DSP-AZ1 Digital Home Theatre Amplifier
TECHNICAL REPORT
Yamaha asserts its technological leadership in home theatre audio
with the incomparable DSP-AZ1.
Flawless sound quality, extensive versatility and full sound format compatibility.
Atechnological achievement that takes the home theatre
experience to a new level.
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The World's Pre-eminent Home Theatre Amplifier
Pre-eminent means “standing above others” and that’s exactly what this
amplifier does. From its extraordinary sound quality, to its wide array of surround
programs and other advanced functions, to its unmatched CINEMA DSP
technology, to its compatibility with every movie sound format, and even to its
impressive design, this is a amplifier that has no equal. Once again, Yamaha
asserts its leadership in home theatre — with the DSP-AZ1.
DSP-AZ1
Digital Home Theatre Amplifier
2/24 (B)
䢇 Digital ToP-ART
䢇 Powerful New Yamaha 32-Bit
CINEMA DSP LSI (YSS-938)
䢇 Yamaha 44-Bit CINEMA DSP
Processing LSIs (two YSS-910s)
䢇 Compatibility with
Dolby Pro Logic II,
Dolby Digital, Dolby Digital EX,
DTS Digital Surround, DTS-ES,
DTS-ES Matrix 6.1, DTS-ES
Discrete 6.1, DTS Neo:6 and
DTS 96/24
䢇 42 Surround Programs
(62 Variations)
䢇 Burr-Brown 192-kHz/24-Bit
Digital-to-Analog Converter
System for All 10 Channels
䢇 Digitally Regulated Volume
Control
䢇 Uncompromised Power Amplifier
Stage Design
A company uniquely qualified to
produce the finest home theatre
components.
Yamaha has been one of the
most popular and innovative
manufacturers of home audio
components for more than
three decades. In the 90s, we helped make
the dream of home theater a reality, and went
on to lead the industry with the world’s most
sophisticated technology and components.
Now we offer a wide range of products for
every budget and preference, all of which
realize our commitment to
superb sound quality.
Yamaha can develop products
and technologies unlike any
others because it is a company unlike any
other. The world's largest producer of musical
instruments, it also operates a worldwide
music school and has an acoustic division that
designs concert halls. Furthermore, it actually
designs and produces its own LSIs, which are
the world's most sophisticated
microprocessors for electronic
instruments and audio
components. All of this
expertise comes together in the
design and manufacture of audio products
that deliver the same "Natural Sound" quality
as Yamaha's renowned grand pianos and
other instruments.
CONTENTS
Introduction .......................................................... 2
A Unique Company ............................................. 3
Digital ToP-ART .............................................. 4 – 9
Extensive A/V Connections and
Convenient Features .................................. 10 – 11
CINEMA DSP ............................................. 12 – 19
HiFi DSP ..................................................... 20 – 21
Convenient “Set Menu” ...................................... 22
Parameter Control Functions ............................. 23
Specifications/Surround Programs ..... Back Cover
3/24 (B)
2
1
3
44-Bit High-Density
Cinema DSP Circuitry
Digital
Decoder
Input
YSS-938
44-Bit
DSP LSIs
(YSS-910x 2)
6-Ch
Input
Minimal Analogue
Processing
The Digital ToP-ART Concept
From digital input, through digital processing,
to amplification, maximum signal quality is maintained
Digital ToP-ART (Total Purity Audio Reproduction
Technology) is the name Yamaha has given to a
design philosophy whose goal is to maximize
digital quality while minimizing analogue
circuitry. The culmination of the best digital
engineering and design possible today, it brings
together several key elements to create the
best-sounding, easiest-to-use A/V components
available. In the DSP-AZ1, Digital ToP-ART can
be divided into three categories.
High Performance Digital Circuitry
Multi-Bit
DAC System
(192 kHz/
24-Bit)
for 10
Channels
Input
6-Ch
Digital
Volume
(0—-99dB,
0.5 dB
Step) for 10
Channels
every step of the way.
High Performance Digital Circuitry with Burr-Brown 24-bit
1
BiCMOS Sign-Magnitude DACs for all 10 output channels, a
Digitally Regulated Volume Control with 99dB range and a
Processor Direct Switch.
High Density CINEMA DSP Circuitry with Yamaha original
2
44-bit DSP LSIs (two YSS-910s) and newly developed
decoding LSI (YSS-938).
High Quality, Wide Range Power Amplifier Section with low-
3
impedance design, superior power transistors, gigantic heat
sinks and many other advantages.
Processor
Direct
Switch
High Quality,
Wide-Range
Power Amplifier
8-Ch High
Output Power
• Main L
• Centre
• Main R
• Rear L
• Rear Centre
• Rear R
• Front Effect L
• Front Effect R
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Digital ToP-ART
1
High Performance Digital Circuitry
Positioned between the DSP circuitry and the power
amplifier stage, the High Performance Digital Circuitry
makes a large contribution to the DSP-AZ1’s outstanding
audio performance. It exemplifies the Digital ToP-ART
concept of maximizing the quality of the digital circuitry
while minimizing analog circuitry, and also adheres to the
ToP-ART philosophy of logical, straight-line circuit layout for
optimum signal purity. Yamaha’s superior LSI technology as
well as our long experience in designing both home and
professional audio circuit boards are responsible for the
high performance and reliability of this circuit. It is
composed of a DAC block, a volume control block and the
Processor Direct circuitry.
Superior Digital-to-Analogue Converter System
For the important digital-to-analogue converters, Yamaha
has chosen the PCM1704 manufactured by the high-end
audio expert, Burr-Brown. The DSP-AZ1 uses 10 of these
DACs, for the eight main channels and the two subwoofer
outputs. The PCM1704 is a high-performance, precision
24-bit BiCMOS Sign-Magnitude DAC with ultra-low
distortion of only 0.0008% (K-grade THD + N) and S/N
ratio of 120dB. It offers superior low level linearity, with
excellent full-scale performance under varying operating
conditions. Its major benefit is performing accurate sound
field reproduction for high quality multi-channel
reproduction such as Dolby Digital and DTS. For twochannel stereo, the PCM1704 provides outstanding
separation and accurate musical delineation. An additional
advantage is its 192kHz/24-bit conversion capability,
making it compatible with the latest (and future) high
resolution digital audio sources.
Digitally Regulated Volume Control
Digital volume controls have become popular in home
audio products, but for various reasons, analogue is the
better choice for this key component. Yamaha has
combined the best of both by designing a high precision
digital device (Crystal Semiconductor CS3310 LSIs) that
controls an analogue signal. This provides two benefits.
First, a digitally controlled device is more accurate for
balancing levels between channels and offers much finer
The elegantly designed, compact processing board ensures
optimum performance for multi-channel audio sources. It has a
fully shielded cabinet to prevent interference.
control than an analog device. In the DSP-AZ1, the control
range is from 0dB to -99dB in extremely accurate 0.5dB
steps throughout the entire range, with negligible gang
error. This wide range and narrow steps mean that greater
attenuation is possible, with precision even at low volume
levels. Second, an analogue volume control permits good
signal resolution of very low signal levels. This is important
for subtle signals that are often masked by louder signals
and are not resolved as clearly.
The DSP-AZ1 also features an improved rotary knob
axis that provides a superior tactile sensation as the knob
is turned. Finally, the selected volume level and a bar
graph display are both shown on the front panel display
and the on-screen display.
Processor Direct Switch
The DSP-AZ1 has a Processor Direct Switch that when
engaged, provides a direct signal connection between the
processor board and the power amplifier section. As a
result, the regulated digital volume device avoids the wiring
on the circuit board, thus bypassing all control circuits.
This shortens the signal path, feeding the pure, robust
signal directly to the eight amplification channels for
cleaner, more efficient operation and higher quality sound.
Burr-Brown 192 kHz/24 Bit PCM1704 DAC Systems Highly Reliable Relay Device
High-Quality Digital Volume Devices (Crystal
Semiconductor CS3310 LSIs)
5/24 (G/B)
(for Processor Direct Switch)
Digital ToP-ART
2
44-Bit High-Density Cinema DSP Circuitry
With CINEMA DSP, Yamaha has raised digital sound field
processing to the state of fine art. This proprietary
technology gives movies much greater impact in your
home theater, affording all the realism, excitement and
nuance that the director intended to convey.
44-Bit CINEMA DSP
The DSP-AZ1 utilizes a 44-bit DSP LSI, the Yamaha
YSS-910. This powerful computer offers extremely precise
calculation of signal data — each additional bit provides
twice the resolution and half the distortion — meaning it
can resolve subtle audio nuances that bring the listening
experience closer to reality than to reproduction. Two
YSS-910s are used, one for processing sound fields, the
other for processing SILENT CINEMA,
Virtual CINEMA DSP and system
configurations (controlling system
parameters digitally reduces noise and
improves precision). Because two are
used, each is able to operate at higher
speeds and with greater precision. The
circuitry also includes the supremely
accurate.
What's more, the YSS-910 provides
accurate synchronization of images and sound, known as
"lip-sync." Most audio LSIs do not have the necessary
speed and precision to handle this, but with the YSS-910,
not only has accurate lip-sync been achieved, but its
YSS-910 44-Bit
DSP LSI
parameters can be adjusted by the user.
Advanced Decoding Circuitry Including Yamaha’s
Exclusive YSS-938 32-Bit Floating Point
Quantization LSI
The decoding circuitry performs Dolby Pro Logic II, Dolby
Digital, Dolby Digital EX, DTS Digital Surround, DTS-ES,
DTS-ES Matrix 6.1, DTS-ES 6.1 Discrete, DTS 96/24, and
DTS Neo:6 decoding with extreme
accuracy, as well as all digital sound
field processing. It also outperforms
other systems in the precise
synchronization of images and sound.
Its low 3V power consumption
minimizes digital noise.
The YSS-938 is without a doubt the
most powerful and sophisticated audio
LSI ever created.
YSS-938 32-Bit
Floating Point
Quantization LSI
DSP-AZ1 Digital Home Cinema Amplifier
6/24 (G/B)
Tri-Field and Quad-Field CINEMA DSP
Tri-Field CINEMA DSP projects three sound fields into the
home cinema, resulting in a powerfully realistic threedimensional soundscape for 5.1 channel sound. QuadField CINEMA DSP adds an additional rear center sound
field, allowing enjoyment of 6.1-channel movie sound
formats. See pages 12-19 for detailed information.
Vision’s
stated that, “with suitably subtle settings in the Village Gate
mode, the (jazz) CD sounded exceptionally natural, with
well-placed ambience and remarkably cohesive, threedimensional timbres. In fact, it was among the most
realistic reproductions of nightclub jazz piano that I’ve ever
heard. Cool!” (More details on pages 18, 19 and 23.)
review of the DSP-AZ1, for example, the reviewer
Optimum Space Utilization
The use of highly integrated LSIs allows an interior design
that maximizes power and sound quality by positioning all
the digital processors and related circuitry in one small
area. This leaves most of the space open for the power
amplifier components: transformers, capacitors, heat sink
and so on. This means that these parts can be much larger
than usual for greater power, that they can be separated
for minimum chance of interference, and that circuits can
be arranged in straight lines for maximum signal purity.
Wide Choice of Surround Sound Programs
The DSP-AZ1 lets users select from 42 surround
programmes which include a total of 62 variations. These
are divided into HiFi (music) and CINEMA DSP (movie)
programmes. Users can choose them according to the
type of music or movie they are listening to, and can also
have fun experimenting with various combinations (rock
music in a church, for example).
What’s more, each of these programmes has a number
of parameters that can be “fine-tuned” to bring out the best
of a CD or movie soundtrack. This capability is often cited
in reviews as a distinct Yamaha advantage. In
CINEMA DSP Can Handle Everything from Monaural to 6.1 Channel Formats
CINEMA DSP Can Handle Everything from Monaural to 6.1 Channel Formats
Sound &
Auto Priority Input Terminal Selection and Auto
Decoder Selection
The DSP-AZ1 input terminals will handle any kind of input
signal. According to the type of signal, terminals are
selected in priority order of RF (AC-3), coaxial digital,
optical digital and analogue. Furthermore, according to the
type of movie sound format, the proper decoder and
surround sound programme are automatically selected. For
example, if the Movie Theater Sci-Fi programme is selected
and the input is a DTS-ES signal, the DTS-ES decoder is
automatically engaged and the program switches to Movie
Theater DTS-ES Sci-Fi.
SILENT CINEMA and Virtual CINEMA DSP
CINEMA DSP technology has enabled Yamaha to provide
two additional surround sound listening options with the
DSP-AZ1. A SILENT CINEMA mode offers the surround
sound feeling of multi-channel music or movie sources
through ordinary headphones, while Virtual CINEMA DSP
lets listeners enjoy the effects of
CINEMA DSP surround sound
without using rear speakers. (More
details on page 13/14.)
Sources
Terminals
Automatic
CD, CD-R, Phono, MD and Tape VCR, D-TV, LD*, Cable TV, Satellite and DVD
Analogue Coaxial DigitalOptical Digital
Auto Priority Input Terminal Selection
Selection
Auto Surround Decoder Selection
Surround
Formats
Mono Stereo
Dolby
Pro-Logic
Dolby Digital
DTS Digital Surround
(5.1-Ch Formats)
Dolby Digital EX
DTS-ES
(6.1-Ch Formats)
YAMAHA CINEMA DSP
Surround
Images
Duo-Field CINEMA DSP
* With LD player connected to RF (AC-3) terminal, this signal has first priority.
䢇 Some DVD discs do not have 6.1-channel sound format data, so Auto selection does not operate. In this case,
use the EX/ES button on the remote control, which allows selection of Discrete 6.1, Matrix 6.1 or Off.
Tri-Field CINEMA DSP
Quad-Field CINEMA DSP
Priority
7/24 (G/B)
Digital ToP-ART
3
High Quality, Wide-Range Power Amplifier Section
The DSP-AZ1 is designed to deliver the full impact and
dynamism of movies by supplying generous amounts of
power (including bass power!). That’s why despite all the
digital processing magic, it is first and foremost a powerful
receiver. By drawing on our long years of amplifier
expertise (we’ve created some of the world’s legendary
power amps and preamps) and refusing to make any
compromises on quality, we’ve endowed the DSP-AZ1 with
awesome capabilities. It incorporates a powerful 8-channel
amplifier with high dynamic power and sophisticated
circuitry like linear damping.
Total Low-Impedance Design
All current signal paths, from the power supply to the
power amplifier to the speaker drive circuits, utilize a lowimpedance design. This improves the separation
characteristics among multi-channels and allows the use of
a wider variety of low-impedance speakers.
8-Channel High Power,
Discrete Amplifier Configuration
The DSP-AZ1 will deliver as much as 130W (RMS) of power
at a negligible 0.015% distortion to each of six channels
(two main, two rear, one centre and one rear centre). Plus
45W to each of the two front effect channels. This is more
than enough to fill even the largest rooms with vibrant
music and Richter-scale sound effects.
High Dynamic Power Capability
The DSP-AZ1 is capable of delivering large amounts of
reserve power for accurate reproduction of the high energy
peaks that are especially prevalent in digital audio sources.
This emphasizes the music’s dynamic qualities and
provides a sharper sound image.
Damping Factor Characteristics
Linear Damping
Yamaha’s Linear Damping maintains a high, stable damping
factor even at frequencies from 10 to 20 kHz, where it
generally tends to fall off. The result is superior articulation of
all sounds.
Ultra-heavy-duty chassis with two large, anti-resonance, aluminiumextruded, naturally cooled anodized heat sinks.
Linear Damping (Main L/R and Centre Channels)
Level variations due to high amp impedance tend to
reduce an amplifier’s damping factor, and frequency
variations cause it to fluctuate. This circuit cancels the
effect of these variations, maintaining a high, stable
damping factor, for superior articulation of all sounds and
better frequency response.
Anti-Vibration, Anti-Resonance Chassis and
1.6mm ToP-ART Base
Supporting the heavy heat sinks, transformer, and circuit
board is Yamaha’s 1.6mm ToP-ART base, which has
exceptional anti-resonance and damping characteristics.
Beneath this base is the bottom of amplifier, part of the
heavy chassis which is also designed for maximum
vibration damping.
Naturally Cooled Anodized Heat Sinks
The two large, anti-resonance, aluminium-extruded,
naturally cooled heat sinks undergo black anodization
processing to ensure maximum heat dissipation efficiency.
They are located on the base frame with the power
amplifier circuit boards to prevent interference with the
preamplifier and digital processing sections. The fact that
they are naturally cooled means that they are so efficiently
designed that a fan is not necessary for cooling. The
power block is equipped with a fan, but it is only used for
extreme heat build-up and is not activated during normal
operation, preventing the occurrence of even the slightest
unwanted noise.
8/24 (G/B)
DSP-AZ1 Digital Home Cinema Amplifier
Every Internal Component Is a Top Performer
— And It Makes a Difference!
In order to realize the goals of massive power and
superlative sound quality, Yamaha technicians completely
re-evaluated all the parts used in previous amplifiers. As a
result, many were replaced with more expensive or
custom-designed units.
䢇 Extra-Large Custom-Made Block Electrolytic
Capacitors
Developed specifically for the DSP-AZ1, the 27,000µF
block electrolytic capacitors use low-magnification foil and
are exceptionally high quality.
䢇 Extra-Large (9.8kg), Low-Impedance Transformer
The massive power supply transformer has a new core
material and improved design, allowing it to output 200VA,
20% higher than the previous model. Cables have been
upgraded from 22-gauge to 20-gauge.
䢇 Wire-Wrapped Connectors
The connectors from jumper cables to PCB, transformer,
etc, are wire-wrapped, as shown in the photo. This takes a
great deal of effort (so much, in fact, that Yamaha is the
only manufacturer who does it), but provides much greater
signal reliability.
harmonics of these frequencies go much higher, and
reproducing them enhances overall tonality and musicality.
This also means that the DSP-AZ1 will perform superbly
with the next generation of wider range digital audio
products such as DVD-Audio and SACD.
䢇 Schottky Barrier Diodes
Low forward voltage drop and fast switching make these
diodes ideal for fast switching applications, contributing to
the high S/N ratio.
䢇 Twin Direct Signal Path Speaker Relays
Speaker switching is accomplished by relays right in front
of the speaker terminals, rather than at the switch position.
This results in a shorter signal path and minimum output
impedance.
䢇 High Quality Printed Circuit Board
The printed circuit board is made of new material and has
impedance-reducing extra-thick 70µm copper foil to
maintain high signal quality.
䢇 Inlet-Type Power Cable
The inlet-type power cable is separate, rather than
attached to the unit. It is a thicker type (16-gauge) than
ordinary power cables, for higher power handling capacity.
䢇 FE Mica Capacitors and Metallic Mylar Film
Capacitors
At this level of sound quality, even these small parts make
a difference. The high precision FE mica and metallic mylar
film capacitors use polypropylene material and are the
highest performance types on the market.
䢇 Thick PC Board Wiring with 1.6mm φ Copper Jumper
Cables
The audio signal is routed within the amplifier through
exceptionally thick, top quality wire, ensuring that signal
purity is maintained.
䢇 Improved Preamplifier Power Supply
䢇 High Performance Power Transistors
Superior power transistors, upgraded from 150W in the
DSP-AV1 to 180W, enable the DSP-AZ1 to achieve a wide
bandwidth with frequency response extending to 100kHz.
Although human hearing only extends to about 20kHz, the
156
(1) Extra-Large Custom-Made Block Electrolytic Capacitors, (2) Wire-Wrapped Connectors, (3) FE Mica Capacitors and Polypropylene Film
Capacitors Using Copper Foil, (4) High Performance Power Transistors, (5) High Sound Quality Schottky Barrier Diodes, (6) Twin Direct Signal
Path Speaker Relays and (7) Inlet-Type Power Ter minal
A large capacity, stable-voltage preamplifier power supply
with an extra-large heat sink ensures rock-steady operation
for analogue and digital signal processing and video
signals. And with no interference from the power amplifier
section, this power supply is unaffected by noise.
234
7
9/24 (G/B)
All the A/V Connections Needed for the Present and Into the Future!
Plus a Host of Convenient Features.
Full Complement of Input/Output Terminals
The rear panel provides input terminals for all audio and
video sources, as well as those for future digital
broadcasting such as Digital TV, Cable TV and Satellite
Digital TV. All digital inputs are designed to be compatible
with the 96kHz format (coaxial inputs are 192kHz
compatible). All A/V input terminals are equipped with Svideo terminals. In addition, RCA pin jacks allow switching
to component video to achieve higher picture quality. The
Ready for Custom Installation
As befits a high performance home cinema amplifier, the
DSP-AZ1 is ideal for use in custom installations. It is
equipped with an RS-232C interface that allows two-way
communication between the amplifier and a touch-pad
controller. It provides interactive control functions that are
more versatile than that of an ordinary remote control, and
has Zone 2 output that enables multi-room control
capability. It also provides +12V trigger output.
changeover device for the component video signal uses
reliable relay connectors and does not go through the
amplifier section in order to avoid any deterioration of
picture quality.
There are also two video monitor output terminals, so
the unit can be connected to both a TV monitor and a
projector (projection TV) simultaneously (the Component
Video Monitor Out signal is HDTV compatible).
DSP-AZ1 Inputs and Outputs
PHONO 䡲 䡲䡲
TUNER 䡲 䡲䡲
CD 䡲 䡵䡵䡲
CD-R 䡲䡲䡲 䡵䡵
MD/TAPE 䡲䡲䡲䡲䡵
DVD 䡲 䡵䡵䡲 䡲䡲䡵
D-TV/LD 䡲 䡲 䡵 䡲 䡲䡲䡵
LD 䡵
CABLE 䡲 䡵䡵䡲 䡲䡲䡲
SAT 䡲 䡲 䡵 䡲 䡲䡲䡵
VCR 1 䡲䡲䡲䡲䡲䡲䡲䡲䡲䡲
VCR 2 䡲䡲䡲䡲䡲䡲䡲䡲䡲䡲
VCR 3/DVR 䡲䡲䡲 䡵 䡲 䡲䡲䡲䡲䡲
VIDEO AUX 䡲䡲䡲䡲䡲
MONITOR Out 䡲䡲䡲
ZONE 2 Out 䡲䡲
Fixed (䡲), Fixed/Assignable (䡵) and Assignable (䡲) Terminals.
Analog Digital Video
Coaxial Optical Composite S Video
InOutInOutInOutInOutInOutInOut
RF (AC-3)
Mono/Split Subwoofer Output Terminals
5.1 and 6.1 channel sound formats include an LFE (Low
Frequency Effect) channel, an important factor in adequate
reproduction of low frequencies. The DSP-AZ1 offers Mono
and Split Subwoofer Output terminals, and the low
frequencies of channels programmed by the speaker mode
programming function can be output from the subwoofer.
Extensive Connections for
System Building
䡲 7 Optical and 3 Coaxial Digital
Input Terminals (fixed and
assignable except front panel
Video Aux), and 1 RF (AC-3)
Input Terminal which can also
be used as a Coaxial (fixed and
assignable) Terminal
䡲 2 Optical Output Terminals
(fixed and assignable)
䡲 3 Component Video Input
Terminals (fixed and assignable)
and 1 Component Video Monitor
Output Terminal
䡲 8 A/V (with S-Video terminals)
and 5 Audio Input Terminals
䡲 3 A/V(with S-Video terminals)
and 2 Audio Output Terminals
䡲 6-Channel External Decoder
Input Terminals for Future Sound
Formats
Component Video
䡲 Pre-Main, Center and Front
Effect Couplers, and Rear and
Rear Center Preout Terminals
䡲 Custom Installation Compatibility
•Zone 2 Out
•IR Port
•Control Out (+12 V Trigger Out)
•RS-232C Interface
䡲 Upgrade Capability (through
RS-232C Interface) for Future
Sound Formats and Software
10/24 (G/B)
Oil-Damped Hidden Control Panel
Front Panel Aux Input Terminals with Optical Digital and S-Video
Terminals: Auxiliary terminals with optical digital input make it
convenient to connect a digital game machine so you can enjoy DVD
games and movies.
Subwoofer level is easily adjusted with a test tone.
Total Convenience
A comprehensive On-Screen Display with a convenient Set
Menu allows selection and adjustment of a wide variety of
functions. It even includes a speaker display that makes it
easier to balance speaker output in the Speaker Test
Mode. DSP programmes can be selected with the remote
control so the listener can compare the effects from the
listening position.
Rec Out Selector
The audio or video source can be recorded on VCR 1, 2 or
3 or CD-R or MD/Tape. By using the Rec Out Selector, a
popular Yamaha feature, users can record a different
source from the one they are listening to.
HDTV Compatible Component Video Out
The frequency response of the Component Video Monitor
Out signal is DC—100MHz, making it compatible with
HDTV monitors.
Fixed and Assignable Terminals
Yamaha offers terminals that can be either independently
assigned to sources or defaulted to fixed settings.
Bass Extension
Turn the bass extension switch on to provide +6dB boost
to the main speakers’ low end centred at 60Hz.
Frequencies under 50Hz
Bass Extension Characteristics
will be cut by 12dB/oct.
to prevent overdrive.
DSP-AZ1 Digital Home Cinema Amplifier
Direct-Access Remote Control Unit
Is Easy to Understand and Operate
The DSP-AZ1 comes supplied with a powerful remote
control that puts you in complete command of its many
functions — and those of other components as well.
Compatible with most brands of audio and video
equipment, it has extensive learning capability (up to
563 keys) and a very large memory capacity (up to 150
keys when only Yamaha codes are used). It also comes
pre-encoded with many television and component
codes. A five-character LCD window identifies source
selection and other useful information.
When using this remote, the operation buttons in
the component control area have different functions for
each type of component in the system. Any component
can be controlled by pressing its respective input button,
whereupon the LCD window will show the name of the
input. A unique “rename” function allows each input to
be renamed with up to five characters. For easier
operation in low light situations, the LCD and control
keys functional with the chosen component can be
backlit.
The unit also includes separate keys for TV power,
volume, input and channel selection. Other frequently
used functions are easily accessible on the front, while
lesser used keys are
located under the sliding
panel at the bottom.
Another interesting and
useful feature is the ability
to programme the unit with
multi-command functions,
or Macros, that can be
initiated with a single
touch. 15 different Macro
sequences can be input,
with a maximum of 10
commands per Macro,
enough for extensive
control of very
sophisticated systems.
Despite all this
“power,” the remote
control consumes very
little electricity. Unlike
other remotes with LCD
displays, it was designed
for very low power
consumption and won’t
wear out batteries at a
rapid pace.
11/24 (G/B)
Yamaha CINEMA DSP for Home Cinema:
Dramatically Different Than Other Systems.
There’s simply nothing else like it.
Only Yamaha Digital Home Cinema can provide an audio
experience that not only sounds like a theatre, but actually
sounds better than some theatres. The reason is CINEMA
DSP, a unique technology that enables movies to be heard
with the same degree of realism and impact that the
directors and sound engineers intended. Not only is the
surround sound field larger, deeper and richer, but it is not
necessary to adjust speaker placement. CINEMA DSP
brings out the full potential of all movie sound formats,
including the newest ones, and even selects the correct
format automatically. Extensive listening tests have
confirmed that it is simply the best system for enjoying
home theater sound.
Going Beyond Conventional Multi-Channel Systems
Conventional 5.1 and 6.1 channel audio reproduction
systems base their sound on Dolby Digital and DTS
decoding, using matrix and steering technologies to create
surround sound effects. Yamaha CINEMA DSP is much
more advanced, actually creating richly realized
independent sound fields that merge to envelop you in an
unmatched surround sound experience. With dialogue,
music and effects from the presence (front) and rear sound
fields (plus rear centre with 6.1-channel Quad-Field
CINEMA DSP), it will seem as if the walls of your room have
disappeared and you are in the middle of your own
immense theatre!
Conventional 5.1-Channel/
6.1-Channel System
Two Unique Yamaha Features Made Possible by CINEMA DSP
SILENT CINEMA: Enjoy Movies Without
Disturbing Others.
The SILENT CINEMA mode allows private
listening enjoyment of multi-channel music or
movie sound, including Dolby Digital and
DTS Digital Surround, through ordinary
headphones. Yamaha DSP and HRTF technology (explained
on right) make it possible.
All the listener needs
to do is connect a pair of
headphones to the
DSP-AZ1 and they will
enjoy an accurate
simulation of 5.1-channel
surround sound in
complete privacy. They
can even select from
SILENT CINEMA Sound Field Imaging
12/24 (G/B)
among the many CINEMA and HiFi DSP programmes to vary
the sound field. Ideal for late night listening when you don’t
want to disturb others, or if other noises are disturbing you.
Virtual CINEMA DSP: Surround Sound from
Only Two Speakers.
Virtual CINEMA DSP, like SILENT CINEMA, is based on HRTF
technology, and also
employs aggressive
crosstalk cancellation
technology. With just two
left and right speakers,
Virtual CINEMA DSP will
create virtual rear
left/centre/right speakers,
giving listeners the
sense of being in a full-
Virtual CINEMA DSP Sound Field Imaging
Quad-Field CINEMA DSP
L
RL
RR
C
R
RL RC
RR
L
C
R
Rear Left
Surround/Effect
Sound Field
Rear Centre
Surround/Effect
Sound Field
Presence (Front)
Sound Field
Surround/Effect
Music
Dialogue
Rear Right
Surround/Effect
Sound Field
scale surround sound field. So even in rooms with no space
for rear speakers, they can enjoy the full effects of Dolby
Digital and DTS movie sound formats. If the system includes
a centre speaker, Virtual CINEMA DSP will provide the rear
channel sound.
HRTF (Head-Related Transfer Functions) Technology
Transfer functions refer to the transmission of sound to the
ears and between the external ears and eardrums. Headrelated refers to the method of measuring transfer functions
by placing clinical probe microphones in the ear channels of
people in anechoic chambers and recording measurements
at many positions around their heads.
Using these “HRTF maps,” Yamaha engineers were able
to direct sound into the ears via headphones that accurately
reproduces speaker sound from various directions. This is
the basis of SILENT CINEMA.
Virtual CINEMA DSP is also based on HRTF, and
employs aggressive crosstalk cancellation technology. In
essence, the crosstalk signals from the left speaker to the
right ear and vice-versa are cancelled and replaced by new
signals that simulate rear speakers. Thus you perceive
surround sound without actually having rear speakers.
SILENT CINEMA Principle Virtual CINEMA DSP Principle
13/24 (G/B)
The Basics of CINEMA DSP:
How It Turns a Home Into What Can Truly Be Called a Theatre.
Movie Surround Formats
A good movie soundtrack is a complex interplay of sound
fields: the actors’ voices clearly fixed on the screen, the
sound effects positioned according to where they would be
if the audience was in the middle of the scene, and the
music enveloping the audience in a natural manner. The
soundtrack is “designed” in a dubbing theatre that has
sound mixing and movie screening equipment, and
encoded with one or more of the movie sound formats (see
Brief Guide to Movie Sound Formats).
Movie Theater Sound Versus Home Theater Sound
However, even though the sound formats using Dolby and
DTS technology improve sound localization, movement and
other factors, they cannot provide the same sense of
“presence” and “realism” obtained in a movie theatre.
The major difference between a movie theatre and a
home entertainment room is of course, the size. If theatre
sound was reproduced with no modification in a home,
there would be a big difference in the feeling of scale.
Another difference is in the number and positioning of the
speakers. In a movie theatre, the sound is designed so that
it can be accurately reproduced using numerous speakers
embedded in the left, right and rear walls and positioned
so that they emphasize the relationship between sound
from the screen and from each channel. This provides a
more uniform quantity of sound to the wide audience area.
The overwhelming advantage of CINEMA DSP is that it
complements and expands the Dolby- and DTS-processed
sound to overcome the differences in facilities, acoustics
Movie
Theatre
Home
Cinema
䢇 Comparison of Movie Sound Formats
Surround Formats Dolby Pro Logic Dolby Digital Dolby Digital EX DTS Digital Surround DTS-ES DTS 96/24
Media DVD, VCR, TV, LD, CD DVD, LD DVD, LD DVD, LD, CD DVD DVD
Reproduction Channels 4 Channels 1 — 5.1 Channels 6.1 Channels 5.1 Channels 6.1 Channels 5.1 (6.1) Channels
Channel Configuration Surround Left Surround, Right Left Surround, Centre Left Surround, Right Left Surround, Centre Left Surround, Right
Encode System Matrix AC-3 (Digital) AC-3 (Digital) Coherent Acoustics Coherent Acoustics Coherent Acoustics
Sound Process Matrix Discrete Discrete and Matrix Discrete Discrete and/or Matrix
Frequency Response (Front) 20–20,000 Hz 20–20,000 Hz 20–20,000 Hz 20–20,000 Hz 20–20,000 Hz 20–40,000 Hz
Frequency Response (Rear) 100–7,000 Hz 20–20,000 Hz 20–20,000 Hz 20–20,000 Hz 20–20,000 Hz 20–40,000 Hz
Resolution Ratio 20 Bit 20 Bit 20 Bit 20 Bit 24 Bit
Sampling Frequency 48 kHz 48 kHz 48 kHz (LD/CD: 44.1 kHz) 48 kHz (LD/CD: 44.1 kHz) 96 kHz
Conversion Rate (CD/LD) 348 kbps (LD) 348 mkbps (LD) 1,411 kbps 1,411 kbps 1,411 kbps
Conversion Rate (DVD) 448 kbps 448 kbps 1,536 kbps 1,536 kbps 1,536 kbps
Remarks Centre surround signal is
Left, Center, Right and Left, Centre, Right, Left, Centre, Right, Left, Centre, Right, Left, Centre, Right, Left, Centre, Right,
Surround and LFE Surround Right Surround Surround and LFE Surround, Right Surround Surround and LFE
(Low Frequency Effect) and LFE (Low Frequency Effect) and LFE (Low Frequency Effect)
Discrete (Discrete and Matrix)
matrix processing.
Centre surround signal is
discrete or matrix processing
14/24 (G/B)
and dimensions between movie theatres and home
listening rooms. In other words, it is able to preserve the
localization and directionality of the sound track as it was
created by the movie sound designer, while creating a
soundscape that gives the sensation of being as expansive
as in a theatre.
Further, with surround sound programs specifically
designed to match certain movie genres, the sound can
actually be a more accurate reflection of what the director
and sound engineer intended listeners to hear.
Sound Field Measurement and Analysis
There are three basic sound source directions as seen
from the listening position: the front direction, the left rear
direction and the right rear direction. In developing its
surround sound programmes, Yamaha used proprietary
techniques perfected over the years to measure the virtual
sound sources in these three directions: the sound field
created by the center speaker, representing the front
direction, and the two sound fields made by each of the
multiple surround speakers in the left and right rear
directions.
These are shown in the illustration: Virtual Sound
Source Distribution in a Dubbing Theatre. Each diagram for
the virtual sound sources in the three sound fields shows a
completely different pattern of distribution. The effects of
the multiple surround speakers on the wall surfaces are
observed in the right and left surround channel sound
fields. Each of these three sound fields is treated
independently, providing the ideal digital sound processing
for the various Dolby and DTS sound formats.
Virtual Sound Source
Distribution in a Dubbing Theatre
Movie theatre speakers are separated into three
groups: behind of the screen, the left surround (from
the left side to the rear of the theater) and right
surround (from the right side to the rear of the theatre).
Presence Surround
Sound Field
Left Surround
Sound Field
Right Surround
Sound Field
Brief Guide to Movie Sound Formats
䢇 Dolby Pro-Logic
Dolby Lab’s basic 4-channel format, widely used in ordinary theatres
and for home videos.
䢇 Dolby Pro Logic II
Improved version of Dolby Pro-Logic for music and movies. With a
more intelligent matrix decoder, it is suitable for both stereo and
surround-encoded sources. It offers “bass management” as well as
the option of incorporating “width,” “dimension” and “panorama”
controls.
䢇 Dolby Digital
The most popular 5.1-channel home cinema sound system. An
improvement over Dolby Pro-Logic in that it offers: 1) Full frequency
response in all channels (3Hz — 20kHz), 2) discrete surround
channels, and 3) a separate track for bass only, called the Low
Frequency Effects channel.
䢇 Dolby Digital EX
Dolby's latest surround format, this is Dolby Digital with an added
centre rear channel. The rear centre channel is actually matrixed into
the two rear channels, and is extracted upon playback. (Formerly
called Dolby Digital Surround EX, or Dolby Digital Matrix 6.1.)
15/24 (G/B)
䢇 DTS Digital Surround
The basic DTS 5.1 channel sound format. Uses a higher data rate
than Dolby Digital.
䢇 DTS-ES Matrix 6.1
Very similar to Dolby Digital EX. Uses a different rear centre channel
decoding method.
䢇 DTS-ES Discrete 6.1
DTS-ES uses its large bandwidth to provide a fully discrete rear
centre channel, as opposed to a matrixed one.
䢇 DTS Neo:6
Provides 5.1 or 6.1 channels of matrix decoding from stereo matrix
material. Also decodes Extended Surround matrix soundtracks and
has a Music mode to expand stereo non-matrix recordings to 5.1 or
6.1 channels.
䢇 DTS 96/24
Delivers 96kHz/24-bit high resolution audio for 5.1 channel surround
sound on DVD discs. The benefits are greater bit depths for
extended dynamic range and high sampling rates for wider
frequency response.
Tri-Field CINEMA DSP:
Creating Realistic Cinema Sound
Presence Sound Field
Rear Left
Surround
Sound Field
Music
Surround/
Effect
Dialogue
Rear Right
Surround
Sound Field
䢇 Tri-Field CINEMA DSP Sound Field Imaging
Three Discrete Sound Fields
Utilizing the extensive data accumulated from acoustic
testing and from working closely with movie sound
technicians, the Tri-Field CINEMA DSP system creates
three discrete (independent) sound fields. A Presence
sound field locates the dialogue from the actors on the
screen and also provides front sound effects and music,
and two stereo Surround sound fields (left rear and right
rear) produce a large-scale sound environment with a
three-dimensional feeling of depth and properly positioned
sound sources.
Software Is the Secret of Our Success
Although the DSP-AZ1 does use the world’s most
sophisticated audio LSIs (described on page 6), the true
secret of the success of Tri-Field CINEMA DSP lies in
Yamaha’s outstanding sound field software, that is, the
digital processing of the data that is programmed into the
chips. This is where Yamaha’s expertise in music,
acoustics, and the manufacture of consumer and
professional audio equipment comes into play. The
overwhelming sense of realism is due to fact that data from
real sound fields is used (performance venues and the
dubbing theatres that movie sound technicians use),
processed in ways that only Yamaha can achieve.
In a movie theatre, the large space serves to enhance
the realism and draw the viewer into the film, and ideally, a
home cinema should provide the same experience. Other
systems, however, can only give you the sense of watching
from the outside, whereas with Tri-Field CINEMA DSP, you
feel as though you are actually INSIDE the scene.
Two More CINEMA DSP Benefits
One of the main advantages of CINEMA DSP is the large
choice of sound field programmes that Yamaha has
developed. These are designed to match specific movie
sound formats, types of movies, and other sources. They
include several multimedia modes for television shows,
concert videos, sporting events and video games. (See
pages 18-19.)
Another benefit is that unlike other home cinema
systems, the full sonic potential of CINEMA DSP is realized
in rooms of any size and shape. Performance is not
dependent upon the acoustic character or quality of the
room, because all processing is done electronically by
sophisticated microprocessors, not by using the rear or
side walls to reflect sounds.
CINEMA DSP’s Sound Field Processing System
(Dolby Digital/DTS Digital Surround Sources)
1. Left, Centre and Right sounds are directly output to
individual channels as sound sources.
2. L, C, and R signals are modified, mixed, then subjected to
presence 4-channel DSP sound field processing.
DIGITAL
Dolby Digital
DTS
Decoder
L
C
R
LS
RS
LFE
L+C+R
M I X
FL
PRESENCE
4ch DSP
L SURROUND
4ch DSP
R SURROUND
4ch DSP
FR
RL
RR
FL
FR
RL
RR
FL
FR
RL
RR
M
E
R
G
E
L
C
R
LFE (SW
FL
FR
RL
RR
)
1. Decode
16/24 (G/B)
3. LS and RS signals are subjected to left-surround and rightsurround 4-channel DSP sound field processing, respectively.
4. The presence sound field and left/right surround sound fields
are merged, and the data from these sound fields is output
from four effects speakers.
5. The outputs may further undergo reverberation processing.
2.Presence
Sound Field
5.Merge
3.Left Surround
Sound Field
4.Right Surround
Sound Field
Quad-Field CINEMA DSP:
The Best Way to Enjoy 6.1 Channel Sound
Presence Sound Field
Rear Left
Surround
Sound Field
Rear CentRE
Surround
Sound Field
Music
Dialogue
Surround/
Effect
Rear Right
Surround
Sound Field
䢇 Quad-Field CINEMA DSP Sound Field Imaging
The DSP-AZ1 is equipped to handle all existing movie sound
formats, including the latest digital surround formats with a rear
centRE channel. The block diagram shows the circuitry that
makes this possible.
Encoding Stage
A 6.1 channel dubbing theatre is used for mixing the
soundtrack for 6.1 channel movie sound production. A matrix
encoder is used to encode the left and right surround signals
with the rear centre channel, after which encoding is done by
the Dolby Digital or DTS encoders.
DVD Disc Preparation
If the DVD disc was created using the 6.1 channel matrix
encoding process, 6.1 channels of sound will be reproduced
upon playback, provided that there is a matrix decoder in the
rear channels and a sixth channel of amplification. The
DSP-AZ1 has the matrix decoder built-in and 6 channels of
amplification, ensuring full enjoyment of all Dolby Digital and
DTS-encoded movies.
Dolby Digital EX/DTS-ES Decoding
The audio signal is first decoded to 5.1 channels, then the rear
centre channel is derived from the left and right channels by the
matrix decoder. The sixth channel of sound has the same full
frequency response as the other channels, except the LFE.
When a disc encoded with rear centre channel information is
detected, the 6.1 Matrix Auto function automatically activates
the matrix decoder. However, enjoyment of 6.1 sound is not
limited to the playing of specially encoded discs. Most 5.1
channel encoded discs contain information in the surround
channels that can be extracted to provide a rear centre channel.
Thus, even DVD discs that are encoded with only 5.1 channels
of sound can reproduce rear centre channel sound by manually
activating the matrix decoder. DTS-ES 6.1 Discrete decoding
also takes place in this stage.
Quad-Field CINEMA DSP Processing
After Dolby/DTS decoding, the signals are processed by the
Quad-Field CINEMA DSP processor, bringing out the full
benefits of 6.1 channel sound, including a superior sense of
front to rear depth and soundstaging.
Dolby Digital Surround EX
and DTS-ES Movie Theatre
The rear left and rear right
channels are matrix decoded
to create a centre surround
channel, which is output from
center speakers installed in
the rear.
Left Surround
Centre Surround
Right Surround
Dubbing Stage
C
R
L
LFE
LS
BS
RS
Dolby Digital Surround
EX/DTS-ES Encoding
Encoder
Matrix Encoder
-3dB
Dolby
Digital
&
DTS
DVD Disc
Preparation
Movie
Soundtrack
DVD
Dolby Digital Surround EX/DTS-ES Movie Sound
Production and Home Cinema Reproduction
17/24 (G/B)
Dolby Digital EX
DTS-ES Decoding
Decoder
Dolby
Digital &
DTS
RL
RR
Matrix
Decoder
Quad-Field CINEMA DSP
Processing (YSS-910)
L
C
R
RL
RC
RR
LFE
MIX
Presence 4 Ch DSP
L Sur. 4 Ch DSP
R Centre 4 Ch DSP
L Sur. 4 Ch DSP
Merge
L
C
R
RL
RC
RR
LFE
FL
FR
Listeners Can Choose from a
Wide Variety of Sound Field Programmes
MOVIE THEATER 1
Stereo Input
(70mm Spectacle)
5.1-Channel Input
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
Stereo Input
(70mm Sci-fi)
5.1-Channel Input
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
Spectacle
This programme transports you into the middle of the scenes you are watching. In a
very wide space, every sound, even large sounds, are heard clearly. A new level of
sound realism.
Sci-Fi
Reproduces dialogue, music and effects of the latest SF high-tech movie
soundtracks with excellent separation. Capable of conveying the impression of a
huge space.
MOVIE THEATER 2
Stereo Input
(70mm Adventure)
Adventure
Designed for action movies, this programme has moderate reverberation to simulate
the newest movie theatres with dead acoustics. Dialogue is centered and
expressive.
ENTERTAINMENT
Stereo Input 5.1-Channel Input
5.1-Channel Input
(Tri-Field CINEMA DSP)
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
Stereo Input
(70mm General)
General
Moderate reverberation results in clear dialogue, with a three-dimensional sound
field around and behind the screen for a soft, expansive sound. Presence sound
field is well balanced.
5.1-Channel Input
(Tri-Field CINEMA DSP)
DSP Sound Fields
Depending on the
type of input signal
L/C/R Surround Source Presence Sound Field
and DSP programme
selected, sound
fields are projected
as shown to the right.
Rear Left
Game
Adds a deep, spacious feeling to video game sounds.
Surround
Sound
Field
DOLBY PRO-LOGIC,DOLBY PRO LOGIC II,DOLBY DIGITAL, DOLBY DIGITAL EX,
DTS DIGITAL SURROUND,DTS-ES MATRIX 6.1, DTS-ES DISCRETE 6.1, DTS NEO:6 and DTS 96/24
Stereo Input
(Dolby Pro-Logic)
5.1-Channel Input
(Dolby Pro Logic II,
Dolby Digital, DTS Digital
Surround and DTS 96/24)
6.1-Channel Input
(Dolby Digital EX, DTSES Matrix 6.1, DTS-ES
Discrete 6.1, NEO:6 and
DTS 96/24)
Stereo Input
(Dolby ProLogic/Enhanced)
5.1-Channel Input
(Dolby Pro Logic II,
Dolby Digital and DTS
Digital Surround/
Enhanced)
Dolby Digital EX/DTS-ES Input
(Quad-Field CINEMA DSP)
Screen
Rear Left
Surround
Source
Rear
Centre
Surround
Sound
Field
6.1-Channel Input
(Quad-Field CINEMA DSP)
A/V
Room
Listening
Position
Rear Right
Surround
Source
Rear
Center
Surround
Source
6.1-Channel Input
(Dolby Digital EX, DTSES Matrix 6.1, DTS-ES
Discrete 6.1, NEO:6 and
DTS 96/24/Enhanced)
Rear Right
Surround
Sound Field
Surround Format Direct Output Programs
Front L/C/R channels’ decoded signals are output as is, and surround signals only
are processed by four-channel DSP. The result is an extremely large-scale surround
sound field. For precise reproduction of the various movie sound formats.
Enhanced
Surround format decoders provide precise decoding for faithful sound reproduction.
Superior separation, with smooth movement and good localization.
18/24 (G/B)
The DSP-AZ1 provides 42 surround programmes that include a total of
62 variations. Designed to match various movie genres and types of sources,
they create a strikingly realistic listening experience. The "correct" programme
variation is automatically set according to the source and programme
selection. Also, by using the remote control, listeners can switch programmes
from their seat to compare the different effects.
CONCERT VIDEO 1
Stereo Input 5.1-Channel Input
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
Stereo Input 5.1-Channel Input
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
Pop/Rock
This programme is for recreating live music venues. Its presence sound field
enhances the action on stage. The surround sound field extends far behind the
screen.
CONCERT VIDEO 2
Stereo Input 5.1-Channel Input
Classical/Opera
Reverberation is moderate to improve the clarity of musical instruments and voices.
In the case of operatic recordings, on-stage action and singing are clearly
localized.
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
TV THEATER
Stereo Input 5.1-Channel Input
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
DJ
The presence sound field uses opera house data, while surround uses concert hall
data. You’ll hear the DJ’s voice with exceptional clarity and music with rich depth.
Stereo Input 5.1-Channel Input
Pavillion
On-stage vocals are clearly recreated with depth. Reverberations with delay
enhance the live sense you experience only at a large concert in a pavillion setting.
Stereo Input 5.1-Channel Input
(Tri-Field CINEMA DSP)
(Tri-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
6.1-Channel Input
(Quad-Field CINEMA DSP)
Mono Movie
This is a programme for classic movies and other mono sound sources. Moderate
application of reverb creates a natural three-dimensional sound space.
YAMAHA EMC CENTRE
The EMC (Electro-Magnetic
Compatibility) Centre stands in a
quiet mountain setting where there
are few sources of electromagnetic noise. Its facilities
include two open sites and a
electro-magnetic signal-free room
that can meet various nation’s
standards, as well as interference
verification facilities of many kinds
that can accurately measure
unnecessary electro-magnetic signals
produced by digital instruments. Yamaha
products are tested here from the
development stage
in order to create
products that meet
all types of strict
electro-magnetic
standards.
Variety/Sports
When listening to the stereo broadcast of a sports programme, the commentator’s
voice will be in the center, with the crowd noise spreading out to the sides.
19/24 (G/B)
HiFi DSP for Music: Recreating Sound Fields
on the Basis of Real-World Data.
Digital Sound Field Processing is a technology developed
by Yamaha in 1986 to measure the sound fields, or
acoustic characteristics, of concert halls, jazz clubs and
other performance spaces. It is capable of bringing the
realism of a live performance into your listening room.
The Sound Field of a Hall Affects the Music
The sound you hear in a concert hall contains not only the
sound that comes directly from musical instruments but
also early reflections — the sound that reaches you after
reflecting off the walls and ceiling — and late
reverberations — the sound that bounces off the ceiling
and walls many times before it reaches you, gradually
attenuating in level.
Components of these reflections are different from hall
to hall, according to size, building materials and other
factors. That’s why each hall has a unique sound field.
Yamaha HiFi DSP Uses Actual Sound Field Data
The DSP-AZ1's HiFi DSP programs incorporate sound field
data recorded at concert halls, opera houses, and other
musical venues in the United States and Europe. To gather
this data, our engineers used a system called Single Point
Quad Miking. Four microphones are placed in close
proximity to capture direct and reflected sounds, which are
recorded. Each reflection is then resolved by a correlating
process which determines the location and strength of its
“virtual” sound source. A virtual sound source is the
hypothetical source of a reflected sound, and is represented
in terms of the direction from which a reflection comes, the
time it takes to reach the listener, and its strength. A
distribution pattern of virtual sound sources and echoes is
then generated by projecting three-dimensional spatial
information on a two-dimensional plane, making it possible
to see the character of a sound field expressed as a
graphical pattern of reflections.
Synthesizing Sound Fields Based on Actual Data
The real-world data that constitutes the basis for
programmed sound fields is processed by Yamaha’s DSP
system. Four effect speakers are used, of which two are
chosen from moment to moment, depending on sound
location. This means a sound can be localized in any
direction by adjusting the levels of signals going to two
speakers providing stereo effects whichever two of the four
speakers are selected. The distance to the virtual sound
source is calculated on the basis of delay time, and a delay
function controls the output signal from the speaker.
Measurement and Reproduction of Imaginary Sound
Source Distribution in All Directions
The actual sound field data used by the DSP-AZ1 accurately
reproduces each of the important initial reflected sounds,
even the direction. The data represents imaginary sound
source distributions such as the one shown in the diagram.
The centre of the diagram represents the point where the
data was gathered, with the top being the stage direction.
The concentric circles represent the delayed reflected sound
as the actual distance traveled, with 1 meter equivalent to
about 3/1,000 second.
Each of the small circles represents each of the sources
of the reflected sound that reaches the ears of the listeners.
Assuming that there was a source of reflected sound on a
line extended in the direction that the sound was ultimately
heard after it was reflected, this is the imaginary sound
The Single Point Quad Miking system precisely measures the
acoustic patterns of a sound space.
Single Point Quad Miking
Microphone
20/24 (G/B)
Direct
Sound
Virtual sound sources are
blue or white rounds.
Round scale is a reflection
strength.
Listening
Position:
Center
source. The size of the circle represents strength, while the
FL FR
RL RR
direction from the centre point represents the direction the
final reflected sound travels from. The greater the delay in
the reflected sound, the further it is located from the centre
point.
Early Reflection and Reverberation Processing
HiFi DSP processing consists of early reflection processing
and sometimes also reverberation processing. The sound
field of a concert hall or jazz club, for instance, is recreated
by early reflection processing alone; reflections essentially
determine the character of the space.
The Result is Realistic Sound
With Yamaha Digital Sound Field Processing it is thus
possible to recreate the actual sound of a venue. When
Jazz Club mode is selected, for instance, you are listening
to the acoustical characteristics of a real jazz club. Maybe
it's the Village Gate Club
or the Cellar Club, both
in New York City. Or
select "stadium" and hear
your favourite rock group
in Anaheim Stadium.
Yamaha Digital Sound
Field Processing makes it
possible to hear your
favourite artist perform in
the venue of your choice.
How Sound Propagates
䡲 Direct Sound 䡲 Early Reflections
Direct Sound
Signal Strength (Level)
Early Reflections
50—80 msec.
Reflections
Time (msec.)
Late Reverberations
The Bottom Line
With an extremely wide floor, the 300-seat club has a realistically
live sound field.
Blue: Early Reflection
Red: Direct Sound
Imaginary Sound
Source
Distribution of
Sound Field Data
Sound source
distribution with
listening position
at centre. Each
circle represents
an actual or
reflected sound
source, showing
strength and
position.
EFCT TRIM 0 dB
INIT.DELAY 30 ms
ROOMSIZE 1.0
LIVENESS 5
S. DELAY 5 ms*
* Dolby Digital/DTS
Input
21/24 (G/B)
Localization of Virtual Sound Sources by Four Effect
Speakers
Localization by FL (Front Left) and
FR (Front Right) Speakers
Localization by FL
(Front Left) and
FR (Front Right)
Speakers
Localization
by FL (Front
Left) and L
(Rear Left)
Speakers
Localization by RL (Rear Left) and RR
(Rear Right) Speakers
Localization by
FR (Front Right)
and RR (Rear
Right) Speakers
Convenient “Set Menu”
“LRG SML NONE
1A CENTER SP
LRG “SML NONE
1A CENTER SP
“LRG SML NONE
1C REAR L/R SP
“LRG SML NONE
1D REAR CT SP
LRG SML “NONE
1D REAR CT SP
LRG “SML NONE
1D REAR CT SP
“SW MAIN BOTH
1E LFE/BASS OUT
SW “MAIN BOTH
1E LFE/BASS OUT
SW MAIN “BOTH
1E LFE/BASS OUT
“YES NONE
1F FRONT EFCT SP
YES “NONE
1F FRONT EFCT SP
Normal “-10dB
1G MAIN LEVEL
“Normal -10dB
1G MAIN LEVEL
LRG SML “NONE
1A CENTER SP
2 LOW FREQ.TEST
≥ TEST TONE………OFF
OUTPUT…MAIN L/R
FREQ.………………88Hz
11 LFE LEVEL
≥ SPEAKER……………0dB
HEADPHONE………0dB
3 HP TONE CTRL
≥ BASS |
TRBL |
- +
0dB
14 AUDIO DELAY
0ms
9 INPUT MODE
“AUTO LAST
-/+ : Select
/ : Exit
7 INPUT RENAME
DVD -> DVD
-/+ : Position
/ : Character
15 DISPLAY SET
≥ DIMMER………………………
OSD SHIFT………………0
BLUE BACK………AUTO
17 ZONE2 SET
ZONE2 OUT………FIX
17 ZONE2 SET
ZONE2 OUT………FIX≥
CTRL IN………MODE1
10 PARAMETER INI
1 2 3 4
5 6 7 8
9 10 11 12
Press No. Key
8A COAXIAL IN
≥ <1>………… LD RF
<2>………… CD
<3>………… DVD
<4>………… CABLE
4 CENTER GEQ
≥ 100Hz |
300Hz |
1kHz |
3kHz |
10kHz |
- +
0dB
18A CENTER to
“CENTER MAIN"
18B SWFR to
“SWFR MAIN
16 MEMORY GUARD
“OFF ON
-/+ : Select
/ : Exit
5 REAR CT GEQ
≥ 100Hz |
300Hz |
1kHz |
3kHz |
10kHz |
- +
0dB
12 DYNAMIC RANGE
≥ SP:“MAX STD MIN
HP:“MAX STD MIN
MAX
STD
MIN
MIN
STD
MAX
Output Level
Input Level
Dialog Level
13 SP DELAY
≥ UNIT…………………feet
MAIN L/R…10.0ft
CENTER………10.0ft
REAR L/R…10.0ft
REAR CT………7.0ft
13 SP DELAY
≥ UNIT……………meters
MAIN L/R……3.04m
CENTER…………3.04m
REAR L/R……3.04m
REAR CT………2.13m
13 SP DELAY
≥ UNIT…………………msec
CENTER………………0ms
REAR CT………3.0ms
LRG SML “NONE
1C REAR L/R SP
LARGE “SMALL
1B MAIN SP
LRG “SML NONE
1C REAR L/R SP
6 CINEMA EQ
≥ L,C,R…………………OFF
FRNT EFCT………OFF
REAR L/R…………OFF
REAR CT……………OFF
“LARGE SMALL
1B MAIN SP
L
C
C
R
RL RCRCRR
Center Speaker Image
Rear Center Speaker Image
The “Set menu” consists of eighteen items featuring the speaker set functions, center graphic equalizer, CINEMA EQ and
parameter initialize, etc. You can choose the appropriate item and adjust or select the values as necessary.
1. Speaker Set Functions
Programmes the output mode that is best for the speaker
type and programmes the signals that output the LFE
(Low Frequency Effect) and bass signals.
1A. Center Speaker Mode: Large, Small or None
1B. Main Speaker Mode: Large or Small
1C. Rear L/R Speaker Mode: Large, Small or None
1D. Rear Centre Speaker Mode: Large, Small or None
1E. LFE (Low Frequency Effect)/Bass Out (Bass Out
Mode): Subwoofer, Main Speaker or Both
1F. Front Effect Speaker Mode: Yes or None
5. Rear Center Graphic Equalizer
Controls the equalizer for adjusting rear center speaker
response to match the rear effect speakers (5-band: -6
dB to +6 dB).
6. Cinema Equalizer
Independently controls the tonal response of main left,
main centre, main right, front effect, rear centre and rear
effect speakers.
6A Main L/R and centre equalizer
6B Front effect equalizer
6C Rear L/R equalizer
6D Rear centre equalizer
7. Input Rename
Changes the input name.
8. I/O Assignment
Changes jack assignments to match the components that
are connected. (bass and treble: -6 dB to +3 dB).
8A Coaxial input terminals
8B Optical output terminals
8C Optical input ter minals
8D Component video input ter minals
9. Input Mode
Designates input mode for sources connected to the
Coaxial (Optical) In jack when the unit is turned on.
AUTO: Automatically detects signal
and sets correct mode.
LAST: Selects last input mode for
that source.
13. Speaker Delay Time
For adjusting the center and rear center speaker delay
times.
msec setting Meters setting Feet setting
Ideally, the centre and rear centre
speakers should be the same distance from the listening position as
the main speakers. This is rarely the
case, however, so this feature is used
to delay the signal to make the distances sound the same. Adjusting
centre speaker delay is important for
giving depth to the dialogue.
14. Audio Delay Time
For adjusting the delay time of all channels, with DTS or
Dolby Digital sources.
15. Display Set
Controls Dimmer level (the brightness of indicators on the
unit [-4 to 0]), OSD Sift (the position of on-screen display
[-5 to +5]), and Blue Back (the screen color).
16. Memory Guard
Prevents changes in programmed levels and parameters.
1G. Main Level Mode: Normal or -10 dB
2. Low Frequency Test
Tests the relation between the sounds from the subwoofer
and other speakers.
3. Headphone Tone Control
Controls the headphone tonal balance (bass and treble: 6 dB to +3 dB).
4. Centre Graphic Equalizer
Controls the equalizer for adjusting centre speaker
response to match the main speakers (5-band: -6 dB to
+6 dB).
10. Parameter Initialize
Returns programme parameters that have been changed
to their original values.
11. LFE Level
LFE level: LFE signal level (Dolby Digital and DTS)
12. Dynamic Range
Dynamic Range: dynamic range control.
This function lets you control the
dynamic range of Dolby Digital
sources to enjoy the mode best
suited to the viewing circumstances:
from a mode that lets you enjoy
cinematic dynamic range to a mode
perfect for late-night viewing.
• MAX mode that provides the full
dynamic range of a cinema.
• STD mode with a dynamic range
recommended by sound engineers
for general home viewing.
• MIN mode most suitable for latenight viewing. Highest compression
ratio provides dynamic range close
to that of TV broadcasts.
22/24 (R/T)
17. Zone 2 Set
Selects the zone 2 mode.
Cuts the tuner signal from the Zone 2 Out signal. This
means that the tuner of the Zone 2 receiver can be
chosen from any of the rooms.
18. 6-Ch Input Set
Selects the Auto mode of Dolby Digital/Matrix 6.1 and
DTS-ES decoding.
CENTER: Input signals are output
from the centre speaker.
MAIN: Input signals are directed
to the main speakers at the
same level.
SWFR:: Input signals are output
from the subwoofer.
MAIN: Input signals are directed
to the main speakers at the
same level.
Parameter Control Functions
CINEMA DSP and HiFi DSP have sound field
programs preset for the re-creation of the
most effective sound fields. Normally there is
no need to change programs. And should you
change programs, you can restore the preset
values by initializing parameters from the Set
Menu.
Program Number
Program Name
Program Mode
Cursor
Parameters
Effect Trim
EFCT TRIM (Effect Trim)
● This parameter adjusts the level of all the
effect sounds within a narrow range.
● Control Range: -3 dB to 3 dB
Initial Delay
INIT. DLY (Initial Delay)
● This parameter changes the apparent
distance from the source sound by adjusting
the delay between the direct sound and the
first reflection heard by the listener.
● Control Range: 1—99 milliseconds
P. INIT. DLY (Presence Initial Delay)
● adjusts the delay between the direct sound
and the first reflection in the presence sound
field.
● Control Range: 1—99 milliseconds
RC. INIT. DLY (Rear Center Initial Delay)
● This parameter adjusts the delay between
the direct sound and the first reflection in the
rear center sound field.
● Control Range: 1—49 milliseconds
S. INIT. DLY (Surround Initial Delay)
● This parameter adjusts the delay between
the direct sound and the first reflection on
the surround side of the sound field. You
can only adjust this parameter when at least
two front channels and two rear channels
are used.
● Control Range: 1—49 milliseconds
Direct Sound
Level
Time
INIT. DLY INIT. DLY
Sound Source
Reflection Face
Small Value = 1 ms
Direct Sound
Level
Sound Source
Early Reflections
Time
Reflection Face
Direct Sound
Early ReflectionsEarly Reflections
Level
Time
INIT. DLY
Sound Source
Reflection Face
Large Value = 99 ms
Room Size
ROOM SIZE (Presence Room Size)
● This parameter adjusts the apparent size of
the surround sound field. The larger the
value, the larger the surround sound field
becomes.
● Control Range: 0.1—2.0
RC. ROOM SIZE (Rear Center Room Size)
● This parameter adjusts the apparent size of
the rear center sound field.
● Control Range: 0.1—2.0
S. ROOM SIZE (Surround Room Size)
● This parameter adjusts the apparent size of
the surround sound field.
● Control Range: 0.1—2.0
Direct Sound
Early Reflections
Level
Time
Small Value
Sound Source
Small Value=0.1
Direct Sound
Early Reflections
Level
Sound Source
Time
Direct Sound
Early Reflections
Level
Large Value
Sound Source
Time
Large Value=2
Liveness
LIVENESS
● This parameter adjusts the reflectivity of the
virtual walls in the hall by changing the rate
at which the early reflections decay.
● Control Range: 0—10
RC. LIVENESS (Rear Center Liveness)
● This parameter adjusts the apparent
reflectivity of the virtual wall in the rear
center sound field.
● Control Range: 0—10
S. LIVENESS (Surround Liveness)
● This parameter adjusts the apparent
reflectivity of the virtual walls in the surround
sound field.
● Control Range: 0—10
Dead
Source Sound
Level
Time
Source Sound
Sound Source
Level
Sound Source
Small Reflections Large
Small Value=0
Time
Source Sound
Level
Sound Source
Reflections
Large Value=10
Live
Time
Surround Delay
S. DLY (Surround Delay)
● This parameter adjusts the delay between
the direct sound and the first reflection in the
surround sound field.
● Control Range: 1—49 milliseconds (The
range depends on the signal formats)
Dolby Digital or DTS
(Multi-Channel) input
Direct Sound
Surround (LS/RS)
S Sound Field S Sound Field
Level
S. Delay S. DelayS. Init. Delay
PCM, Analog, Dolby Digital or
DTS (2-Channel) Input
The surround sound field is not
reproduced.
Direct Sound
Level
Time
Time
Reverberation Time
REV. TIME (Reverberation Time)
● This parameter adjusts the amount of time it
takes for the dense, aubaequent
reverberation sound to decay by 60 dB (at 1
kHz). This changes the apparent size of the
acoustic environment over an extremely
wide range.
● Control Range: 1.0—5.0 seconds
Direct Sound
Early Reflections
60 dB 60 dB 60 dB
Level
Reverberation
Time
Rev. Time Rev. Time Rev. Time
Sound Source
Short Reverberation
Small Value=1 s Large Value=5 s
Direct Sound
Early Reflections
Level
Sound Source Sound Source
Level
Time
Long Reverberation
Direct Sound
Early Reflections
Reverberation
Time
Reverberation Delay
REV. DELAY (Reverberation Delay)
● This parameter adjusts the time difference
between the beginning of the direct sound
and the
beginning of the
Direct Sound
reverberation
sound.
● Control Range:
0—250
milliseconds
Level (dB)
Rev. Delay
Reverberation
Rev. Time
60 dB
Time
Reverberation Level
REV. LEVEL (Reverberation Level)
● This parameter
adjusts the
Direct Sound
volume of the
reverberation
sound.
Level (dB)
Rev. Level
● Control Range:
0—100%
Time
For 8-Channel Stereo
● CT LEVEL (Center Level)
● RL LEVEL (Rear Left Level)
● RC LEVEL (Rear Center Level)
● RR LEVEL (Rear Right Level)
● FL LEVEL (Front Left Level)
● FR LEVEL (Front Right Level)
● These parameters adjust the volume level of
each channel in 8-channel stereo mode.
● Control Range: 0—100%
For Dolby Pro Logic II Music
● PANORAMA extends the front stereo image
to include the surround speakers for
wraparound effect.
● Control Range: Off/On
● DIMENSIONS gradually adjusts the sound
field either towards the front or towards the
rear.
● Control Range: -3—STD—+3
● CENTER WIDTH adjusts the center image
from all three front speakers to varying
degrees.
● Control Range: 0—7
For DTS Neo:6 Music
● C. IMAGE (Center Image) extends the front
stereo image to include the surround
speakers for wraparound effect.
● Control Range: 0—0.5
23/24(R/T)
DSP-AZ1
Digital Home Cinema Amplifier
Min. RMS Output Power Main Ch 130 W +130 W (0.015% THD)
(8 ohms, 20—20,000 Hz) Centre Ch 130 W (0.015% THD)
(8 ohms, 20—20,000 Hz) Rear Ch 130 W + 130 W (0.015% THD)
(8 ohms, 20—20,000 Hz) Rear Centre Ch 130 W (0.015% THD)
(8 ohms, 1 kHz) Front Effect Ch 45 W + 45 W (0.05% THD)
DIN Standard Power Main Ch 200 W +200 W
(4 ohms, 1 kHz, Centre Ch 200 W
0.7% THD) Rear Ch 200 W +200 W
High Dynamic Power, Low-Impedance Drive Capability
Dynamic Power/Ch (8/6/4/2 ohms) 165/200/260/360 W
Linear Damping Yes
Damping Factor (8 ohms, 20–20,000 Hz) 200 (main/centre channels)
Input Sensitivity/Impedance
CD (100 W/8 ohms) 150 mV/47 k-ohms
Phono (MM) 2.5 mV/47 k-ohms
Main In 1 V/47 k-ohms
Frequency Response (CD, Main L/R) 10—100,000 Hz +0/–3 dB
Tone Control Characteristics
Bass Bass/Cut (50 Hz) +3 dB/-6 dB
Treble Boost/Cut (20 kHz) +3 dB/-6 dB
Centre/Rear Centre Graphic Equalizer Characteristics
Cinema Equalizer Characteristics
High Shelving Filter Frequencies 1 kHz to 12.7 kHz
Parametric Equalizer Frequencies 1 kHz to 12.7 kHz
Total Harmonic Distortion (20–20,000 Hz)
Phono (MM) to Rec Out (1 V) 0.01%
CD to Preout (Main L/R, 1 V) 0.005%
Main In (Sp Out L/C/R, 65 W/8 ohms 0.005%
Signal-to-Noise Ratio (CD) 100 dB (250 mV)
Monitor Out Frequency Response
Composite/S-Video 5 Hz to 10 MHz –3 dB
Component Video DC–100 MHz –3 dB
Dimensions (W x H x D) 435 x 211 x 471 mm
Weight 28 kg
Rear Centre Ch 200 W
Front Effect Ch 65 W + 65 W
Yes
Turnover Frequency 350 Hz
Turnover Frequency 3.5 kHz
Frequencies 100 Hz/300 Hz/1 kHz/3 kHz/10 kHz
Boost/Cut +6 dB/-6 dB
Q0.7
Boost/Cut +6 dB/-9 dB
Boost/Cut +6 dB/-9 dB
Q1.85
Yamaha’s unique technology for the creation of sound fields is capable of
powerfully reproducing the three-dimensional environment that movie
sound engineers aim to convey, in any audio format from monaural to the
latest 6.1-channel digital surround. It is compatible with DVD and all other
A/V sources.
Yamaha CINEMA DSP technology has received a patent in the U.S.
(Patent No. 5,261,005).
DSP-AZ1 Surround Programmes: 42 Surround Programmes (62 Variations)DSP-AZ1 Main Specifications
HiFi DSP Programmes Variations
HALL 1 䢇Hall B in Europe 1
HALL 2 䢇Hall E in Europe 1
CHURCH 䢇Freiburg 1
JAZZ CLUB 䢇Village Vanguard 1
ROCK CONCERT 䢇 Warehouse Loft 1
ENTERTAINMENT 䢇Party 1
Programme Subtotal 18 18
CINEMA DSP Programmes Variations
ENTERTAINMENT 䢇Game 1
CONCERT 䢇Pop/Rock 1
VIDEO 1
CONCERT 䢇Classical/Opera 1
VIDEO 2 䢇Pavilion 1
TV 䢇Mono Movie 1
THEATER 䢇Variety/Sports 1
MOVIE 䢇Spectacle 5
THEATER 1 䢇Sci-Fi 5
MOVIE 䢇Adventure 5
THEATER 2 䢇General 5
ENHANCED 䢇Enhanced 5
Programme Subtotal 12 32
Surround Formats Variations
Programme Subtotal 12 12
Programme Total 42 62
Remarks 䢇: HiFi DSP Programmes
䢇: A/V Programmes
䢇: CINEMA DSP
䢇: Tri-Field CINEMA DSP Capable
䢇: Quad-Field CINEMA DSP Capable
䢇Hall A in Europe 1
䢇Hall C in Europe 1
䢇Hall D in U.S.A. 1
䢇Live Concert 1
䢇Tokyo 1
䢇Royaumont 1
䢇Village Gate 1
䢇The Bottom Line 1
䢇The Roxy Theatre 1
䢇Arena 1
䢇Disco 1
䢇8 Ch Stereo 1
䢇DJ 1
䢇Dolby Digital 1
䢇Dolby Digital/Matrix 6.1 1
䢇DTS Digital Surround 1
䢇DTS 96/24 1
䢇DTS-ES Matrix 6.1 1
䢇DTS 96/24 ES (6.1) 1
䢇DTS-ES Discrete 6.1 1
䢇Dolby Pro Logic 1
䢇Dolby Pro Logic II Music 1
䢇Dolby Pro Logic II Movie 1
䢇DTS Neo:6 Music 1
䢇DTS Neo:6 Cinema 1
• Dolby Digital and Double D are trademarks of
Dolby Laboratories Corporation.
• DTS, ES and DTS Digital Surround are trademarks of
Digital Theater Systems, Inc.
• Burr-Brown products are trademarks of Texas Instruments, Inc.
• Product designs and specifications are subject to change without notice.
For details please contact:
Visit us at our website: http://www.yamaha-audio.co.uk
YAMAHAELECTRONICS UK LTD
200 Rickmansworth Road Watford Herts WD18 7GQ
APR588G-DSPAZ1@109
24/24 (G/B)
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