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NATURAL SOUND DIGITAL SOUND FIELD PROCESSING AMPLIFIER DSP-A780
DSP
PRO LOGIC
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CONTENTS
PRECAUTIONS & SAFETY INSTRUCTIONS ....................Inside Front Cover
SETUP & ADJUSTMENT..................................................................................3
1-1. GETTING STARTED.................................................................................3
1-2. SETUP.......................................................................................................8
1-3. CONTROLS & ADJUSTMENTS.............................................................16
1-4. ADJUSTMENT.........................................................................................20
GENERAL OPERATION.................................................................................24
2-1. PLAYING A SOURCE.............................................................................24
2-2. RECORDING A SOURCE TO AUDIO/VIDEO TAPE
(OR DUBBING FROM A TAPE TO ANOTHER)....................................25
2-3. DIGITAL SOUND FIELD PROGRAMS ..................................................28
2-4. SELECTING SOUND FIELD PROGRAMS............................................28
2-5. MUTING THE EFFECT SOUND ............................................................28
2-6. SUPERIMPOSED VIDEO PROGRAM/PARAMETER
DISPLAY..................................................................................................28
2-7. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS......................29
CREATING YOUR OWN SOUND FIELDS....................................................33
3-1. SELECTING AND EDITING PROGRAM PARAMETERS ....................33
3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS........................................................................................35
TROUBLESHOOTING ....................................................................................37
SPECIFICATIONS...........................................................................................38
OPERATION MANUAL
DIGITAL SOUND FIELD PROCESSING AMPLIFIER
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1 Read Instructions – All the safety
and operating instructions should be read
before the unit is operated.
2 Retain Instructions – The safety and
operating instructions should be retained
for future reference.
3 Heed Warnings – All warnings on the
unit and in the operating instructions
should be adhered to.
4 Follow Instructions – All operating
and other instructions should be followed.
5 Water and Moisture – The unit
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, etc.
6 Carts and Stands – The unit should
be used only with a cart or stand that is
recommended by the manufacturer.
6A A unit and cart combination should
be moved with care. Quick
stops, excessive force, and
uneven surfaces may
cause the unit and cart
combination to overturn.
7 Wall or Ceiling Mounting – The unit
should be mounted to a wall or ceiling
only as recommended by the
manufacturer.
8 Ventilation – The unit should be
situated so that its location or position
does not interfere with its proper
ventilation. For example, the unit should
not be situated on a bed, sofa, rug, or
similar surface, that may block the
ventilation openings; or placed in a builtin installation, such as a bookcase or
cabinet that may impede the flow of air
through the ventilation openings.
9 Heat – The unit should be situated
away from heat sources such as
radiators, stoves, or other appliances that
produce heat.
10 Power Sources – The unit should be
connected to a power supply only of the
type described in the operating
instructions or as marked on the unit.
11 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 unit.
12 Cleaning – The unit should be
cleaned only as recommended by the
manufacturer.
13 Nonuse Periods – The power cord of
the unit should be unplugged from the
outlet when left unused for a long period
of time.
14 Object and Liquid Entry – Care
should be taken so that objects do not fall
into and liquids are not spilled into the
inside of the unit.
15 Damage Requiring Service – The
unit should be serviced by qualified
service personnel when:
A. The power-supply cord or the plug
has been damaged;
or
B. Objects have fallen, or liquid has
been spilled into the unit;
or
C. The unit has been exposed to rain;
or
D. The unit does not appear to operate
normally or exhibits a marked change in
performance;
or
E. The unit has been dropped, or the
cabinet damaged.
16 Servicing – The user should not
attempt to service the unit beyond those
means described in the operating
instructions. All other servicing should be
referred to qualified service personnel.
17 Power Lines – An outdoor antenna
should be located away from power lines.
18 Grounding or Polarization –
Precautions should be taken so that the
grounding or polarization is not defeated.
SAFETY INSTRUCTIONS
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 PERSONNEL.
The lightning flash with arrowhead
symbol, within an equilateral triangle,
is intended to alert you to the
presence of uninsulated “dangerous
voltage” within the product’s
enclosure that may be of sufficient
magnitude to constitute a risk of
electric shock to persons.
The exclamation point within an
equilateral triangle is intended to alert
you to the presence of important
operating and maintenance
(servicing) instructions in the
literature accompanying the
appliance.
•
Explanation of Graphical Symbols
CAUTION
IMPORTANT!
Please record the serial number of this
unit in the space below.
Model:
Serial No.:
The serial number is located on the rear
of the unit.
Retain this Owner’s Manual in a safe
place for future reference.
WARNING
TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK, DO NOT EXPOSE
THIS UNIT TO RAIN OR MOISTURE.
PRECAUTIONS & SAFETY INSTRUCTIONS
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1 To ensure the finest performance,
please read this manual carefully. Keep it in
a safe place for future reference.
2 Install your unit in a cool, dry, clean
place – away from windows, heat sources,
and too much vibration, dust, moisture or
cold. Avoid sources of hum (transformers,
motors). To prevent fire or electrical shock,
do not expose to rain and water.
3 Do not operate the unit upside-down. It
may overheat, possibly causing damage.
4 Never open the cabinet. If a foreign
object drops into the set, contact your
dealer.
5 Do not use force on switches, knobs or
cords. When moving the set, first turn the
unit off. Then gently disconnect the power
plug and the cords connecting to other
equipment. Never pull the cord itself.
6 Do not attempt to clean the unit with
chemical solvents; this might damage the
finish. Use a clean, dry cloth.
7 Always set the volume control to “–
∞
”
while lowering the tonearm to play a record;
turn the volume up with the stylus in the
groove.
8 Be sure to read the “Troubleshooting”
section on common operating errors before
concluding that your unit is faulty.
9 Do not connect audio equipment to the
AC outlets on the rear panel if that
equipment requires more power than the
outlets are rated to provide.
We Want You Listening
For A Lifetime
YAMAHA and the Electronic Industries
Association’s Consumer Electronics
Group want you to get the most out of
your equipment by playing it at a safe
level. One that lets the sound come
through loud and clear without annoying
blaring or distortion – and, most
importantly, without affecting your
sensitive hearing. Since hearing damage
from loud sounds is often undetectable
until it is too late, YAMAHA and the
Electronic Industries
Association’s Consumer
Electronics Group
recommend you to avoid
prolonged exposure from
excessive volume levels.
PRECAUTIONS
FCC INFORMATION
1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this
manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT : When connecting this product to accessories and/or another
product use only high quality shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions
could void your FCC authorization to use this product in the USA.
3. NOTE : This product has been tested and found to comply with the requirements
listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of assurance that your use of
this product in a residential environment will not result in harmful interference
with other electronic devices.
This equipment generates/uses radio frequencies and, if not installed and used
according to the instructions found in the users manual, may cause interference
harmful to the operation of other electronic devices.
Compliance with FCC regulations does not guarantee that interference will not
occur in all installations. If this product is found to be the source of interference,
which can be determined by turning the unit “OFF” and “ON”, please try to
eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the
interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits
or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type
cable.
If these corrective measures do not produce satisfactory results, please contact
the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Electronics Corp., U.S.A.
6660 Orangethorpe Ave, Buena Park, CA 90620.
The above statements apply ONLY to those products distributed by Yamaha
Corporation of America or its subsidiaries.
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2
Congratulations!
You are the proud owner of a Yamaha Digital Sound Field Processing (DSP) System—an
extremely sophisticated audio component. The DSP system takes full advantage of Yamaha’s
undisputed leadership in the field of digital audio processing to bring you a whole new world
of listening experiences. Follow the instructions in this manual carefully when setting up your
system, and the DSP system will sonically transform your room into a wide range of listening
environments—anything from a famous concert hall to a cozy jazz club. In addition, you get
incredible realism from Dolby-Surround encoded video sources using the built-in Dolby Pro
Logic Surround Decoder.
Rather than tell you about the wonders of digital sound field processing, however, let’s get
right down to the business of setting up the system and trying out its many capabilities.
Please read this operation manual carefully and store it in a safe place for later reference.
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1-1. GETTING STARTED
Unpacking
If you hav en’t already done so, carefully remove this unit and its
accessories from the box and wrapping material. You should find the
unit itself and the following accessories.
Installing the Remote Control Unit Batteries
Since the remote control unit will be used for many of this unit’s
control operations, you should begin b y installing the supplied
batteries.
1. Turn the remote control unit over, and remove the battery
compartment cover by pulling it in the direction of the white arrow on
the figure shown below.
2. Insert the batteries (R6, AA, UM-3 type), being careful to align
them with the polarity markings on the inside of the battery
compartment.
3. Close the battery compartment cover.
3
SETUP & ADJUSTMENT
Remote control
Batteries
2
1
3
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●
When you notice that remote control operation has become
erratic, or the distance from which the remote control will function
has decreased, it’s time to replace the batteries. Alw ays replace
all batteries at the same time.
●
This remote control uses an advanced, highly directional infrared
beam. Be sure to aim the remote control directly at the remote
control sensor on the main unit when operating.
Remote control transmitter operation range
Notes
●
There should be no large obstacles between the remote
control transmitter and the main unit.
●
If the remote control sensor is directly illuminated by strong
lighting (especially an inverter type of fluorescent lamp etc.),
it might cause the remote control transmitter to work
incorrectly. In this case, reposition the main unit to avoid
direct lighting.
Digital Sound Field Processing
What is it that makes live music so good? Today’s advanced
sound reproduction technology lets you get extremely close to the
sound of a live performance, b ut chances are y ou’ll still notice
something missing, the acoustic environment of the live concert hall.
Extensive research into the e xact nature of the sonic reflections that
create the ambience of a large hall has made it possible for Yamaha
engineers to bring you this same sound in your own listening room,
so you’ll feel all the sound of a live concert. What’s more, our
technicians, armed with sophisticated measuring equipment, have
even made it possible to capture the acoustics of a variety of actual
concert halls, jazz clubs, theaters, etc. from around the world, to
allow you to accurately recreate an y one of these liv e performance
environments, all in your o wn home .
Dolby Pro Logic Surround
The Dolby Pro Logic Surround Decoder program lets y ou
experience the dramatic realism and impact of Dolby Surround mo vie
theater sound in your own home. Dolb y Pro Logic gets its name from
its professional-grade steering logic circuitry, which provides greater
effective channel separ ation for a much higher degree of realism than
the “passive” Dolby Surround circuits found in today’s typical home
audio/video equipment. Dolby Pro Logic Surround provides a true
center channel, so that there are four independent channels, unlik e
passive Dolby Surround, which has in effect only three channels: left,
right, and rear. This center channel allows listeners seated in even
less-than-ideal positions to hear the dialog originating from the action
on the screen while experiencing good stereo imaging.
4
30°
30°
Remote control
sensor
Within approximately
7 m (23 feet)
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This Dolby Pro Logic Surround Decoder employs a digital signal
processing system. This system improves the stability of sound at
each channel and crosstalk between channels, so that positioning of
sounds around the room is more accurate compared with
conventional analog signal processing systems .
In addition, this unit features a built-in automatic input balance
control. This always assures y ou the best performance without
manual adjustment.
Manufactured under license from Dolb y Laboratories Licensing
Corporation. Additionally licensed under Canadian patent number
1,037,877. “Dolby”, “Pro Logic”, and the double-D symbol are
trademarks of Dolby Laboratories Licensing Corporation.
Dolby Pro Logic Surround + DSP
Additionally you can enjoy sound en vironment created by the
combination of Dolby Pro Logic and YAMAHA DSP.
Precise sound
movement and orientation by the Dolby Pro Logic technology is
added to sound fields which are precisely recreated on the
basis of actual acoustic environments by the DSP technology,
so it is suitable for any Audio/Video source with video image.
This combination is used on sound field programs No. 5
through No. 14, and No. 16.
The YAMAHA “CINEMA DSP” logo indicates these programs
created by the combination of Dolby Pro Logic and YAMAHA DSP
technology.
VIDEO SUPERIMPOSE
If you connect your video cassette recorder, video disc player ,
video monitor, etc. to this unit, y ou can take advantage of this unit’s
capability to display program titles , par ameter data and information
about other various settings and adjustments on your video monitor’s
screen. This information will be superimposed over the video image.
If there is no video source connected or it is turned off, the
information will be displayed o ver a blue colored background.
NOTE: The program titles, parameter data and other information are
also displayed on the display panel of this unit.
5
P01 CONCERT HALL
CONCERT HALL
DSP
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Setting Up Your Speaker System
This unit has been designed to provide the best sound field
quality with a full five-speaker system setup, using one extra pairs of
effect speakers to gener ate the sound field plus one center speak er
for dialog, when using Dolby Pro Logic Surround decoding. We
therefore recommend that you use a five-speaker setup. A fourspeaker system using only one pair of effect speak ers for the sound
field will still provide impressive ambience and effects, however, and
may be a good way to begin with this unit. You can always upgrade
to the full five speaker system later.
Use of the Center Dialog Speaker Is Recommended
With digital sound field programs No . 5 through No. 16, by using
either the Directional Enhancement circuit or the Dolby Pro Logic
decoder, decoded signals will be output from the center channel.
Therefore, if y ou w ant to upgr ade the Audio/Video home theater
system, it is recommended to use the center speaker unit.
If for some reason it is not practical to use a center speak er, it is
possible to enjoy mo vie vie wing without it. Best results , ho w e ver, are
obtained with the full system.
It is also possible to further expand your system with the addition
of a subwoofer and amplifier. You may wish to choose the
convenience of a Yamaha Active Servo Processing Subwoofer
System, which has its own built-in pow er amp.
6
5 Speaker System
This is the recommended speaker
system, providing the best sound
effects.
With sound field programs No. 1
through No. 4, using effect speakers
reproduces the effective sound field.
With the sound field programs No. 5
through No. 16, the center speaker
provides precise center localization.
Center Mode—Set to NRML or WD.
(See page 22.)
4 Speaker System
Simple system without center
speaker.
With sound field programs No. 1
through No. 4, a sound effect matching
that of a 5-speaker system can be
obtained. With sound field programs No.
5 through No. 16, center sound is output
from the left and right main speakers.
Center Mode—Set to PHNTM.
(See page 22.)
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Speakers and Speaker Placement
Your full five-speaker system will require two speaker pairs: the
MAIN SPEAKERS (your normal stereo speakers) and the REAR
EFFECT SPEAKERS, plus the CENTER SPEAKER. You may also
be using a subwoofer.
You will probably use your present stereo speakers as the MAIN
SPEAKER pair. The rear effect do not need to be equal with the
MAIN SPEAKERS, although the center speaker should be as close
as possible. They should have enough power handling capacity to
accept the maximum output of the DSP system.
Place the MAIN SPEAKERS in the normal position.
Place the REAR EFFECT SPEAKERS behind your listening
position. They should be nearly six feet up from the floor.
Place the CENTER SPEAKER precisely between the two MAIN
SPEAKERS. (To avoid interference, keep the speaker abov e or
below the television monitor, or use a magnetically shielded speaker.)
If using a SUBWOOFER, such as a Yamaha Active Servo
Subwoofer System, the position of the speak er is not so critical
because low bass tones are not highly directional.
NOTE: The Yamaha NS-C110 speaker, a vailable in some countries,
is an ideal choice for the center speaker.
7
Main speaker Rear effect speaker Center speaker
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1-2. SETUP
Before you start making connections make sure all related electronic components are turned OFF.
REAR PANEL
SINGLE
DUAL
SINGLE
10dB 0dB
-
To AC outlet
12 3
7
456
890A
(General Model)
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1 Audio Signal Connection Jacks (f or Audio Source Equipment)
Connect the inputs and/or outputs of your audio equipment.
2 Audio/Video Signal Connection Jacks (f or Video Source
Equipment)
Connect the audio and video inputs and/or outputs of your video
equipment. In place of the VIDEO jacks, the S VIDEO jac ks can
be used for higher resolution and improved picture quality if your
VCR, monitor, etc. are equipped with S-VIDEO connectors .
3 Main Speaker Terminals
Connect the main speakers here.
4 Video NTSC/PAL Switch (General Model only)
Set this switch to the position corresponding to the standard
that your video equipment employs.
5 Low Pass Jac k
When using a subwoofer, connect its amplifier input to this jack.
Frequencies belo w 200 Hz from the left main, right main and
center channels are output to this jack.
6 Main Level Switch
Normally set to “0 dB”. If desired, you can decrease the main-
channel output level at the MAIN speaker terminals by 10 dB by
setting this switch to “–10 dB”.
7 Center Speaker Terminals
Connect one or two center speakers here.
8 Rear Effect Speaker Terminals
Connect the rear effect speakers here .
9 Voltage Selector (Gener al Model only)
Be sure to set to the line voltage in your area before applying
power . Consult your dealer if unsure of the correct setting.
0 Switched AC Outlets
You may plug other audio components into these sockets as long
as their combined power consumption does not e xceed the
specified value shown. “Switched” means that these components
are turned on and off by this unit’s po wer switch.
A Unswitched AC Outlet (U .S .A., Canada and Gener al Models)
The total power consumption of audio components plugged into
this socket should not e xceed the specified value shown.
“Unswitched” means that power is available even when this unit is
off.
9
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GENERAL INSTRUCTIONS FOR CONNECTIONS
Make sure that you ha v e the left (L) and right (R) channels
correctly connected. That means that jacks marked “L” on this unit
must be connected to jacks marked “L” on other units. Likewise with
the “R” jacks. This is easy if y ou remember to alw a ys use the red
plug for the “R” jacks and the other plugs for the “L” jacks.
With speaker connections you must also be sure that the polarity
is correct. For each amplifier and each channel, connect the plus (+)
terminal of the amplifier to the plus terminal of the speaker, and
connect the minus (–) terminal of the amplifier to the minus terminal
of the speaker . To keep track of polarity, use a speaker cable that has
one of the two wires marked by a stripe or a different color.
AUDIO OUT
LINE OUT
LINE IN
CD player
Tape deck
Video disc player
Tuner
Video cassette recorder 2
VIDEO OUT
AUDIO IN
VIDEO IN
AUDIO OUT
VIDEO OUT
OUTPUT
OUTPUT
Monitor TV
TV/Satellite tuner
AUDIO OUT
VIDEO OUT
Video cassette recorder 1
AUDIO IN
VIDEO IN
AUDIO OUT
VIDEO OUT
VIDEO IN
CONNECTING AUDIO/VIDEO SOURCE EQUIPMENT TO THIS UNIT
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CONNECTING TO S VIDEO JACKS
If your video cassette recorder , video disc player, etc. and your
monitor are equipped with “S” (high-resolution) video terminals,
connect them to this unit’s S VIDEO jac ks , and connect this unit’s
S VIDEO MONITOR OUT jac k to the “S” video input of y our monitor.
Otherwise, connect the composite video jacks from y our video
cassette recorder, video disc player, etc. to the VIDEO jacks of this
unit, and connect this unit’s VIDEO MONITOR OUT jack to the
composite video input of your monitor.
NOTE: If video signals are sent to both S VIDEO input and VIDEO
input jacks, the signals will be sent to their respectiv e output jac ks
independently.
NOTE: If y our unit is the General Model, be sure the NTSC/PAL
switch has been correctly set to the standard that your video
equipment employs. U.S.A. and Canada models have no switch and
use the NTSC standard, while other models without a switch use the
PAL standard.
Notes about the Video superimpose
●
If you watch a video source that is connected to both S VIDEO and
VIDEO input jacks of this unit, signals of screen display information
are output from only the S VIDEO MONITOR OUT jack.
●
When no video signal is input to either S VIDEO or VIDEO input
jacks of this unit, signals of screen display information are output
from both S VIDEO MONITOR OUT and VIDEO MONITOR OUT
jacks with a color background.
* For the General Model, if the NTSC/PAL switch on the rear panel
is set to “PAL”, nothing will be output from either S VIDEO
MONITOR OUT or VIDEO MONITOR OUT jack in this case.
11
S-VIDEO
OUT
VIDEO OUT
Video cassette recorder 1
Video cassette recorder 2
VIDEO
OUT
S-VIDEO OUT
VIDEO IN
S-VIDEO IN
S-VIDEO IN
VIDEO IN
VIDEO IN
S-VIDEO IN
VIDEO OUT
S-VIDEO OUT
Video disc player
Monitor TV
Page 14
CONNECTING SPEAKER SYSTEMS
Connect the SPEAKERS terminals to your speakers with wire of
the proper gauge, cut as short as possible. If the connections are
faulty, no sound will be heard from the speakers. Mak e sure that the
polarity of the speaker wires is correct, that is, + and – markings are
observed. If these wires are reversed, the sound will be unnatur al
and will lack bass. Do not let the bare speak er wires touch each
other or any other metal part as this could damage this unit and/or
speakers.
NOTE: Use speak ers with the specified impedance sho wn on the
rear of this unit.
For connecting to the MAIN and CENTER SPEAKERS terminals.
Red: positive (+)
Black: negative (–)
➀ Unscrew the knob.
➁ Insert the bare wire.
[Remove approx. 5mm (1/4”)
insulation from the speaker
wires.]
➂ Tighten the knob and
secure the wire.
NOTE: Banana Plug connections are also possib le (except for
Scandinavian models). Simply insert the Banana Plug connector into
the corresponding terminal.
For connecting to the REAR SPEAKERS terminals.
Red: positive (+)
Black: negative (–)
➀ Press down the tab.
➁ Insert the bare wire.
[Remove approx. 5mm (1/4”)
insulation from the speaker
wires.]
➂ Press up the tab and secure
the wire.
12
1
2
3
➀
➁
➂
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CONNECTING THE MAIN SPEAKERS AND THE
REAR EFFECT SPEAKERS TO THIS UNIT
Connect the MAIN speakers to the MAIN SPEAKERS terminals
of this unit.
Connect the REAR effect speakers to the REAR SPEAKERS
terminals of this unit.
CONNECTING THE CENTER SPEAKER(S) TO THIS
UNIT
Connect the CENTER speaker to the CENTER SPEAKERS
terminals. One or two CENTER speakers can be connected to this
unit. For the respective connections , follow the methods figured
below . If, however, you will not be using a CENTER speaker , be sure
to set the Center Mode to “PHNTM” (phantom). (See page 22.)
For connecting one CENTER speaker
SINGLE
DUAL
SINGLE
Center speaker
Main speakers
R L
SINGLE
DUAL
SINGLE
Rear effect speakers
R L
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14
For connecting two CENTER speakers
ADDING A SUBWOOFER
You may wish to add a subwoofer to reinforce the bass
frequencies.
This unit provides a line-lev el subw oofer output, which contains
only the frequencies under 200 Hz from the main and center
channels. Connect the LOW PASS jack to the INPUT jack of the
subwoofer amplifier, and connect the speaker terminals of the
subwoofer amplifier to the subwoofer.
With some subwoofers, including the Yamaha Active Servo
Processing Subwoofer System, the amplifier and subwoofer are in
the same unit.
Center speaker
SINGLE
DUAL
SINGLE
Center speaker
DUAL
SINGLE
10dB 0dB
-
Subwoofer system
Page 17
ADDITIONAL INFORMATION ON CONNECTING
SPEAKERS
(for Europe, U.K. and Australia models)
This unit is equipped with line output jacks for main, rear effect
and center channels.
If you will use an external power amplifier for driving main
speakers, connect input jacks of the external power amplifier to the
MAIN OUTPUT jacks of this unit. (See Figure.)
For connecting an e xternal power amplifier for driving rear effect
speakers or center speaker to this unit, connect it to the
corresponding line output jack(s) (REAR OUTPUT or CENTER
OUTPUT) of this unit in the same way. (See Figure.)
NOTE: Even if an external power amplifier is connected to the MAIN,
REAR or CENTER OUTPUT jacks, the corresponding internal
amplifier will not be turned off and output will be available at the
speaker terminals.
15
REAR
I0dB 0dB
-
L
MAIN
CENTER
LOWPASS MAIN
LEVEL
fc:200Hz
R
L R
OUTPUT
Main speakers
Power amplifier
Monaural power amplifier
Power amplifier
Center speaker
Rear effect speakers
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1-3. CONTROLS & ADJUSTMENTS
FRONT PANEL
1 Power Switch
* STANDBY Mode (Europe model only)
While the power is on, pressing the POWER key on the remote
control unit switches the unit to the STANDBY mode. (In this
mode, the indicator is half illuminated.)
2 Remote control sensor
Signals from the remote control unit are received here.
3 Input Trim Control
Adjusts the input level of each source respectively.
4 Display Panel
Shows program names, par ameters and information about other
various settings and adjustments.
NATURAL SOUND DIGITAL SOUND FIELD PROCESSING AMPLIFIER DSP-A780
DSP
PRO LOGIC
12345678
FEDCBA09
(General Model)
Page 19
5 PRO LOGIC Indicator
Illuminates while the built-in Dolby Pro Logic Surround Decoder is
being activated.
6 DSP Indicator
Illuminates while the built-in Sound Field Processor is being
activated.
7 Input Selector Switch
Sequentially selects the input source that you want to listen to
and/or watch in the
§§ or ©© direction. The indicator
corresponding to the selected input source illuminates. The
selected input source is also shown by the display panel and
the monitor screen (When the monitor is on).
8 Input Selector Switches for VCR 1, CD and LD
Directly selects VCR 1, CD or LD as the input source.
9 Phones Jack
Plug in headphones here for private listening. If the Center
Mode is set to “PHNTM” (phantom), the center channel will be
heard along with the main channels. (See page 22.) Otherwise
the main channels only will be heard.
0 Auxiliary Input Jacks (A UX 2)
Connect an auxiliary video or audio input source equipment
such as a camcorder to these jacks. If the connected video
equipment has a S video output terminal, connect it to the S
VIDEO jack to obtain a high resolution picture. The source
connected to these jacks can be selected by the input selector
switch.
A Rec Out Switch
Used to select the source to be recorded to tape deck or VCR
independent of the selection of input source. When pressed,
the indicator corresponding to the currently selected source to
be recorded flashes. While an indicator is flashing, you can
change the selection of the source to be recorded with the
input selector switches. The selected source is also shown by
the display panel and the monitor screen (when the monitor is
on).
B Bass and Treble Controls
Adjust the sound to match your tastes. Can also be used to
compensate for room acoustics. Defeated in the center
position.
C Program Selector
Sequentially selects the digital sound field processing
programs in the + or – direction.
D Balance Control
Adjusts the left and right output volume to the Main Speakers
to compensate for sound imbalance caused by speaker
positions or listening room conditions.
E Effect Switch
Normally ON, this switch can be turned OFF to disable output
from the center and effect speakers so that the sound
becomes normal 2-channel stereo.
F Master Volume Control
Simultaneously controls signal level at all outputs: main, rear
effect, center, and subwoofer. (This does not affect TAPE REC
OUT level.)
17
Page 20
REMOTE CONTROL UNIT
1 Power Key
Turns this unit on and off.
* (Europe model only): T urns the PO WER on mode to the
STANDBY mode and vice versa.
2 CD Function Keys
Operate functions on Yamaha CD players designed for remote
control compatibility.
* DISC SKIP is applicable only to compact disc changer.
3 Tape Deck Function Keys
Operate functions on Yamaha tape decks designed for remote
control compatibility.
* DIR A, B and DECK A/B are applicable only to double
cassette tape deck.
* For a single cassette deck with automatic reverse function,
pressing DIR A will reverse the direction of tape running.
4 Program Select Keys (1 through 16)
Select DSP programs 1 through 16.
5 Test Switch
When pressed, sends a signal to the main left, center, main
right, and rear effect speakers in turn for easy comparison of
level settings.
6 Set Menu/Parameter +/– K e ys
Edit DSP program parameters, mak e settings/adjustments in the
SET MENU mode, or used in the main/center/effect speak er level
balance adjustment.
7 Effect On/Off Ke y
Cuts off the sound’s output from the rear effect and center
speakers. To restore the output from those speakers, press this
key again.
18
SKIP
POWER
PAUSE/STOP
PLAY CD
TUNER
A/B/C/D/E
PRESET
DISC
SKIP
TAPE
LD
VCR 1
VCR 2
AUX 1
AUX 2
MASTER
VOLUME
DECK
A/B DIR A PLAY DIR B
STOP
REC/PAUSE
ROCK CNCTJAZZ CLUB
CHURCHHALL
ANIMATION
CLASSIC
FILM
OPERA
CONCERT
VIDEO
KARAOKE
GAME
TV
SPORTS
TV
THEATER
ENHANCED
PRO LOGIC
70 mm MOVIE
1 THEATER 2
TEST
EFFECT MUTING
SET MENU
PARAMETER
1
2
3
4
5
6
7
8
0
9
A
B
Page 21
8 Set Menu/Parameter Select K e ys
Select DSP program parameters or titles of settings/adjustments
in the SET MENU mode, or used in the main/center/effect
speaker level balance adjustment.
9 Tuner Function Keys
Operate functions on Yamaha tuners designed for remote control
compatibility.
* +: Selects higher preset station number.
–: Selects lower preset station number.
A/B/C/D/E: Selects the page (A – E) of preset stations.
0 Input Selector Keys
Select the input sources to this unit.
A Master Volume +/– Keys
Increase (+) or decrease (–) the master volume le v el.
B Muting Key
Mutes the master volume le v el b y 20 dB . While m uting, the
indicator on the master VOLUME control flashes on and off
continuously.
19
Page 22
1-4. ADJUSTMENT
MAIN/CENTER/REAR EFFECT SPEAKER LEVEL
BALANCE ADJUSTMENT
This operation uses an internal test-tone generator for balancing
the levels of the main, center and rear effect speakers. All speakers
should be adjusted to the same apparent sound lev el for proper
Dolby Pro Logic decoding.
1. Depress the TEST s witch on the remote control to enter test
mode. A hiss-like calibration signal should be heard from the left
main speaker , center speak er(s), right main speak er and rear effect
speakers in turn (see diagram). Adjust the MASTER V OLUME to a
normal listening level.
* The state of test-tone output is shown by the displa y panel and
the monitor screen. (Especially on the monitor screen, it is shown
by an image of audio listening room.) This is conv enient for
adjusting each speaker level.
2. Adjust the center and rear eff ect speak er level.
For adjusting the center speaker level:
Press the SET MENU/PARAMETER select (▲▲) key. “CENTER
LEVEL ··· dB” appears on the display and the test-tone is output from
the center speaker(s). In this state, adjust the center speak er level by
pressing the SET MENU/PARAMETER +/– keys.
For adjusting the rear effect speaker level:
Press the SET MENU/PARAMETER Select (▼▼) key. “SURROUND
LEVEL ··· dB” appears on the display and the test-tone is output from
the rear effect speakers . In this state , adjust the rear effect speaker
level b y pressing the SET MENU/PARAMETER +/– keys.
Adjust each speaker level so that the sound coming from the
corresponding speakers seems to be at the same level as that from
the main speakers when you are at a normal listening position.
If there is insufficient volume from the eff ect speak ers , y ou may
decrease the main speaker volume level by setting the MAIN LEVEL
switch on the rear panel to “–10 dB”, and adjust the center and rear
level again.
NOTE: If the CENTER MODE is set to the PHNTM (phantom)
position, the center speaker level cannot be adjusted. If using a
center speaker , be sure to set the CENTER MODE to the “NRML” or
“WD” position.
After completing this adjustment, press the TEST switch once
again.
NOTE: Once you have completed these adjustments, use only this
unit’s MASTER VOLUME control to adjust listening volume. Do not
change any other volume settings in the system.
20
Left main Center Right main
Rear
LEFT CENTER RIGHT
SURROUND
Page 23
21
INPUT LEVEL ADJUSTMENT
This adjustment is important for obtaining the best performance
from the internal circuits of this unit. The optimum input level of this
unit is pre-adjusted on the basis of the CD source lev el. This
adjustment should be performed on all input sources in your system
respectively, so that their levels match the CD source level as closely
as possible.
1. Select the CD source.
2.
Play the source.
3. Increase the setting of the MASTER VOLUME control to a
convenient listening level (you will use this as your “reference” level).
4. Select any other source in y our system (VCR, tuner, etc.) and
play that source.
5. Adjust the le v el of the source to be approximately equal to your
CD player’s “reference” lev el b y using the INPUT TRIM control.
* This adjustment can also be done with the remote control unit.
For using the remote control unit, ref er to “1. Input level
adjustment (INPUT TRIM)” on page 22.
6. In the same way, adjust levels of other sources.
NOTE: The adjustments will be saved until it is readjusted.
CD
MASTER
VOLUME
TUNER
Front panel
Remote control
or
Front panel
Front panel
Remote control
or
Front panel
Remote control
or
Page 24
OTHER IMPORTANT SETTINGS AND ADJUSTMENTS
IN THE “SET MENU” MODE
The following four types of settings and adjustments should be
done before enjo ying audio and video sources . Note that these
settings and adjustments cannot be done without monitoring the
display inf ormation (or the information displa y ed on the monitor
screen).
INPUT TRIM
CENTER MODE
DIMMER
MEMORY GUARD
SETTING/ADJUSTMENT PROCEDURE
1. Select an item (title) of setting/adjustment.
2. Select any desired mode or edit par ameters on the item.
In the same way, perform settings/adjustments for other items.
DESCRIPTIONS OF THE ITEMS
1. Input level adjustment (INPUT TRIM)
This function is provided for all input sources . It can be controlled
from 0 to +6 dB in 2 dB steps. The sound level of each input source
should be the same as that of regular CDs.
For operations, after selecting the item “INPUT TRIM” (in step 1),
select the input source on which the input lev el is to be adjusted b y
using the input selector switches, and then adjust the input level (in
step 2).
* This adjustment can also be done with the INPUT TRIM control
on the front panel. (see page 21.)
2. Selecting Center Mode (CENTER MODE NRML/WD/
PHNTM)
In Normal (NRML) position, any frequency below 100 Hz will be
divided between the main left and main right speakers. F or this
reason even a speaker smaller than the main left and right speakers
can obtain a sufficient effect.
In Wide (WD) position, all range of frequencies for the centerchannel are output to the center speaker. Select this position if a
good quality center speaker is being used.
If not using the center speaker(s), be sure to select Phantom
(PHNTM) position, and the audio signals for the center channel are
output to the main speakers.
22
SET MENU
PARAMETER
SET MENU
PARAMETER
Page 25
3. Changing brightness of the display (DIMMER)
You can select one of the five levels of brightness of the display.
4. Locking DSP parameters and other adjustments
(MEMORY GUARD)
If you wish to prevent accidental alteration to DSP parameters or
other adjustments on this unit, select “ON”. In this position, they are
locked and cannot be changed. The f ollo wing functions on this unit
can be locked b y this operation.
• DSP parameters
• Other setting/adjustment items in the “SET MENU” mode
(INPUT TRIM/CENTER MODE/DIMMER)
• INPUT TRIM control
• TEST switch
23
Page 26
24
2-1. PLAYING A SOURCE
1. Set the MASTER V OLUME control to minim um.
2. Turn the power on.
3. Select an input source.
(The selected source is shown by the displa y panel, the monitor
screen and illumination of the corresponding indicator over the
input selector switches.)
* On the front panel, VCR 1, CD or LD can be selected directly by
pressing the corresponding switch.
4. Pla y the source .
5. Increase the setting of the MASTER VOLUME control to your
listening level.
Adjust the BASS, TREBLE, BALANCE controls, etc., or select a
desired sound field program. (See page 28.)
NOTE: If a different audio source is selected with the input selector
keys on the remote control unit while enjoying a video source, the
sound from the newly selected audio source is heard, but the picture
from the video source can still be seen.
GENERAL OPERATION
POWER
POWER
MASTER
VOLUME
CD
Front panel
or
Remote control
Front panel
Front panel
Front panel
or
Remote control
Front panel
or
Remote control
Page 27
25
To record an input source to be play ed
1. Press the REC OUT s witch (so that “REC OUT
...
” appears on the
display and the monitor screen).
Front panel
2. Within 5 seconds after the REC OUT s witch is pressed, select the
“SOURCE” position with the input selector switch (so that “REC
OUT SOURCE” appears on the display panel and the monitor
screen).
Front panel
3. Press the REC OUT s witch (so that the indicator corresponding
to the selected source to be recorded stops flashing).
* The same result will be gained after 5 seconds automatically
without any operation.
4. Select an input source to be played (and to be recorded).
(See page 24 for the method of input source selection.)
Front panel Remote Control
5. Pla y the source .
6. Set the tape deck or VCR used for recording to the recording
mode.
* Adjust the recording lev el on the tape dec k or VCR.
NOTE: T o record picture from a video source and sound from
another audio source, in step 4, first select a video source with an
input selector key on the front panel, and then select an audio source
with the input selector keys on the remote control unit.
2-2. RECORDING A SOURCE TO AUDIO/VIDEO TAPE (OR DUBBING FROM A TAPE TO ANOTHER)
CD
REC OUT SOURCE
or
Page 28
26
To record a source other than the input source to be
played
This unit has a function of selecting a source to be recorded to tape
deck or VCRs independent of the selection of input source.
1. Press the REC OUT switch (so that “REC OUT
...
” appears on the
display and the monitor screen).
Front panel
2. Within 5 seconds after the REC OUT s witch is pressed, select the
source to be recorded with an input selector switch.
Front panel
3. Press the REC OUT switch (so that the indicator corresponding
to the selected source to be recorded stops flashing).
* The same result will be gained after 5 seconds automatically
without any operation.
4. Pla y the source and confirm it by selecting it with an input selector
switch and increasing the setting of the MASTER VOLUME
control.
Front panel
5. Set the tape deck or VCR used for recording to the recording
mode.
* Adjust the recording level on the tape dec k or VCR.
6. While recording a source, y ou can enjoy listening to and/or
watching another source selected with an input selector switch.
While recording, you can monitor the audio and/or video signals
to be recorded by selecting the tape deck or VCR used for recording
with an input selector switch.
REC OUT CD
Front panel
or
Remote control
TUNER
Page 29
NOTE: Adjusting the MASTER VOLUME, BASS, TREBLE controls,
etc., or selecting a sound field program has no effect on the material
being recorded.
NOTE: Composite video and S video signals pass independently
through this unit’s video circuits . Therefore, when recording or
dubbing video signals between two video cassette recorders, if y our
source VCR is connected to provide only S video (or only composite
video) signals, you can record only a S video (or only a composite
video) signal on your second VCR.
NOTE: Please check the copyright laws in your country to record
from records, compact discs, radio, etc. Recording of copyright
material may infringe copyright laws.
If you watch a video software that uses scr amb le or
encoded signals to prev ent it from being dubbed, there may
be a case that display inf ormation superimposed on the
picture and/or the picture itself is disturbed according to the
type of the signals.
27
Page 30
2-3. DIGITAL SOUND FIELD PROGRAMS
This unit has 16 programs for digital sound field processing, 4
from actual acoustic environments from around the world, and 12
programs for Audio/Video sources including sources encoded with
Dolby Pro Logic surround. Many of the progr ams contain v arious
parameters that can be adjusted to the listener’ s taste .
2-4. SELECTING SOUND FIELD PROGRAMS
Select the desired sound field program by pressing the
PROGRAM selector on the front panel or by using the Progr am
Select keys on the remote control.
2-5. MUTING THE EFFECT SOUND
The EFFECT switch makes it simple to compare the normal
stereo sound with the fully processed effect sound.
To mute the effect sound and monitor only the main sound, press
the EFFECT switch. Press the EFFECT s witch a second time to
restore normal operation.
2-6. SUPERIMPOSED VIDEO PROGRAM/PARAMETER DISPLAY
You can select program names and edit parameters
watching their data displayed on your video monitor screen and
superimposed over the video image as described on page 5.
1. Turn your monitor on.
2. Program name and its par ameters will be displayed on the
monitor screen for a f e w seconds just after y ou ha ve selected them.
Parameters are selected b y pressing the SET MENU/PARAMETER
Select (▼▼) key, and edited by pressing the SET MENU/PARAMETER
+/– keys. (See page 34 for details.)
28
ROCK CNCTJAZZ CLUB
CHURCHHALL
ANIMATION
CLASSIC
FILM
OPERA
CONCERT
VIDEO
KARAOKE
GAME
TV
SPORTS
TV
THEATER
ENHANCED
PRO LOGIC
70 mm MOVIE
1 THEATER 2
For stereo audio
source
For audio/video
sources
Page 31
29
2-7. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS
The following list giv es brief descriptions of the sound fields produced by each of the DSP prog rams . Keep in mind that most of these are
precise digital recreations of actual acoustic environments. The data f or them w as recorded at the locations described using sophisticated sound
field measurement equipment.
* The channel level balance between the left rear effect speaker and the right rear eff ect speaker ma y vary depending on the sound
field you are listening to. This is due to the fact that most of these sound field recreations are actual acoustic environments.
1. CONCERT HALL:
A large round concert hall with a rich surround effect.
Pronounced reflections from all directions emphasize the
extension of sounds. You will experience the sound field with a
great deal of presence sitting at about the center position near
the stage.
This sound field is also effective for karaoke. This is because
you feel as if you are standing on a real stage.
2. CHURCH:
A church in Tokyo shaped like a cross. There is the altar at the
upper side of the “cross”, and a pipe organ at the opposite side
(the lower side of the cross). It is a very unique shape with
walls all leaning inside, and pillars standing by the side of walls
only. The sound field has moderate reverberations of which
time is 2.5 seconds.
3. JAZZ CLUB:
A jazz club in New York. It is in a basement and has a relatively
spacious floor area. The reflection pattern is similar to that of a
small hall.
4. ROCK CONCERT:
The ideal program for lively, dynamic rock music. The data for
this program was recorded at LA’s “hottest” rock club.
Page 32
5. CONCER T VIDEO:
This program produces an enthusiastic atmosphere and lets you
feel that you are in the midst of the action, as if attending an
actual jazz or rock concert.
The indirect sound constituent spreads on the surround side of
the sound field by the use of data of a large round hall f or the
surround side, so the image space around the screen and the
sound space are fully expanded.
6. OPERA:
This program provides e xcellent depth of vocals and overall
clarity, restraining excessive reverberation.
For opera, the orchestra pit and the stage are ideally combined,
letting you feel a full presence sound. The rear surround side of
the sound field is relatively moderated, how ever, it reproduces
beautiful sound by the use of the data of a concert hall. You will
not be tired from long watching of an opera.
7. CLASSIC FILM:
This program is for reproducing monaur al video sources (old
movies etc.). Monaural sounds are reproduced with much
presence by the front presence side of the sound field and
optimum rev erberation effect. The use of the center speaker
makes conv ersations more audib le , obtaining a pleasant mix of
conversations and picture .
8. ANIMATION:
Po werful reverberations on the front presence side of the sound
field adds depth to the image, so expanding the image space . On
the rear surround side, sounds are reproduced lightly but vividly.
The sound field of this program matches image effects of
animated films regardless of the genre. Conv ersations , sounds
and sound effects are reproduced with vitality by this prog r am. A
source in stereo will obtain more effect, letting you steep yourself
in a fantastic world of animations.
30
Page 33
9. TV THEATER:
The data of the sound field of a relatively narrow space is used for
the front presence side. A moderately sized spatial sound field
without excessive sound extension and reverberations gives
reality to the characters in a drama.
The data of the sound field of an opera house is used for the rear
surround side. In a stereo program, bac kground m usic is
reproduced more beautifully with much depth, enhancing sound
effects on the drama. It’s natural sound effect will not make you
tired from long watching.
10.TV SPOR TS:
Though the front presence side of the sound field is relatively
narrow, the rear surround side employs the sound environment of
a large concert hall. With this program, you can enjoy watching
various TV programs such as the news , variety shows, music
programs or sports programs. In a stereo broadcast of a sports
game, the commentator is oriented at the center position, and the
shouts and the atmosphere in the stadium spreads on the
surround side, howe ver, spreading of them to the rear side is
properly restrained.
11.GAME:
The sound field of a disco is used for the front presence side, and
the sound field of a concert hall in Vienna is used for the rear
surround side.
This program reproduces video game music etc. more vividly
emphasizing the fast tempo and lightness of the music. If the
music is in stereo, more effective sound field will be gained by this
program.
This program is also suitable f or kar aok e popular m usic.
12.KARAOKE:
Vocals are reproduced with gentle reverberations on the stage
surrounded by seats in a round hall. A feeling of echo from the
high ceiling and reverber ations in front and behind the hall brings
a lot of presence on both the stage and the seats. By using a
source with digital sound, the sound of the greatly instrumental
accompaniment is much expanded, so emphasizing the spatial
effect with vocals . You feel as if you are standing on a liv e-stage .
31
Page 34
32
13.70 mm MOVIE THEA TER 1:
This program is ideal for precisely reproducing the sound design
of the newest movies . The sound field is made according to the
design of the newest movie theaters , so the reverberations of the
sound field itself are restrained as much as possible . The three
dimensional feeling of the sound field is emphasized, and dialog
is precisely oriented on the screen. You can enjoy watching
S.F.X., adventure movies, etc. with this program.
14.70 mm MOVIE THEA TER 2:
This program is for reproducing sounds on a 70 mm m ulti-tr ac k
film, and characterized by a soft and e xtensiv e sound field. The
front presence side of the sound field is relatively narrow. It
spatially spreads all around and toward the screen, restraining
echo effect of conversations without losing clarity. For the
surround side, the data of the sound field of an opera house is
used on an enlarged scale, so the harmony of music or chorus
sounds beautifully in a wide space at the rear of the sound field.
15.PRO LOGIC:
The digital Dolby Pro Logic decoder reproduces sounds and
sound effects of a source encoded in Dolby Surround. The
realization of a highly efficient decoding process improves
crosstalk and channel separation and makes sound positioning
smoother and more precise.
16.PRO LOGIC ENHANCED:
This program ideally simulates the multi-surround speak er
systems of the 35 mm film theater. Surround signals by the Dolby
Pro Logic decoder are processed on the surround side of the
sound field based on the data of the sound field of a shoe-box
hall. The surround effects produced by this sound field folds the
viewer naturally from the rear to the left and right and tow ard the
screen.
Programs No . 13 through No. 16 reproduces video discs, video tapes and similar sources which are Dolby Surround encoded and bear the
“DOLBY SURROUND” logo .
NOTE: The Dolb y Pro Logic Surround system is designed to be
used with program material (mainly videotaped movie soundtracks)
encoded with the Dolby Surround system.
NOTE: If the main and center channel sound is considerably
altered by ov eradjustment of the BASS or TREBLE controls , the
relationship with the rear channels may produce an unnatural
effect.
Page 35
33
3-1. SELECTING AND EDITING PROGRAM PARAMETERS
WHAT IS A SOUND FIELD?
In order to explain the impressiv e functions of the DSP system,
we need to first understand what a sound field really is.
What really creates the rich, full tones of a live instrument are the
multiple reflections from the walls of the room. In addition to making
the sound “live”, these reflections enable us to tell where the player is
situated, and the size and shape of the room in which we are sitting.
We can e v en tell whether it is highly reflective, with steel and glass
surfaces, or more absorbent—w ood panels, carpeting and curtains.
THE ELEMENTS OF A SOUND FIELD
In any environment, in addition to the direct sound coming
straight to our ears from the play er’s instrument, there are two distinct
types of sound reflections that combine to make up the sound field:
(1) Early Reflections. Reflected sounds reach our ears extremely
rapidly (50 ms — 100 ms after the direct sound), after reflecting from
one surface only—f or example, from the ceiling or a wall. These
reflections fall into specific patterns as shown in the diagram on page
35 for any particular environment, and provide vital information to our
ears. Early reflections actually add clarity to the direct sound.
(2) Reverber ations . These are caused b y reflections from more than
one surface—walls , ceiling, the bac k of the room—so n umerous that
they merge together to form a continuous sonic “afterglow”. They are
non-directional, and lessen the clarity of the direct sound.
Direct sound, early reflections and subsequent reverberation
taken together help us to determine the subjective size and shape of
the room, and it is this information that the DSP system reproduces
in order to create sound fields.
If you could create the appropriate early reflections and
subsequent reverber ations in y our listening room, you would be able
to create your own listening environment. The acoustics in your room
could be changed to those of a concert hall, a dance floor, or virtually
any size room at all. This ability to create sound fields at will is
exactly what Yamaha has done with the DSP system.
DSP programs consist of some parameters to determine
apparent room size, re v erber ation time , distance from y ou to the
performer, etc. In each prog r am, those parameters are preset with
values precisely calculated by Yamaha to create the sound field
unique for the program. It is recommended to use DSP prog r ams
without changing values of parameters, ho w e ver, this unit also allows
you to create your own sound fields . Starting with one of the built-in
programs, you can adjust those par ameters . Ev en if po w er is turned
off, your custom sound fields will remain in the DSP system’s
memory for about two weeks. The f ollo wing pages detail ho w to
make your own sound fields .
CREATING YOUR OWN SOUND FIELDS
Page 36
Each sound field program has a set of parameters that allow y ou
to change the characteristics of the acoustic environment to create
precisely the effect you w ant. These par ameters correspond to the
many natural acoustic factors that create the sound field you
experience in an actual concert hall or other listening environment.
The size of the room, for example, affects the length of time between
the “early reflections”—that is, the first few widely spaced reflections
you hear after the direct sound. The “ROOM SIZE” par ameter
provided in many of the DSP programs alters the timing betw een
these reflections, thus changing the shape of the “room” you hear. In
addition to room size, the shape of the room and the characteristics
of its surfaces have a significant effect on the final sound. Surfaces
that absorb sound, for e xample , cause the reflections and
reverber ations to die out quic k er, while highly reflective surfaces allow
the reflections to carry on for a longer period of time. The DSP
parameters allow you to control these and man y other factors that
contribute to your personal sound field, allowing y ou to essentially
“redesign” the concert halls and rooms provided to create customtailored listening environments that ideally match your mood and
music.
Refer to “3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS” on page 35 for a description of what each
parameter does, how it eff ects the sound, and its control r ange .
1. With the desired program selected, press the SET MENU/
PARAMETER Select (▼▼) key on the remote control unit once. This
will recall the first parameter . In the case of the CONCERT HALL
program, for example, this would be the INIT. DLY parameter. You
can continue pressing the SET MENU/PARAMETER Select (▼▼) key
to select other parameters in sequence. If the ke y is pressed when
the last parameter is being display ed, the first par ameter is selected
again.
2. When the desired parameter has been recalled, use the SET
MENU/PARAMETER + (increment) and – (decrement) keys to
change its value to create the eff ect y ou w ant. + increases the v alue
of the selected parameter , and – decreases the v alue of the selected
parameter . In both cases y ou can hold the k e y do wn for continuous
incrementing or decrementing. The display will pause f or a moment
at the initial value of the parameter as a reminder. (On the monitor
screen,
*
mark at the head of parameter name disappears at the
initial value of the parameter.)
NOTE: Parameter edits made in this way will remain in effect e ven
with power cut due to power failure or the power plug disconnected
from the AC outlet f or up to about two w eeks , after which all
parameters, as well as other adjustments or settings on this unit, will
return to their initial values or conditions.
34
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3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD PARAMETERS
Not all of the following par ameters are f ound in every program.
●
INIT DLY (Initial Delay)
How it Affects the Sound:
Changes the apparent distance from the source sound.
Since the distance between a sound source and a reflective
surface determines the delay between the direct sound and the first
reflection, this parameter changes the location of the sound source
within the acoustic environment.
What it Does:
Adjusts the delay between the direct sound and the first reflection
heard by the listener .
Control Range:
1 – 49 milliseconds
For a small living room this parameter would be set for a small
value. Large v alues for a big room. Larger values produce an echo
effect.
●
ROOM SIZE
How it Affects the Sound:
Changes the apparent size of the music ven ue . The larger the
value, the larger the simulated room will sound.
What it Does:
Adjusts the timing between the early reflections. Early reflections
are the first group of reflections you hear bef ore the subsequent,
dense reverber ation begins .
Control Range:
0.1 – 2.0
Standard setting is 1.0.
Changing this parameter from 1 to 2 increases the apparent
volume of the room eight times (length, width, and height all
doubled).
Level
Direct sound
Early reflections
Time
Small space
Small
Level
Direct sound
Early reflections
Time
Large
Level
Direct sound
Early reflections
Time
Large space
INIT. DLY INIT. DLY INIT. DLY
Level
Time
Small
Level Level
Time
Time
Large
Direct sound
Early reflections
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●
REV. TIME (Reverberation Time)
How it Affects the Sound:
The natural rev erber ation time of a room depends primarily on its
size and the characteristics of its inner surfaces . This parameter,
therefore, changes the apparent siz e of the acoustic en vironment
over an e xtremely wide r ange .
What it Does:
Adjusts the amount of time it takes for the level of the dense,
subsequent reverber ation sound to decay by 60 dB (@ 1 kHz).
Control Range:
1.0 – 5.0 seconds.
The reverb time in a small-to-medium size hall would be between
1 and 2, and in a large hall it is normally between 2 and 3.
●
EFCT TRIM (Effect Trim)
Performs fine adjustment of the level of all the effect sounds.
Control Range:
–3 dB to 3 dB
●
DELAY
Adjusts the delay between the direct sounds (at the main left,
center and main right channels) and the effect sounds (at the front
effect and rear eff ect channels). The larger the v alue , the later the
effect sounds are generated.
Control Range:
15 – 30 milliseconds
REV. TIME
60 dB
REV. TIME
60 dB
REV. TIME
60 dB
Level
Reverberations Reverberations Reverberations
Time
Small
Level Level
Time
Time
Large
Direct sound
Early reflections
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PROBLEM POSSIBLE CAUSE WHAT TO DO
Power does not come on. AC cord not properly plugged in. Carefully plug AC plug into outlet.
Hum. Bad cable connection. Firmly plug in all connection cables.
No sound. Bad or incorrect input connection. Check connections.
Incorrect input source selection.
Select the appropriate input source with the input selector switch.
No sound from the effect speakers. The EFFECT switch is set off. Press the EFFECT switch to turn on.
The DOLBY PRO LOGIC program is being used Use a different sound field program.
with material not encoded with Dolby Surround.
No sound from the center speaker. The center mode is in “PHNTM”. Select the appropriate center mode.
Incorrect sound field program. Select the appropriate program.
The sound suddenly goes off. The protection circuit has activated because of Turning the unit off and then on will reset the protection circuit.
short circuit etc.
The volume level cannot be increased, The power to the component connected to the Turn the power to the component on.
or sound is distorted. REC OUT jacks of this unit is off.
DSP parameters or other settings on this The “MEMORY GUARD” function is Turn the “MEMORY GUARD” OFF.
unit cannot be changed. set ON.
Left rear and right rear channels not This is normal operation and is an exact
balanced in certain digital sound field duplication of the actual data which was
programs. measured for that particular hall etc.
The sound field cannot be recorded. It is not possible to record the sound field on a
tape deck connected to this unit’s TAPE
REC OUT jacks.
The remote control unit does not function Dead batteries. Replace batteries.
properly. Wrong distance or angle. The remote control unit will function from a maximum range of 7
meters, no more than 30 degrees off-axis from the front panel.
Direct sunlight or lighting (of an inverter type of Change position of the main unit.
flourescent lamp etc.) is striking the remote
control sensor of the main unit.
Noise from nearby TV or tuner. This unit is too close to the affected Move the unit further away from the affected equipment.
equipment.
TROUBLESHOOTING
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Minimum RMS Output Power Per Channel
Main (20 Hz – 20 kHz 0.015% THD 8Ω)
[U.S.A. and Canada models] ............................................................. 65W+65W
[Australia, Europe, U.K. and General models] .................................. 60W+60W
Center (20 Hz – 20 kHz 0.015% THD 8Ω)
[U.S.A. and Canada models] ....................................................................... 65W
[Australia, Europe, U.K. and General models] ............................................ 60W
Rear Effect (1 kHz 0.03% THD 8Ω) ..................................................... 25W+25W
Maximum Output Power [General model]
Main (1 kHz 10% THD 8Ω) .................................................................. 95W+95W
Center (1 kHz 10% THD 8Ω) ......................................................................... 95W
Dynamic Power Per Channel
(by IHF Dynamic Headroom Measuring Method)
[U.S.A. and Canada models]
(8Ω/6Ω/4Ω) ............................................................................... 75W/90W/105W
DIN Standard Output Power Per Channel [Europe model]
(1 kHz 0.7% THD 4Ω) .................................................................................. 100W
Dynamic Headroom [U.S.A. and Canada models]
(8Ω) .............................................................................................................. 1.2 dB
IEC Power [Europe model]
(1 kHz 0.015% THD 8Ω) ................................................................................ 70W
Damping Factor
(1 kHz 8Ω) ........................................................................................ More than 75
Input Sensitivity/Impedance (100W/8Ω)
CD/TUNER/TAPE/LD/VCR/AUX ................................................... 150 mV/47 kΩ
Maximum Input Signal
CD/TUNER/TAPE/LD/VCR/AUX
(1 kHz 0.5% THD, EFFECT ON)................................................ More than 2.3V
Output Level/Impedance
REC OUT .......................................................................................... 150 mV/1 kΩ
LOW PASS (fc=200 Hz) (EFFECT OFF) .......................................... 4.0V/1.8 kΩ
Headphone Jack Rated Output/Impedance
Output Level (8Ω, 1kHz, 0.03% THD)............................................................ 0.2V
Impedance .................................................................................................... 100Ω
Frequency Response (20 Hz – 20 kHz)
CD/TUNER/TAPE/LD/VCR/AUX to MAIN L/R SP OUT ........................ 0±0.5 dB
Total Harmonic Distortion
CD/TUNER/TAPE/LD/VCR/AUX to SP OUT
30W/8Ω, MAIN L/R, 20 Hz – 20 kHz ....................................... Less than 0.02%
10W/8Ω, REAR L/R, 1 kHz......................................................... Less than 0.3%
Built-in amplifier
30W/8Ω, MAIN L/R, CENTER, 20 Hz – 20 kHz..................... Less than 0.008%
10W/8Ω, REAR L/R, 20 Hz – 20 kHz ...................................... Less than 0.03%
Signal-to-Noise Ratio (IHF-A Network)
CD/TUNER/TAPE/LD/VCR/AUX (Input Shorted) (EFFECT OFF)
..................................................................................................... More than 96 dB
Residual Noise (IHF-A Network)
MAIN L/R SP OUT..................................................................... Less than 150 µV
Channel Separation Vol –30 dB
CD/TUNER/TAPE/LD/VCR/AUX Input 5.1 kΩ Terminated (EFFECT OFF)
1 kHz/10 kHz .................................................................. More than 60 dB/45 dB
Tone Control Characteristics (MAIN L/R)
Bass
Boost/Cut .................................................................................... ±10 dB (50 Hz)
Turnover frequency .................................................................................. 350 Hz
Treble
Boost/Cut ................................................................................... ±10 dB (20 kHz)
Turnover frequency ................................................................................. 3.5 kHz
Filter Characteristics (Highcut Filter)
LOW PASS (fc = 200 Hz) ........................................................................ 6 dB/oct.
Audio muting ................................................................................................. –20 dB
SPECIFICATIONS
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Video Section
Video Signal Type
[U.S.A. and Canada models] ..................................................................... NTSC
[Australia, Europe and U.K. models] ............................................................ PAL
[General Model] ................................................................................. NTSC/PAL
Video Signal Level .............................................................................. 1 Vp-p/75Ω
S-Video Signal Level
Y ...................................................................................................... 1 Vp-p/75Ω
C ............................................................................................... 0.286 Vp-p/75Ω
Maximum Input Level ............................................................. More than 1.5 Vp-p
Signal-to-Noise Ratio .................................................................. More than 50 dB
Monitor Out Frequency Response .................................... 5 Hz – 10 MHz, –3 dB
Power Supply
U.S.A. and Canada models ......................................................... AC 120V/60 Hz
Australia and U.K. models ............................................................ AC 240V/50 Hz
Europe model ............................................................................... AC 230V/50 Hz
General model ................................................... AC 110/120/220/240V 60/50 Hz
Power Consumption
U.S.A., Australia, Europe, U.K. and General models .................................. 230W
Canada model ................................................................................ 230W, 320 VA
AC Outlets
2 SWITCHED OUTLETS
[U.S.A. and Canada models] .................................................... 120W max. total
[General model] ......................................................................... 100W max. total
1 SWITCHED OUTLET
[Australia, Europe and U.K. models] ................................................ 100W max.
1 UNSWITCHED OUTLET
[U.S.A. and Canada models] ............................................................ 180W max.
[General model] ................................................................................. 200W max.
Dimensions (W x H x D) ......................................................... 435 x 146 x 410 mm
(17-1/8” x 5-3/4” x 16-1/8”)
Weight ..................................................................................... 11.0 kg (24 lbs. 3 oz.)
* Specifications are subject to change without notice.
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YAMAHA ELECTRONICS CORPORATION, USA 6660 ORANGETHORPE AVE., BUENA PARK, CALIF. 90620, U.S.A.
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YAMAHA ELECTRONIK EUROPA G.m.b.H. SIEMENSSTR. 22-34, D-25462 RELLINGEN BEI HAMBURG, F.R. OF GERMANY
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YAMAHA MUSIC AUSTRALIA PTY, LTD. 17-33 MARKET ST., SOUTH MELBOURNE, 3205 VIC., AUSTRALIA
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