Sony STRDE-845, DAV-700, DAV-900, HCDC-700, HCDC-900 Service manual

...

Training Manual

Multi-Product Hi-Fi T echnology and T roubleshooting

Digital Board Hi-Fi Output

Model: STR-DE845 Troubleshooting

Switching Power Supply Super Audio CD

Model: DAV-700/900 New Technology

DAV-S500 HCD-S500 HCD-C700/900

Course: A-124

Table of Contents

1. Introduction ..................................... 1

Purpose............................................................1

Receiver ...........................................................1

Layout ..............................................................1

2. Sound Fields.................................... 2

What is a Sound Field?....................................2

Sound Field Types............................................2

Virtual ...............................................................3

Cinema Studio..................................................6

Semi Cinema Studio.........................................6

Theater.............................................................6

Music................................................................6

Active Speaker Chart .......................................7

Table 2-1 - Input Software Format....................9

3. Digital Board Inputs ....................... 10

Analog Inputs ..................................................10

Digital Inputs ....................................................10

Software Formats Illustrated ...........................12

4. Control Signal Block......................14

Input/Output Select ICs

Control Signal Block........................................ 14

Digital Processing ICs

Control Signal Block........................................ 15

5. Analog signal Block ....................... 19

Circuit Description ...........................................21

6. Digital Signal Block........................ 23

7. Mute Signal Block ..........................25

Regulation .......................................................32

How to Troubleshoot the Power Supply ..........33

Testing the Power Supply Unloaded ...............35

Troubleshooting Shortcuts ..............................36

10. Hi-Fi Output Troubleshooting

Overview .............................................37

11. Troubleshooting Driver

Amplifier & Bias Network Circuits.... 39

Protection light will not go off after replacing

Output transistors............................................39

Excessive Current Draw..................................40

12. Troubleshooting Audio

Protection Circuits ............................. 43

(+/-) Offset Protection Circuit...........................44

Over Current Protection Circuit .......................45

13. Super Audio CD............................ 46

Overview .........................................................46

The New Format for the Age of

Digital Pure Audio............................................46

The DSD Format: No Data Decimination

or Interpolation Required.................................48

Delta Signal Modulation and A/D Converter ....49

Disc Features and Watermark Technology .....5 3

Appendix: Individual IC

Functional Description ....................... i

IC1201 System Control .................................... i

IC1101 Digital Audio I/F Receiver (DIR) ........... i

8. Troubleshooting Block .................. 26

9. DAV-C700 Switching Type

Power Supply...................................... 28

Safety for You and the Circuit..........................28

Power Supply Operation .................................28

IC1301 Digital Audio Decoder (DAD) ............... i

IC1401 Audio DSP ........................................... i

IC1503 Audio Codec ........................................ i

IC1403 SRAM (Static RAM) ............................. i

1. Introduction

Introduction

Purpose

The focus of this book is on the digital board operation in the sample receiver (STR-DE845) and covers the following subjects:

• A working understanding of sound fields and what type of movie or music software should be used with each sound field for optimal performance.

• Proper use of the digital board inputs.

• Which speakers receive actual audio while in various sound field modes.

• Simplified circuit diagram and operation of the digital board for troubleshooting.

To properly troubleshoot the Digital board, a good understanding of what sound fields are and how they affect the input is essential. Once a good working knowledge of sound fields is obtained, the receiver can be better set up to process the movie or music software for the best quality audio output. The information in this book will also help the technician determine whether a customer’s problem is a receiver setup or an actual circuit defect.

Receiver

The main receiver used for demonstration throughout this book is the STR-DE845. The STR-V444ES digital board will also be covered, showing the DSP circuit changes as compared to the STR-DE845 only. The overall operation of the digital board in both models is the same.

Layout

Chapter 2 covers the theory and functional description of the various sound fields. Chapter 3 illustrates the proper use of the receiver (digital board) inputs on the rear panel. Chapters 4, 5, 6 and 7 provide the technician with block diagram descriptions of the four main systems found on the digital board. Chapter 8 describes a very practical troubleshooting method for determining a defective component on the digital board. There is also an appendix at the end of the manual that provides a brief description of the function of the main ICs on the digital board.

2. Sound Fields

Sound Fields

What is a Sound Field?

Each venue, be it a concert hall, cinema theater or small jazz club, has a characteristic “sound field” made up of direct sounds and reflections from the surfaces of the environment. Some venues sound large and spacious, others sound small and intimate. These characteristics are captured using special microphone pickup systems placed in the actual venue. The microphone pickup system captures the acoustic blue print of the venue, which contains all of the acoustic information about the venue, such as direct sounds, early reflections and reverberations (reverberations occur when the number of reflected sound-waves arriving at the listeners ear becomes very large; ref. Figure 2-1). All the acoustic data about the venue is stored in the computer and then downloaded to the A/V receiver’s microprocessor internal memory. So when you select the concert hall sound field on your A/V receiver, the information stored in the microprocessor’s internal memory is activated and your living room takes on the characteristics of an actual concert hall.

STAGE

Direct Soundwave

Early Soundwave

Reflection

Late Soundwave

Reflection

Sound Field Types

FIGURE 2-1 - Soundwave Reflection Diagram

Auto Format Decoding (press AFD button)

This mode automatically detects the type of audio signal (Software Format) being input (e.g. Dolby Digital, Dolby Pro-Logic, or Standard 2 Channel Stereo) and performs the proper decoding if necessary. This mode presents the sound as it was recorded/encoded, without adding any sound field effects.

NOTE: This mode can be used as a reference. Set the equalizer to “OFF” while using this mode to hear the source sound exactly as it was recorded. This mode can also be used to determine exactly what type of Software format is encoded on a given disc.

2 Channel (press 2CH button)

Outputs the sound from the front left and right speakers only. Standard two channel (stereo) sources completely bypass the sound field processing. Multi-channel surround formats are down-mixed to two channels.

NOTE: No sound is output from the sub-woofer (LFE) when the 2 Channel mode is selected.

Normal Surround

This mode is designed to be used with a Multi-channel surround audio input (e.g. Dolby Digital/AC-3, DTS or Dolby Prologic) and the normal six-speaker surround system (front left/right, rear left/right, center and LFE) (ref. Figure 2-2). When the playback material is encoded with multi-channel surround audio, it will be heard as it was originally recorded (with no other processing for special effects). For example, a movie will be played back exactly how the producer recorded it during the movie’s production. If Dolby Prologic (2 channel audio) encode material is input, it will be processed to create surround sound effects using the actual six-speaker system.

2. Sound Fields

FIGURE 2-3 - Rear Speakers Side

FIGURE 2-5 - Rear Speakers Behind

Note:

L RLFE

Front Left – FLT Low Frequency Effects - LFE Center – Cntr Front Right – FRT Rear Left – RLT Rear Right - RRT Listening Position – LP

LS RS

FIGURE 2-2

Virtual

The five different Virtual modes create sets of virtual speakers using the actual existing speaker system which could be a six or three speaker system.

1) V. Multi Dimension: Uses 3D image processing to create four sets of virtual rear speakers surrounding and positioned at an elevation of 30 degrees higher then the listener from a six-speaker system (two actual rear speakers). Depending upon where the actual rear speakers are positioned, the virtual speakers positions will vary (ref. Figures. 2-3, 2-4 and 2-5). The position of the rear speakers (Side, Mid or Rear) must be programmed in the A/V receiver SET-UP menu for this sound field effect to work properly.

NOTE: The virtual speakers are placed at an elevation of 30 degrees higher then the listener to further emulate the theater venue. The surround sound speakers in a theater are always higher then the listeners’ position.

LFE

RCL

FIGURE 2-4 - Rear Speakers Middle

LFE

RCL

LFE

RCL

2. Sound Fields

FIGURE 2-9

2) V. Multi Rear: Uses 3D image processing to create three sets of virtual speakers from a six-speaker system (two actual rear speakers; ref. Figures. 2-6, 2-7 and 2-8). The position of the rear speakers (Side, Mid or Rear) must be programmed in the A/V receiver SET-UP menu for this sound field effect to work properly. Note: No 30-degree higher effect.

LFE

FIGURE 2-6 - Rear Speakers Side

RCL

FIGURE 2-7 - Rear Speakers Middle

LFE

RCL

LFE

FIGURE 2-8 - Rear Speakers Behind

RCL

3) V. Semi-M. Dimension: Uses 3D image processing to create five sets of virtual rear/surround speakers surrounding and positioned at an elevation of 30 degrees higher then the listener. This is accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure 2-9).

RCL LFE

4) Virtual Enhanced A: Uses 3D image processing to create three sets of virtual rear/surround speakers.

This is accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure 2-10).

2. Sound Fields

LFE

FIGURE 2-10

5) Virtual Enhanced B: Uses 3D image processing to create one set of virtual rear speakers. This is accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure 2-11).

LFE

1 1

FIGURE 2-11

2. Sound Fields

Cinema Studio

This mode is designed to be used with a Multi-channel surround audio input (e.g. Dolby Digital/AC-3, DTS or Dolby Prologic) and the normal six-speaker surround system (front left/right, rear left/right, center and subwoofer). Cinema Studio is similar to Normal Surround except now the acoustical characteristics of a Sony Pictures Entertainment cinema production studio are present. The 3D image processing of the V. Multi Dimension (a virtual speaker mode which will be discussed shortly) is added to the normal surround sound audio to produce the cinema studio atmosphere. There are three Cinema Studio sound fields:

1) Cinema Studio EX. A: Reproduces the sound characteristics of the Sony pictures Entertainment “Cary Grant Theater” cinema production studio. This sound field can be used when viewing almost any type of movie.

2) Cinema Studio EX. B: Reproduces the sound characteristics of the Sony pictures Entertainment “Kim Novak Theater” cinema production studio. This sound field is ideal for viewing science fiction or action movies with lots of sound effects.

3) Cinema Studio EX. C: Reproduces the sound characteristics of the Sony pictures Entertainment scoring stage. This sound field is ideal for viewing musicals or classic films where music is featured in the soundtrack.

Note: The Cary Grant and Kim Novak S tudios are actual Sony Pictures Entertainment Movie Production Studios where a movie is shot and produced. Each has its own unique acoustical characteristics, which in these cases even have particular characteristics for certain types of movies (e.g. The Kim Novak Studio is particularly good for Science Fiction movies). The Sony Entertainment Scoring Stage is an actual studio used for recording the music portion of the movie. Once again, this studio has especially good characteristics for recording movie sound tracks. This makes this mode particularly good for playing back certain movies where the sound track is a major part of the movie (e.g. a musical movie).

Note: These sound fields use the 3D sound imaging of V. Multi Dimension. Reference figures 2-3, 2-4 and 2-5 for the three possible virtual speaker system positioning, which depends on the positioning of the two actual rear speakers.

Semi Cinema Studio

These three sound fields (Semi Cinema Studio EX. A, Semi Cinema S tudio EX. B and Semi Cinema S tudio EX. C) are identical to the above Cinema Studio mode except now the Sony Picture Entertainment cinema

production studio sound characteristics are reproduced using only front left, right and center speakers. All other speakers are virtual (ref. Figure 2-12).

LFE

FIGURE 2-12 - Listener, Actual and Virtual Speaker Setu

2. Sound Fields

Theater

There are four theater sound fields:

1) Night theater: Retains theater-like sound characteristics while listening at a low volume level, ideal for late night movie viewing.

2) Mono Movie: Creates theater-like sound characteristics from movies with mono soundtracks.

3) Stereo Movie : Creates theater-like sound characteristics from movies with stereo soundtracks.

4) Headphone theater: Retains theater-like sound characteristics while listening through a pair of

headphones.

NOTE: Mono Movie and Stereo Movie modes do not convert input signals to Mono or Stereo signals. They are strictly used for optimal playback of analog 2ch movie soundtracks.

Music

Nine different sound fields reproduce the acoustical characteristics of nine different venues. Each one of these sound fields is designed for a 2-channel stereo input (e.g. from a CD, DAT, TV Broadcast, etc.). Some of these sound fields are designed to perform better with certain types of music (e.g. Jazz Club with Jazz, Rock music with Live House and so on). These sound fields are listed below:

Small Hall Church Large Hall Live House Opera House Arena Jazz Club Stadium Disco Club

Video Games Game: This sound field is designed to be used with video game software and a stereo input. This mode will

produce dynamic audio while playing video games.

Active Speaker Chart

With so many sound fields and software formats, it can be very difficult to know which speakers are active (actual audio applied to them by the receiver) for the software while in a particular sound field mode. Chart 2-1 on the following page shows Sound Fields on its vertical axis and Software Formats on the top horizontal axis. It indicates which speakers are active with the chosen Sound Field and Software Format. This chart also indicates when Virtual Speakers are present. To get the same results as this chart at any location, the following conditions must be met:

Conditions

1) The input device (e.g. DVD, CD etc.) must be set up properly to output the desired Software Format (e.g. AC-3, DTS etc.).

2) The proper input on the receiver must be used to receive the desired Software format.

a. Optical and Coax Inputs: Dolby Digital (AC-3), DTS, Dolby Prologic, Dolby Surround and PCM b. Analog Inputs: Dolby Prologic, Dolby Surround, Stereo and Mono c. 5.1 Channel Input: This input bypasses all surround sound processing of the receiver. Note:

This is a good input to use to test if all the speakers in the system are receiving audio. The input device must have a 5.1 Channel output.

2. Sound Fields

3) Speaker wires must be connected correctly, e.g. the Positive (+) on the receiver terminal connected to the Positive terminal on the speaker. Same for the Negative (-) terminal.

4) The speaker impedance switch on the receiver should match the impedance of the speakers connected.

Note: If only output “A” is used, the impedance switch should be set to match the speaker impedance (e.g. 4 or 8 ohms). Caution!!! - If the “A” and “B” output are used simultaneously, the impedance of each speaker must not be less then 8 ohms and the impedance switch must be set for 4 ohms. This is because the speakers are placed in parallel when in this configuration so the impedance of the speakers is cut in half.

Notes for Chart:

1) The box around the speaker letter indicates that this is an actual physical speaker (not virtual) and audio is applied to the speaker.

2) There are notes under pictures to indicate if virtual speakers are being created.

NOTE: The actual rear surround sound speakers will be inactive in the following sound field modes:

• Semi-Cinema Studio EX. A, B, and C

• V. Semi-M Dimension

• Virtual Enhanced A and B

• 2 Channel

TABLE 2-1 - INPUT SO FTWARE FORMAT

2. Sound Fields

Sound Field

A.F.D.

Normal Surround

Cinema Studio Ex. A, B, C

Sem i-Cinema Studio Ex. A, B, C

Night Theater

Mono Movie

¾ Dolby Digital (AC-3) ¾ 5.1 Chanel Surround ¾ DTS

LS RS

L C R LFE

LS RS

L C R LFE

LS RS

W ith additional virtual speaker

L C R LFE

All other speakers virtual

L C R LFE

LS RS

L C R LFE

LS RS

Dolby Prologic PCM

L C R

All other speakers virtual

L C R

(reve rb)

L C R

(reve rb)

L R L RL C R LFE

L C R

All other speakers virtual

L C R

¾ Stereo ¾ Mono

L C R

All other speakers virtual

L C R

L R

Stereo M ovie

V. Multi Dimension

V. Multi Re ar

V. Sem i - M Dimension

Virtual Enhanced A, B

2 Channel

Sm all Hall Large Hall Opera House Jazz Club Disco Club Church Live House Arena Stadium Game

This table shows which speakers are active during a particular sound and software format input.

L C R LFE

LS RS

L C R LFE

LS RS

With additional virtual speakers

L C R LFE

LS RS

W ith additional virtual sp e ak e rs

L C R LFE

All other speakers virtual

L C R LFE

All other speakers virtual

L R L R L R L R

L C R LFE

LS RS

L C R

(reve rb)

L C R

All other speakers virtual

L C R

All other speakers virtual

L C R

All other speakers virtual

L C R

All other speakers virtual

L R

L C R

All other speakers virtual

L C R

All other speakers virtual

L R

3. Digital Board Inputs

Digital Board Inputs

Analog Inputs

2 Channel Stereo Inputs

There are nine analog inputs on the digital board. They are as follows:

- Tuner

- Phono

- CD

- MD/Tape

- TV/SAT

- DVD/LD

- Video 1, 2, 3

These inputs enter the digital board as analog audio and supply one of the following audio formats: Mono, S tereo or Dolby Prologic. They go through a switching IC and then onto the Audio CODEC to be digitized. The digital data stream is applied first to the Audio Decoder and then to the Audio DSP, which processes and applies the effects of the chosen sound field.

5.1 Channel Input

The 5.1 Channel Input is a full surround sound analog audio input that bypasses the sound field processing of the digital board in the receiver. All the surround sound processing required to produce the 5.1 Channel Input is performed by the device connected to this input, such as a DVD player with a 5.1 Channel Output. The 5.1 Channel Input is applied directly to the output selector IC1502. IC1502’s outputs are connected directly to the amplifier system. The 5.1 Channel Input actual consists of six signals: Front Left, Front Right, Rear Left, Rear Right, Center and Subwoofer. The Subwoofer is the “1” in the 5.1 designation.

Digital Inputs

There are two types of digital inputs - the Optical input and the Coaxial input. The only dif ference between these two inputs is the medium used to transfer the signal between devices. The Optical input utilizes Fiber Optic cable to transmit data as light pulses down a glass fiber center conductor. Because light pulses are used, the Fiber Optic cable is virtually immune to any external electrical interference, making it the preferred digital signal source. The Coaxial Input uses Coaxial cable similar to that found in Cable TV connections. It consists of a copper center conductor, a foam insulator and an outer braided wire shield. The Coaxial cable has good external noise immunity characteristics, but cannot compare to the Fiber Optic cable. Also, the bandwid th characteristic of the Fiber Optic cable is much greater. Both of these input types are digital, using the same data protocol (S/P DIF format). There are three Optical inputs, one Optical Output and one Coaxial input on this receiver.

Optical: Coaxial: DVD/LD input DVD/LD TV/SAT input DAT/MD input MD/DAT output

3. Digital Board Inputs

Table 3-1 – Digital Input Sampling Frequency Compatibility

Input Sampling Frequency

Optical DVD/LD 96KHz, 48KHz, 44.1KHz, 32KHz Optical TV/SAT 48KHz, 44.1Khz, 32KHz Optical DAT/MD 48KHz, 44.1Khz, 32KHz Coaxial DVD/LD 96KHz, 48KHz, 44.1KHz, 32KHz

NOTE: If a signal with a sampling rate of 96kHZ is applied to the MD/DAT or TV/SAT inputs, intermittent audio at the receiver outputs may occur.

These digital inputs are sent through the complete surround sound processing circuitry of the digital board to produce the 5.1 Channel Output signals. This processing and signal flow will be discussed in detail in the next chapter.

ANALOG

INPUTS

DEVICES DVD MULTI-CHANNEL DECODE NOTE: THE DEVICE MUST BE CAPABLE OF PROCESSING AC-3,OR DTS SOFTWARE AND OUTPUT 5.1 CHANNEL SIGNALS

DIGITAL INPUTS

REAR

FRONT

CENTER

L R

SUB

WOOF

DEVICES

MD/DAT

TV/SAT

DEVICES DVD/LD DVD/LD (COAX)

SOFTWARE FORMATS DOLBY DIG ITAL AC-3 (5.1) DTS (5.1) DOLBY PROLOGIC PCM 48kHz, 41.1kHz, 32kHz

SOFTWARE FORMATS DOLBY DIGITAL AC-3 (5.1) DTS (5.1) DOLBY PROLOGIC PCM 96kHz, 48kHz,

41.1kHz, 32kHz

DIPOLE

WIRE ANTENNA

STR-

DE845 (REAR VIEW)

ANALOG

INPUTS

ANTENNA

COAXIAL

Ω

SIGNAL

GND

PHONO CD

FRONT

5.1 CH INPUT

OUT

MD/DAT

REAR

CTR S

CENT.

WOOF.

S-VIDEO

VIDEO

OUT

MONITOR

SUB

OUT

OUT IN

MD/DAT

CTR S

STAT.IN

TAPE

OPTICAL

MD/DAT

OUT

S-VIDEO

VIDEO

AINA

TV/SAT

TV/

SAT

DVD/LD IN

DIGITAL

S-VIDEO

VIDEO

DVD/LD

CTR S

OUT

VIDEO OUT

AUDIO OUT

COAX DVD/LD

CTR S

OUT

VIDEO IN

VCR

S-VIDEO

OUT

VIDEO

OUT

AUDIO OUT

S-VIDEO

VIDEO IN

DOLBY SURROUND DOLBY PROLOGIC STEREO MONO

FIGURE 3-1 - STR-DE845 ANALOG & DIDITAL INPUTS

VCR

2ND AUDIO

CONTROL AII

SPEAKERS

OUT

DEVICES SOFT

WARE FORMATS

IMPED

10/15/0113CA124 1380

3. Digital Board Inputs

Figure 3-1 illustrates the typical devices connected to the various receiver inputs and what software formats are compatible with each input.

NOTE: The audio from the Tuner antenna section is also an input to the digital board. It is processed the same as any of the other analog inputs in order to apply the desired sound field effects. The input signals to the tuner are off the air (FM and AM) signals. There is also an analog Video 3 Input on the front panel of the receiver that can accommodate another VCR.

Software Formats Illustrated

Dolby Surround Prologic

Left

Four Channel Signals

Note: From a live performance or recording

Right Center

Surround

Dolby Surround ProLogic Encoder

Software Medium y Laser Disk

y DVD Disk y CD y VHS Tape y Cassette Tape y Cable y Satellite TV y Regular Tv

DOLBY SURROUND PROLOGIC

Dolby Surround ProLogic Decoder

FIGURE 3-2

Figure 3-2 illustrates the encoding and decoding of a Dolby Surround Prologic format. Note that this format can be encoded on the software medium (DVD disk, VHS tape etc.) in a digital data stream or analog signal. The original four channels are encoded into two channels (Left Total and Right Total). At the decoder, the twochannel signal is decoded back to the original four channel surround signals (Left, Right, Center and Surround). Also note that the surround signal in the Prologic format in fed to both rear speakers, so both speakers receive equal signals. There is a slight delay in time as compared to the front speakers.

Dolby Digital (AC-3), and DTS

Left Center Right

5.1 Channel Signals

Note: From a live performance

Left Surround

Right Surround Low Freq. Effect

or record i ng

Dolby Digital or DTS Encoder

Digital Data Stream

Software Medium

y Laser Disk y DVD y Cable y Satellite TV y Regular TV

DOLBY DIGITAL & DTS

Digital Data Stream

FIGURE 3-3

Dolby Digital or DTS Decoder

LFE

3. Digital Board Inputs

Dolby Digital; EX (6.1)

Figure 3-3 illustrates the encoding and decoding Dolby Digital and DTS 5.1 channel formats. These formats are encoded into a digital data stream only, such as a DVD disc, Satellite signal, etc. (no analog encoding). There are actually six channels in the 5.1 channel format (Left, Right, Center, Subwoofer or LFE, Left surround and Right surround). Note that the rear speakers are now fed totally separate surround signals that provide a superior separation between the speakers when sounds are traveling around the system. Also added to this format is the Low Frequency Effects (LFE) or Subwoofer signal.

5.1 Channel format compatibility

L C

Dolby Digital

DTS 5.1 Channel

Data Stream

Decoder "A"

Decoder "B"

Decoder "C"

R LS RS LFE

LT RT

5.1 Channel Signals

Two Channel Stereo Signals

Dolby

Prologic

Decoder

L C R S

Four Channel Dolby Surround signals

Decoder "D"

Mono Signal

FIGURE 3-4 - 5.1 Channel Downmixing

Figure 3-4 illustrates that the 5.1 Channel format is compatible with all of the other formats. The 5.1 channel signal as shown can be DOWN-MIXED into any other format depending on the decoding applied. This is similar to the Prologic format, which is compatible with stereo and mono system due to the way it is encoded.

New Development in Digital Surround Technology

Dolby Digital Surround EX (6.1)

LFE

LS RS

FIGURE 3-5

RCL

A center screen channel (or speaker) is necessary to ensure the precise localization of the front sounds for the viewers. Dolby Digital Surround EX brings similar benefits to the surround sound field (side or rear speakers). With Dolby Digital Surround EX, a center surround channel is reproduced. This speaker driven by the center surround channel is positioned at the back/center of the listening room. Left and right surround sound is still reproduced by the side speakers (Ref. Fig. 3-5). This means that sounds can now be positioned behind the audience, opening the door to exciting new effects such as true 360-degree pans. The center surround channel also makes front-to-back and back-to-front transitions more realistic. Dolby Digital Surround EX is fully compatible with the current 5.1 Channel digital formats, and will play back normally on current 5.1 systems. Dolby Digital Surround EX basically adds a center surround channel to 5.1 digital formats.

Control Signal Block

Input/Output Select ICs Control Signal Block

4. Control Signal Block

DIGITAL BOARD

DIGITAL

INPU TS

FROM

OPTICAL

COAXIAL

TABLE 4-1

IC1005 CONTROL LINES

PIN No. (COAX) DVD/LD

(OPTICAL)TV/SAT (OPTICAL)DAT/MD (OPTICAL) DVD/LD

IC1001 IC1002 IC1003

J1001

A 2

10 01

11 0

IC1005

DIGITAL

INPUT

SELECT

R1007

2 14

ANALOG

R1282

INPU TS

REAR PANEL JACKS

R1006

108

93 92

ANALOG INPUTS

REAR PANEL

IC1101/

PIN 3

SDI

107

SYSTEM CONTRO L

JACKS

12 17

IC30 1

ANALOG

INPU T

SELECT

15 16

CLK

CNS306

CNS5

R1281

IC1201

X1201

16MHz

IC304/

PINS 3

& 5

3 5 4

19 17 18

47 48 46

SDI

DIGITAL BOARD

MAIN BOARD

IC30 3

ANALOG

INPU T

SELECT

15 14 16

CLK

SDI

CLK

12 17

2 CH. MODE

FROM IC 3 0 4

EXTERNAL

5.1 CH. J307

5.1 CH. INPUT FROM

IC1503

AU SW BO ARD

TO IC 30 4/

PINS 3 & 5

IC1502

OUTPUT

SELECT

15 14 16

SDI CLK

2 1 3

19 AC 18

FIGURE 4-1 DIGITAL BOARD INPU T/OUTPUT

SELECTOR ICs

CONTROL BLOCK

1A124 1365

11/20/01

CNP11 CNP301

Circuit description

NOTE: Reference Figure 4-1 for the following circuit description: Data, Clock and Chip Enable Lines

All control signals are supplied by IC1201 (System Control). IC1201/Pins 108 and 107 control the digital input selection of IC1005 (pins 2 and 14). These control lines are a simple two-bit input. Table 4-1 shows the two-bit code for the corresponding input. The resistors on the output of IC1201 (R1282 and R1281) and on the input of IC1005 (R1006 and R1007) are easy probe points to confirm the bit pairs in the table.

The control lines for IC301, IC303 (analog input select ICs) and IC1502 (output select IC) are at IC1201/pins 46 (CE), 47 (Data) and 48 (CLK). These control signals are somewhat difficult to view due the fact that they are only present while switching between inputs via the front panel buttons of the receiver. However, the main concern here is that there is communications between ICs and that the actual inputs do change. Waveforms 4-1, 4-2 and 4-3 illustrate how the waveforms will appear on the oscilloscope while switching between inputs (e.g. Video 1, Video2, DVD/LD etc). Once again, these are not exact waveforms. Confirmation of data communications between ICs and data amplitude (5Vpp) are the important factors. All three pins (IC1201/46, 47 and 48) are at a low state (0V) while waiting for a button to be pressed (standby state).

Data and Control Line Waveforms for IC1301 and IC502

Oscilloscope Settings:

5v/div.

4. Control Signal Block

100us/div. DC coupling

PIN No.46

(R1202)

5Vp-p

Trigger rising edge

WAVEFORM 4-1

PIN No.48

CLK

5Vp-p

(R1204)

WAVEFORM 4-2

Digital Processing ICs Control Signal Block

12.282MHz

I/F

RST

111 100110112

13 14 15

X3501

12.282 MHz

R1265

1 2 3 5

IC1201 SYSTEM CONTROL

IC1404

12.282 MHz X1401 10MHz

CLK SDI

69 68 66

R1270

R1275

CLK

82 83

IC1301

DOLBY

DIGITAL

AUDIO

DECODER

RST

PDI

16 25

HAD

R1263

R1289

SDI CLK

IC1101

DIGITAL

AUDIO

RECEIVER

R1288

R1286

PIN No.47

DATA

(R1203)

IC1401 AUDIO

DSP

15 14 26

R1252

25 16 26

HAO

5Vp-p

BCLK

LRCLK

DATA

74 70

100

RST

IC1202

R1242

CDTORST

93 92 90

IC1402

SRAM

17 41

IC1503AUDIOCODEC

43 1141 1742

R1245

30 3528 3229

CLKCLK RSTCLK RSTCESDO SDOCE PDO

CECLKCDTI

R1285

WAVEFORM 4-3

MCLK

5 4 39

RST

KHz

RST

KHz

X1201

16MHz

RST FROM Q108

DISPLAY BOARD

FIGURE 4-2 - DIGITAL BOARD PROCESSING IC's CONTROL BLOCK

2A124 1367

11/20/01

4. Control Signal Block

Circuit Description

Data, Clock, and Chip Enable Lines

The control lines for IC1401 (IC1201/parallel data lines 17 to 24, pin 25 (address line) and pin 16 (CE)) and IC1503 (IC1201/pins 30 (data), 29 (CLK) and 28 (CE)) are only present during input switching. The waveforms on the control lines are the same as those shown in Waveforms 4-1, 4-2 and 4-3, except standby voltage state is high (5V dc).

The waveforms on the control lines for IC1101 (IC1201/pins 112 (data), 110 (CLK), and 111 (CE)), and IC1301 (IC1201/pins 1 (CLK), 2 (data), and 3 (CE)) are always present as digital data is present at one of the digital input jacks (optical or coax). Waveforms 4-4 and 4-5 illustrate what is displayed on the oscilloscope. When the Input mode is set to Analog input, all three control lines on IC1101 are inactive and the chip select line on IC1301 is inactive (the other two lines on IC1301 are active with data, but the chip is not enabled).

The following waveforms can be viewed on the oscilloscope continuously when digital data is present at the digital inputs and that digital input is selected.

Oscilloscope Settings:

5V/div.

Data and Control Line Waveforms for IC1101

100us/div or 50us/div Trigger rising edge

DATA

CLK

WAVEFORM 4-4

DATA

CLK

WAVEFORM 4-5

Master, Bit and Left/Right Channel Clock lines

All the control lines discussed so far are used either for input/output switching or to set up an IC for a particular function (e.g. Dolby Digital decoding). The Clock lines that will be looked at now are used for data manipulation. The Clock lines MCLK (Master Clock), BCLK (Bit Clock) and LRCLK (Left Right channel Clock) are all developed by IC1101 using X3501 (12.282MHz). The MCLK is applied only to IC1503 (CODEC), while BCLK and LRCLK are applied to IC1301 and IC1503. These Clock lines are used to synchronize the system to the incoming audio data stream so that appropriate decoding and coding can be performed. The following waveforms are always present and can be viewed easily with the oscilloscope. Waveform 4-7 is an expanded view of Waveform 4-6. The frequency for each clock signal is as follows:

MCLK —— 12.282MHz BCLK —— 3MHz LRCLK — 48KHz

Oscilloscope Settings:

5V/div. 2us and 200ns/div Trigger rising edge

MCLK

BCLK

LRCK

WAVEFORM 4-6

MCLK

BCLK

LRCK

WAVEFORM 4-7

4. Control Signal Block

Reset lines and Crystals

The main Reset line is applied to IC1201/pin 90. During normal operation, this line is High (5V dc). The other Resets are output to IC1101/ pin 48 (normal high 5V), IC1301/pin 62 (normal high 5V), IC1503/pin 17

(normal high 5V) and IC1401/pin 26. This output is Low (0V), but it passes through inverter IC1202 and a High (5V) is applied to IC1401. The crystal frequencies and amplitudes are shown in Table 4-2 below:

Table 4-2 – Crystal Frequencies and Amplitudes

IC Ref. Number Crystal Ref.

IC1101 & 1301 X3501 12.282MHz 4Vpp IC1401 X1401 10MHz 3Vpp IC1201 X1201 16Mhz 4Vpp

SRAM Control Lines

Number

D0 - D3 7 - 10 D4 - D7 13 - 16 D8 - D11 20 - 32 D12 - D15 35 - 38

Frequency Amplitude

IC1401 AUDIO

DSP

IC1402 SRAM

A0 - A4 5 - 1 A5 - A7 44 - 42 A8 - A11 27 - 24 A12 - A15 21 - 18

FIGURE 4-3 - SRAM BLOCK

53 69

XWE XOE

9/26/01

There are 16 Data, 16 Address and two control lines (WE and OE) for the SRAM IC1402.. The SRAM is mainly used for the processing of the Cinema and Hall sound fields where reverberation (Delay) is required to produce the appropriate characteristics of a particular venue. The SRAM IC1402 is not used in any of the Virtual Speaker Modes. All processing is performed by internal RAM in IC1401, so no data is present on either the Data, WE or OE lines. Waveforms 4-8, 4-9 and 4-10 show the activity on the Data lines. WE and OE lines are in three different modes: AFD, 2CH and Mode (sound field selection mode). The main point of interest of these three

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