPTIMUM SYSTEM PERFORMANCE, IT IS STILL ESSENTIAL THAT YOU READ AND UNDERSTAND THE MATERIALS PRESENTED IN THIS MANUAL.

THE LUCASFILM THX DEMONSTRATION VIDEODISC “WOW!” IS REFERRED TO IN THIS MANUAL. WE SUGGEST THAT YOU READ THE INFORMATION PROVIDED ELSEWHERE IN THIS MANUAL DESCRIBING THE MATERIALS PROVIDED ON “WOW!”.

Always Use 120V AC		Place of Installation		performance degradation resulting
This unit is designed for operation with		Place the unit on a firm and level sur-		from any modification.
120V AC unless specifically noted on		face. Avoid installing your unit under		If water, a hairpin, wire, or other object
the shipping container or AC power		the following conditions:		enters the unit, immediately extract the
cord. Never connect the unit to an out-		• Moist or humid places.		plug from the AC outlet to prevent
let supplying a higher voltage. This				shock and consult your dealer or JBL
may create a fire hazard.		• Places exposed to direct sunlight or		Synthesis service department. If you
		close to heating equipment.		use the unit under this condition, it may
Handle the AC Power Cord		• Extremely cold locations.		cause a fire or shock hazard.
Gently		• Places subject to excessive vibration		Moving the Unit
		or dust.
• Do not disconnect the plug from the				Before moving the unit, be sure to pull
		• Poorly ventilated places.
AC outlet by pulling the cord; always				out the power cord from the AC outlet
pull the plug itself. Pulling the cord may		Do not obstruct the ventilation slots on		and disconnect the interconnecting
damage it..		the top surface of the unit by placing		wires with other units.
• If you do not intend to use your unit		objects over them. Otherwise, the tem-		Cleaning
for any considerable length of time, dis-		perature inside the unit may rise, possi-
connect the plug from the AC outlet.		bly affecting its long term reliability.		When the unit gets dirty, wipe it with a
• Do not place furniture or other heavy				soft dry cloth. If necessary, wipe it with
				a soft cloth dampened with mild soapy
objects on the cord, and try to avoid		Do Not Open the Cabinet
				water and then with a dry cloth. Never
dropping heavy objects upon it. Also
		To prevent shock hazard, do not tam-		use benzine, thinner, alcohol or other
do not make a knot in the power cord.
		per with internal components	for	volatile agent, and avoid spraying an
Not only may the cord be damaged, it
		inspection or maintenance.	JBL	insecticide near the unit.
can also cause a short circuit with a
		Synthesis does not guarantee against
consequent fire hazard.

1

A STEP-BY-STEP “QUICK GUIDE”

INSTALLATION OF YOUR SP MK II

1.You will require the following items: Left/right front speakers, two surround speakers, necessary audio amplifiers, and an audio-video source plus necessary interconnect cables. Additional options include a center channel speaker, and subwoofer or THX–certified loudspeaker components.

2.Place the speakers and connect them to your amplifiers. Be sure to observe proper polarity. A typical front speaker placement diagram is found on page 14. A dipolar surround speaker placement diagram is found on page 15.

3.Connect the appropriate interconnect cables between the outputs of the SP MK II to the audio amplifier inputs. Be sure to turn off the electronic crossover if you are not using a subwoofer. The push switch is found on the rear panel of the SP MK II. Also note than an electronic crossover is provided for a subwoofer on the surround channels as well. If your surround speakers have woofers of less than eight inches in diameter, we suggest that you leave the surround channel electronic crossover engaged.

4.Connect the output of an audio-video source such as a laser disc player or Hi Fi VCR to the SP MK II.

5.Turn on the SP MK II.

6.Using the handheld remote control, set the following:

MODE: Dolby® Pro Logic™ or Home THX Cinema.

CENTER: On, if a center speaker is used.

AMBIENCE: REF

PANORAMA: Center position on.

DELAY: Set to 20 mS.

7.Make sure the Bass EQ is turned off (full counterclockwise) and set the Input Level control to the 12 o’clock position.

8.On the front panel of the SP MK II, turn on the Noise Sequencer. The test signal will start at the left front channel and go clockwise around the room. If you are not using side speakers, turn off the side channel output switch on the rear panel. Adjust the Output Trim Level controls so that the volume is the same from each speaker at the listening location. We recommend the use of a sound pressure level meter, if available, set for “C” weighting, “slow.” Set each speaker for 85dB sound level using the internal noise sequencer.

9.Turn off the Noise Sequencer. Select a Dolby Surround encoded movie on laser or HI-FI VCR to verify system performance.

10.Read the rest of this manual for additional information regarding the fine tuning of

2

your system!

MOTION PICTURE SOUND: A BRIEF HISTORY

In the early 40’s, the large movie studios owned their own theatres and could enforce quality standards. In those days motion picture theaters provided higher quality sound reproduction than home radios or phonographs.

An anti-trust action forced the studios to sell their theatre holdings in the 50’s. When the theatres became independently owned, each theatre could choose which films it wanted to show. In turn, the studios eliminated their technical staffs which had been responsible for maintaining sound quality standards. As a result, the quality of sound in the theatres failed to keep pace through the 50’s and 60’s.

The turning point came in the 70’s with the introduction of the Dolby Stereo® recording process by Dolby Laboratories. The consumer electronics market tends to think of Dolby exclusively as a noise reduction system used in cassette decks, but a significant portion of Dolby’s business is in the professional audio industry. Dolby Stereo allows four channels of sound to be recorded on the two available optical soundtracks of a 35mm movie print, with excellent results. One of the first commercial successes of this new technology was STAR WARS in 1977.

The impact of STAR WARS on the movie-watching public is hard to overestimate. The quality of the sound track caught everyone’s attention and changed what people expected from film sound. Suddenly, people rushed to see new releases in better-sounding theatres, and the ones which upgraded their sound systems were rewarded with increased revenues.

Unfortunately, there was no standard of performance for the sound systems in theatres. Even the best auditoriums sounded different from each other and from the sound the director heard in the film studio because of variations in room acoustics and sound systems. In 1982, George Lucas gave his full support to create a new movie theatre sound system standard: the THX Sound System.

The THX Sound System was designed to complement and enhance the playback of Dolby Stereo, which was the established standard for film sound recording. THX picked up where Dolby Stereo left off, encompassing standards and technologies for power amplifiers, speakers, patented Lucasfilm technology and the acoustics of the theatres themselves to ensure the best possible reproduction of movie soundtracks.

By 1991, THX systems had been installed in nearly 500 movie theatres and studios worldwide, with many more in various stages of construction. THX has become the industry standard for post-production mixing facilities as well as for theatres and/or studios.

3

In 1986 the sales and rental of home video software equalled theatrical ticket sales. George Lucas found himself back where he started—with no control over how his films would actually sound in the home. For that reason, the Lucasfilm Home THX Audio System was designed to accurately bring the theatre experience home.

THE GOAL OF LUCASFILM HOME THX AUDIO SYSTEM

The film industry has a clearly-defined standard for the reproduction of film soundtracks. In practice, however, achieving the standard is quite challenging. Perhaps the best method for measuring the success of various systems is by looking at their acceptance by the professionals who use them. The THX Sound System clearly dominates the field, both in theatres and in film studio dubbing stages.

If you wish to hear the soundtrack as the director did, you must duplicate the sonic experience of the dubbing stage in your home. And the majority of all standardized dubbing stages now use THX Sound Systems.

The objective of Lucasfilm Home THX Cinema is to bring precisely this performance standard to a home environment in order to give the filmmaker a transparent path between his creation and the experience of the viewer.

In general terms, this requires solving the problem of transferring sound from a large movie theatre or a dubbing stage to a smaller home environment without compromising its character (a non-trivial task, in view of the radically differing acoustical properties of large and small rooms). In addition, there are many specific design objectives which define the total performance of the system:

•a wide frequency range, extending to the limits of audibility

•smooth, naturally balanced overall sound and excellent dialog intelligibility

•a wide dynamic range with extremely low distortion

•well-matched timbre (tonal balance) between front speakers and surround speakers

•precise localization of specific sounds

•envelopment by ambient soundfield

•superb performance with non-film music sources

4

PLANNING AND INSTALLATION GUIDES

A CHECKLIST FOR PLANNING AND INSTALLING YOUR HOME THX AUDIO SYSTEM

Introduction and Overview

The SP MK II is the most advanced surround processor/control center yet produced, incorporating state of the art surround processing circuitry. The SP MK II also features Lucasfilm Home THX Audio processing circuitry which has been specifically designed to provide new levels of enhancement to motion picture soundtracks. In addition to extensive audio capabilities, the SP MK II incorporates a comprehensive audio-video switcher. The entire unit is microprocessor controlled utilizing both liquid crystal and LED display systems to provide visual indication of the operational status.

MUSIC SURROUND LISTENING PARAMETERS

The SP MK II incorporates a comprehensive menu of pre-programmed modes for playback of music sources. Some settings may be altered to suit listening tastes or environmental requirements.

MOTION PICTURE LISTENING PARAMETERS

Four parameters for the playback of motion picture soundtracks are provided including: Dolby Pro Logic™, THX Home Cinema (Pro Logic surround decoding and THX audio processing), 35mm Motion Picture and 70mm Motion Picture.

A complete description of SP MK II surround parameters is found on page 7.

SP MK II FEATURES

In addition to a wide range of listener-selectable surround parameters, the SP MK II provides a number of unique and beneficial operating procedures. These include: automatic input balance calibration, a built-in test noise sequencer, output level trim controls, bi-ampable main and surround channels, A/V input switching, and a separate A/V record output circuit.

Descriptions of SP MK II features are found on page 25.

5

SP MK II Surround Processor

The SP MK II THX controller incorporates a combination of existing technology and new, proprietary and patented Lucasfilm developments. This enables the system to take advantage of existing standards for film sound for maximum compatibility, while also improving home reproduction quality of film soundtracks (which were, after all, recorded for playback in large auditoriums). The entire controller package is a combination of:

•Proprietary surround technology for use with both surround encoded and nonencoded stereo audio sources

•Dolby Pro Logic Surround for encoded motion picture, stereo CDs, and television audio soundtracks

•THX re-equalization, de-correlation, timbre matching circuitry

•A THX electronic crossover for bi-amplification of the main front speakers and a separate electronic crossover for optional bi-amplification of the surround channels

•Level Calibration to the original sound pressure levels heard in the theatre

6

SP MK II OPERATING PARAMETERS

The SP MK II offers a full array of surround parameters which will accommodate all types of music and movies. Conventional motion picture surround processing technology was never intended for music reproduction, so virtually every other manufacturer of surround processors has chosen to offer digital soundfield processing, or “DSP,” for music listening enhancement. While DSP is rather technically ambitious, the results are often artificial. Digitally-generated reverberation or effects are added to the natural or studio-created ambience of the original recording. The result is usually not representative of the original recording or the desired new venue.

The SP MK II surround parameters are tailored for specific movie and music applications. We suggest that you experiment with the various modes. A limited amount of audio signal delay is available to enhance some modes. Changes you may make in audio signal delay settings are automatically stored in selected modes. The following descriptions of each mode will help you to select the appropriate one for your specific listening tastes.

ROCK

This mode was designed to give an exciting presentation of typical multi-track rock recordings. The Rock mode is unique in that it provides full frequency range, stereo surround channels. No other processor is capable of delivering true stereo surround. Any audio signal delay setting may be used (up to 80 ms), and the Panorama control may be adjusted to suit the recording. (An explanation of the Panorama function is found on page 26 in this manual.) The logic steering speed is “fast.” In the Rock mode, you can expect to hear a full soundfield which totally surrounds you with a significant amount of back channel information.

Music that has a great deal of stereo separation will be reproduced with an excitement and intensity that is similar to listening through headphones but with the visceral impact that only dynamic loudspeaker systems can produce. The Rock mode will also yield exciting results with most New Age and electronic music as well.

POPULAR

The Popular music mode is intended for a natural presentation of the majority of popular music titles. The perspective is more frontal and not quite as “wrap-around” as the Rock mode. The surround channels are monophonic and are full frequency response. Any audio signal delay setting may be selected (up to 80 ms), as well as Panorama.

Logic speed is “fast.” The Popular mode is the most universal for a wide variety of music, including rock, light rock, Broadway shows, etc.

7

JAZZ

The Jazz mode is particularly well suited to any live recording of popular or jazz music. The soundstage will be primarily frontal with ambience coming from the surround speakers. Separation of instruments will not sound exaggerated, but will sound like an ensemble playing in front of you. The natural room acoustics of the recording environment will be preserved. The Jazz mode delivers full-range mono surround channels with fully-selectable time delay, Panorama and “fast” logic speed. “New” jazz and fusion music also benefit from this mode. Blues fans will find the Jazz mode the most effective, especially on live recordings.

HALL 1

This music mode is a “purists” mode suitable for any music where minimum processing is desired. It is a passive circuit (no steering logic) similar to the L-R circuit often erroneously referred to as the “Hafler” circuit. This circuit extracts ambience from a natural stereo recording and places it in the surround channels. Front channels are completely unprocessed. A special equalization curve is applied to the surround channels to emulate the natural decay of high frequencies over distance for more natural hall ambience. Chamber music is natural and enveloping in this mode, as are all small acoustic ensembles. The listener is placed close to the performance.

HALL 2

The Orchestra mode, like Chamber, uses no processing on the front channels, and center channel is disengaged. Orchestra mode applies steering logic only to the surround channels only with a narrow matrix providing a “mid-hall” perspective. This setting is ideal for larger symphonic works. You may switch on, at your option, the center channel speaker in the ‘Orchestra’ mode. Steering logic is engaged on the front sound stage when the center speaker is switched on. Audio signal delay settings may be extended to 80 ms.

35MM MOTION PICTURE

The decoding matrix is identical to the one used in the Dolby Pro Logic mode, but with higher speed steering logic and a more extended frequency response on the surround channels. Audio signal delay settings may be extended to 50 ms.

70MM MOTION PICTURE

This setting is identical to 35mm but delivers controlled blending of left/right front channel information into the surround channels to provide a sense of spaciousness with software which has little or no encoded surround information. Audio signal delay settings may be extended to 50 ms.

8