Yamaha Audio DSP-A2070 User Manual

DSP

DIGITAL SOUND FIELD
PROCESSING AMPLIFIER

OPERATION MANUAL

-

A2070

CONTENTS

SAFETY INSTRUCTIONS..................................................Inside Front cover

SETUP & ADJUSTMENT..............................................................................3

1-1.GETTING STARTED...............................................................................3

1-2.SETUP....................................................................................................10

1-3.CONTROLS & ADJUSTMENTS...........................................................19

1-4.ADJUSTMENT.......................................................................................23

GENERAL OPERATION .............................................................................29

2-1.PLAYING A SOURCE...........................................................................29

2-2.RECORDING A SOURCE TO AUDIO/VIDEO TAPE..........................30

(OR DUBBING FROM A TAPE TO ANOTHER)

2-3.DIGITAL SOUND FIELD PROGRAMS.................................................31

2-4.SELECTING SOUND FIELD PROGRAMS..........................................31

2-5.MUTING THE EFFECT SOUND...........................................................32

2-6.SUPERIMPOSED VIDEO PROGRAM/PARAMETER

DISPLAY................................................................................................32

2-7.DESCRIPTIONS OF THE SOUND FIELD PROGRAMS.....................33

2-8.REMOTE CONTROL “LEARNING” FUNCTION..................................39

CREATING YOUR OWN SOUND FIELDS.................................................41

3-1.SELECTING AND EDITING PROGRAM PARAMETERS...................41

3-2.DESCRIPTIONS OF THE DIGITAL SOUND FIELD

PARAMETERS......................................................................................43

TABLES & SPECIFICATIONS....................................................................48

4-1.PROGRAM PARAMETER TABLE........................................................48

4-2.TROUBLESHOOTING..........................................................................51

4-3.SPECIFICATIONS.................................................................................52

PRECAUTIONS & SAFETY INSTRUCTIONS

SAFETY INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK), NO USER-SERVICEABLE

PARTS INSIDE, REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

Explanation of Graphical Symbols

•

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.

WARNING

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

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.

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.

PRECAUTIONS

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.

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.

1

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-encoded video tapes using the built-in Dolby Pro Logic
Surround Decoder.

Seven built-in channels of amplification on the DSP-A2070 mean that no additional
amplifiers are required to enjoy advanced digital sound field processing.

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.

2

SETUP & ADJUSTMENT

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.

Remote control

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 slide the battery
compartment cover downward in the direction of the arrow.

2. Insert the batteries (LR6, AA, UM-3 type), being careful to align
them with the polarity markings on the inside of the battery
compartment.

Batteries User program sheets

3. Close the battery compartment cover.

3

●

30°

30°

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.

●

Make sure that the YPC/USER/LEARN switch on the remote
control unit is set to the YPC or USER position for normal
operation.

●

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

Infrared receiver

Digital Sound Field Processing

What is it that makes live music so good? Toda y’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 .

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.

4

Within approximately
7 m (23 feet)

Dolby Pro Logic Surround

Dolby Pro Logic Surround + DSP

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.

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.

You can also enjoy Dolby Pro Logic with tw o modes of Digital
Sound field processing. These combinations expand the surround
effect. One is the “ENHANCED” Dolby Pro Logic Surround, which
recreates the surround effect of the 35 mm film movie theater. The
other is the sound field program “MO VIE THEATER”, which recreates
the listening experience of a 70 mm film theater .

Directional Enhancement Circuit + DSP

The YAMAHA directional enhancement (DIR. ENHANCEMENT)
circuit expands and f ocuses the digital sound field.

This effect puts you in the midst of the action, while centering and
focusing your attention to the screen. This circuit is available on
Sound Field programs “CONCERT VIDEO” and “TV THEATER”.

Manufactured under license from Dolby Laboratories Licensing
Corporation. Additionally licensed under one or more of the
following patents: U.S. number 3,950,590; Canadian numbers
1,004,603 and 1,037,877. “Dolby”, “Pro Logic”, and the double-D
symbol are trademarks of Dolby Laboratories Licensing
Corporation.

5

Setting Up Your Speaker System

Use of the Center Dialog Speaker Is Recommended

This unit has been designed to provide the best sound field
quality with a full sev en-speak er system setup, using two extr a pairs
of effect speakers to gener ate the sound field plus one center
speaker for dialog, when using Dolb y Pro Logic Surround decoding.
We theref ore recommend that y ou use a seven-speaker setup. A
four-speaker system using only one pair of effect speakers 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 upgr ade to the full seven speaker system later. In the 4 or 5
speaker system, the Digital Sound Field Processing is still
performed, but the main speakers are used for both the main
channels and the front effect channels.

With digital sound field programs No . 7 through No. 12, 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 Activ e Servo Processing Sub Woofer
System, which has its own built-in pow er amp.

6

Four Possible Types of Speaker System Configurations Recommended
4 Speaker System

Simplest system.

You can enjoy widely diffused sound by
only adding two additional speaker units
at the rear.

5 Speaker System

Good for Audio/Video sources and
Dolby Pro Logic Surround.

With sound field programs No. 7
through No. 12, which utilize the center
speaker effect, more precise center
localization can be obtained.

6 Speaker System

Good for sound fields from 2-channel
stereo sources.

With sound field programs No. 1
through No. 6, a sound effect matching
that of a 7-speaker system can be
obtained. The addition of front left and
right effect speakers produces a more
effective sound field.

7 Speaker System

This is the recommended speaker
system, providing the best sound
effects.

With sound field programs No. 1
through No. 6, using both sets of effect
speakers (front and rear), reproduces
the most effective sound field. With the
sound field programs No. 7 through No.
12, the center speaker provides precise
center localization.

FRONT MIX switch—Set to ON.
(See page 13.)
Center Mode—Set to PHNTM.
(See page 26.)

FRONT MIX switch—Set to ON.
(See page 13.)
Center Mode—Set to NRML or WD.
(See page 26.)

FRONT MIX switch—Set to OFF.
(See page 13.)
Center Mode—Set to PHNTM.
(See page 26.)

FRONT MIX switch—Set to OFF.
(See page 13.)
Center Mode—Set to NRML or WD.
(See page 26.)

7

Speakers and Speaker Placement

Main speaker Effect speaker Center speaker

Your full seven-speaker system will require three speaker pairs:
the MAIN SPEAKERS (your normal stereo speakers), the FRONT
EFFECT SPEAKERS, and the REAR EFFECT SPEAKERS, plus the
CENTER SPEAKER. You may also be using a subwoof er.

You will probably use your present stereo speak ers as the MAIN
SPEAKER pair. The front effect, 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 or the
external amps that will drive them.

Place the MAIN SPEAKERS in the normal position.

Place the FRONT EFFECT SPEAKERS further apart than the
MAIN SPEAKERS, on either side of and a fe w feet behind and above
the MAIN SPEAKER pair.

NOTE: The Yamaha NS-C90 speak er, available in some countries, is
an ideal choice for the center speaker.

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 interf erence , k eep the speaker above 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.

8

VIDEO SUPERIMPOSE

OPEN/CLOSE THE CONTROL DOOR

If you connect your video cassette recorder, video disc player,
video monitor, etc. to this unit, you 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 display ed over a blue colored backg round (b ut no
video signal is input to this unit).

When it is not necessary to operate controls inside the control

door, close the door.

To close the door

To open the door

NOTE: The program titles, parameter data and other inf ormation are
also displayed on the display panel of this unit.

CONCERT HALL 1

Hall A in Europe

9

1-2. SETUP

240V

1

9 0 A B

2 3 4 5 6 7 8

C D EFG H I J LK

Before you start making connections make sure all related electronic components are turned OFF.

REAR PANEL

(General Model)

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

10

1 GND Terminal

Connects the ground wire of the turntable to produce minimum
hum. In some cases, howe ver , better results ma y be obtained
with the ground wire disconnected.

2 Audio Signal Connection Jacks (for Audio Source Equipment)

Connect the inputs and/or outputs of your audio equipment.

8 Rear Effect Speaker Terminals

When using the built-in rear-channel amplifier , connect the rear
effect speakers here .

9 Video NTSC/PAL Switch (General Model only)

Set this switch to the position corresponding to the standard
that your video equipment employs.

3 Audio/Video Signal Connection Jacks (for 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 .

4 Main Speaker Terminals

When using this unit’s b uilt-in main-channel amplifier, connect the
main speakers here. The jumper bars must be plugged in to
connect the MAIN IN jacks to the MAIN OUT jacks .

5 Front Effect Speaker Terminals

When using the built-in front-channel amplifier, connect the front
effect speakers here .

6 Center Speaker Terminals

When using the built-in center-channel amplifier, connect one or
two center speakers here.

7 Center Speaker Impedance Switch

Set to “A + B” when using two center speakers, or to “A or B”
when using only one center speaker .

0 Front Mix Switch

Set to “OFF” when setting up a full 7 or 6 speaker system, or to
“ON” when setting up a 5 or 4 speaker system.

A Main Level Control

Adjusts the main-channel line output lev el at the MAIN OUT
jacks. Used to achie v e balance betw een the main and effect
speakers.

B Main Out Jacks

Main-channel line output. Connected with jumper bars to MAIN
IN jacks when the built-in amplifier is used. Connected to input
jacks of external stereo power amplifier (MAIN IN or TAPE PLAY
jacks of integrated amplifier or receiv er) when using external
amplification.

C Main In Jacks

Line input to built-in main-channel amplifier. Connected with
jumper bars to MAIN OUT jacks when the built-in amplifier is
used. Not connected when using an external power amplifier.

D Center Out Jacks

Center-channel line outputs. Not connected when the built-in
amplifier is used. Can be connected to input jack(s) of one or two
external power amplifier(s) to drive the center speak er(s).

11

E Center In Jack

Line input to built-in center-channel amplifier. Connected with
jumper bars to CENTER OUT jack when the built-in amplifier is
used. Not connected when using an external power amplifier.

F Mono 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.

G Split Low Pass Jac ks

When using two subwoofers , connect their amplifiers to these
jacks. Frequencies below 200 Hz from the left main and center
channels are output (in 10:7) to the SPLIT L jack, and also
frequencies below 200 Hz from the right main and center
channels are output (in 10:7) to the SPLIT R jack.

H Front Effect Out Jacks

Front-channel line output. Not connected when the b uilt-in
amplifier is used. Can be connected to input jacks of an e xternal
stereo power amplifier driving the front effect speak ers .

I Rear Effect Out Jacks

Rear-channel line output. Not connected when the built-in
amplifier is used. Can be connected to input jacks of an e xternal
stereo power amplifier driving the rear effect speak ers .

K Switched AC Outlets

You may plug other audio components into these sock ets 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.

L Unswitched AC Outlet (U.S.A., Canada, and General Model)

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.

NOTE: If an external power amplifier is connected to the front effect
or rear effect output jacks , the corresponding internal amplifier will be
turned off and no output will be available at the speak er terminals.

J V oltage Selector (General 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.

12

Rear Panel Switch and Control Settings

General Instructions for Connections

There are sever al switches and controls on the rear panel that
you’ll hav e to chec k before operating your system, and it’s a good
idea to do it before you connect cab les . Locate the MAIN LEVEL
control (A) and FRONT MIX slide switch (:) at the bottom of the
MAIN terminal group. Make sure the MAIN LEVEL control is set to its
max (10) position and that the FRONT MIX switch is set to “OFF” for
7 or 6 speaker driving.

In a 5 or 4 speaker system, set the FRONT MIX switch to “ON”.

Next, set the NTSC/PAL switch (9) to the position corresponding
to the standard which your video equipments employ. (General
Model only)

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. Lik ewise with
the “R” jacks. This is easy if you remember to always 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 tr ac k of polarity, use a speaker cable that has
one of the two wires marked by a stripe or a different color.

13

CONNECTING AUDIO/VIDEO SOURCE EQUIPMENTS TO THIS UNIT

OUTPUT

OUTPUT

OUTPUT

LINE OUT
LINE IN

AUDIO OUT
VIDEO OUT

AUDIO OUT
VIDEO OUT

VIDEO IN
AUDIO IN

VIDEO IN
AUDIO IN

VIDEO OUT
AUDIO OUT

AUDIO OUT
VIDEO OUT

AUDIO OUT

VIDEO OUT

AUDIO OUT
VIDEO OUT

LINE OUT
LINE IN

GND

Turntable

CD player

Tuner

Tape deck 1

Tape deck 2

Video disc player

TV/Satellite tuner

Video cassette recorder 1

Video cassette recorder 2

If you wish to connect a second monitor TV (or a projector) to this
unit, you can switch the VCR 3 VIDEO OUT jack (and S VIDEO jack
also) to a second monitor out jack. (See page 27.)

14

Monitor TV

Video cassette recorder 3

CONNECTING TO S VIDEO JACKS

VIDEO
OUT

VIDEO OUT
S-VIDEO OUT
VIDEO IN
S-VIDEO IN

VIDEO IN

S-VIDEO INS-VIDEO OUT

VIDEO OUT

VIDEO IN

VIDEO IN

S-VIDEO IN

S-VIDEO IN

S-VIDEO OUT

VIDEO OUT

S-VIDEO
OUT

VIDEO
OUT

S-VIDEO
OUT

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 VIDEO
NTSC/PAL switch has been correctly set to the standard that your
video equipments employ. U.S. and Canadian models ha ve no switch
and use the NTSC standard, while other models without a switch use
the PAL standard.

Video disc player

TV/Satellite tuner

Video cassette recorder 1

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.

Video cassette recorder 2

Video cassette recorder 3

Monitor TV

15

CONNECTING THE MAIN SPEAKERS TO THIS UNIT

INPUT

MAIN UNIT

Connect the MAIN speakers to the MAIN speaker output
terminals of this unit. Make sure that the jumper bars between the
MAIN OUT and MAIN IN jacks on the rear panel are in place. It is
also possible to use an external power amplifier if more po w er is
desired. In this case, remov e the jumper bars and connect the MAIN
OUT jacks to the INPUT jacks of a stereo po wer amplifier with a
stereo pin cable—making sure to connect the left and right channels
correctly. Connect the MAIN speakers to the speaker output
terminals of the power amplifier.

NOTE: If an external amplifier is used for the main speakers , it is
recommended to use the MAIN speaker terminals of this unit for the
rear effect speakers .
Connect the REAR EFFECT OUT jacks to the MAIN IN jacks with
the pin cord. This combination is highly upgraded and ideal f or the
division of sound quality, because the rear channel output of the
Audio/Video system is equally important as the center channel.

Main speaker

Main speaker

Power amplifier

16

This unit

CONNECTING THE EFFECT SPEAKERS TO THIS

LR

LR

UNIT

Center speaker

Connect the FRONT effect speak ers to the FRONT effect
speaker output terminals of this unit.

Front effect
speaker

If the FRONT effect speak ers are not used, the FRONT MIX
switch should be set to “ON”.

Connect the REAR effect speakers to the REAR effect speaker

Center speaker Center speaker

output terminals of this unit.

Connect the CENTER speaker to the CENTER speaker output
terminals. If you will be using one CENTER speaker, connect it to
either the A or B terminals and set the CENTER speaker impedance
switch to “A or B” (bottom position). If using two CENTER speak ers ,
connect them to the A and B terminals, and set the switch to “A + B”
(top position). If, however, you will not be using a CENTER speak er,
be sure to set the Center Mode to “PHNTM” (phantom). (See page

25.)
NOTE: The speaker connections above are fine for most

applications. If for some reason, ho wever, you wish to use an
external power amp f or any or all of the effect channels, connect the
line level output jack(s) for each channel to the INPUT jac ks of the
external amp and connect the corresponding speaker pair to the
speaker terminals of the external amp.

Front effect
speaker

This unit

NOTE: If the pin plug is inserted in the FRONT/REAR EFFECT out
jacks, the speaker output from the built-in amplifier will be cut off.

Rear effect
speaker

Rear effect
speaker

17

ADDING A SUBWOOFER

2

3

1

CONNECTING SPEAKER SYSTEMS

You may wish to add a subwoof er to reinforce the bass
frequencies.

This unit provides line-lev el subw oofer outputs, which contain only
the frequencies under 200 Hz from the main and center channels. If
you use one subwoof er, connect the MONO LOW PASS jack to the
INPUT jack of the subwoof er amplifier, and connect the speaker
terminals of the subwoofer amplifier to the subwoof er.

If you wish to obtain more presence in your listening room, the
use of two subwoofers is recommended. To connect two subwoofers
to this unit, connect the “left” SPLIT LOW PASS jack to the INPUT
jack of the amplifier driving the left subwoofer, and the “right” SPLIT
LOW PASS jack to the INPUT jack of the amplifier driving the right
subwoofer, and then connect each subwoofer to the corresponding
amplifier.

With some subwoofers, including the Yamaha Active Servo
Processing Subwoofer System, the amplifier and subwoofer are in
the same unit.

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. Make 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.

Red: positive (+)
Black: negative (–)

1 Unscrew the knob.
2 Insert the bare wire.
3 Tighten the knob and

secure the wire.

NOTE: Use speak ers with the specified impedance sho wn on the
rear of this unit.

18

NOTE: Banana Plug connections are also possib le (except for
Scandinavian models). Simply insert the Banana Plug connector into
the corresponding terminal.

1-3. CONTROLS & ADJUSTMENTS

FRONT PANEL

1

34 5 6 7 82

(General Model)

9 0 A DB E F HGC

1Power 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.)

2Remote control sensor

Signals from the remote control unit are received here.

3 Pro Logic Decoder Indicator

Illuminates while the built-in Dolby Pro Logic Surround Decoder is
being activated.

I

4Sound Field Processor Indicator

Illuminates while the built-in Sound Field Processor is being
activated.

5Display Panel

Shows program names, parameters and information about other
various settings and adjustments.

6Tape 2 Monitor Switch

Used when you have connected a second tape deck to this unit’s
AUDIO SIGNAL TAPE 2 terminals to select that tape as the
source.

19

7 Input Selector

Selects the input source that you want to listen to (and w atch).

8 Master Volume Control

Simultaneously controls signal level at all outputs: front effect,
main, rear effect, center, and subwoofer. (This does not affect
TAPE REC OUT level.)

9 Phones Jack

Plug in headphones here for private listening. If the FRONT
MIX and EFFECT switches are on, the effect channels will
be heard along with the main channels. Otherwise the main
channels only will be heard.

D 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.

E Program Selector

Sequentially selects the digital sound field processing
programs in the + or – direction.

F 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.

: Input Level Ov er Indicator

Illuminates when the input level goes over the permissible
maximum level. If this occurs frequently, decrease the signal
level of the input source with the INPUT TRIM control,
otherwise the sound will be distorted.

A Bass Extension Switch

When on, boosts bass frequency response at the main left,
main right and center channels while maintaining overall
tonal balance. If you do not have a subwoofer, the use of
this switch will be effective to reinforce the bass frequencies.

B Input Trim Control

Adjusts the input level of each source respectively.
Moreover, performs setting or adjustment for items selected
by pressing the SET/MENU switch.

C Set Menu Switch

Whenever pressed, selects one of seven types of setting/adjust­ment items. (They are CENTER MODE, CENTER GEQ, LO W
FREQ. TEST, PARAMETER INIT, MEMOR Y GUARD, VCR 3
VIDEO OUT and INPUT LVL TRIM.)

G Effect Switch

Normally ON, this switch can be turned OFF to disable
output from the center and effect speakers.

H Rec Out Selector

Selects the source to be recorded to a tape deck 1 or
VCR 1 independently of the setting of the INPUT
SELECTOR. However, when set to the SOURCE position,
the setting of the INPUT SELECTOR decides the source to
be recorded to a tape deck or VCR.

I Auxiliary Input Jacks

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 and REC OUT selector.

20

REMOTE CONTROL UNIT

M
L

K

J

I

G

H

DEBAC F

6

7

8

9

0

1

3

5

4

2

1 Transmit/Learn Indicator

In Learn mode, lights to indicate that the key just pressed is ready
for learning input. In User mode, blinks when a learned ke y is
pressed to show that a control signal has been sent to your
equipment.

2 YPC/USER/LEARN Switch

Set to YPC for operating this unit and Yamaha equipments . Set to
USER for using learned key functions . Set to LEARN for learning
new control functions. (See page 39.)
(“YPC” is the abbreviation of YAMAHA Preset Code.)

3 Power Key

Turns this unit on and off.
* (Europe model only): Turns the POWER on mode to the

STANDBY mode and vice versa.

4 Source Select Keys

Select the input sources to this unit.

5 CD/LD Function Keys

Operate functions on your Yamaha CD pla y er and LD player.
When the 1/2 Switch is set to 1, they operate the CD pla y er, and
when set to 2, they operate the LD pla y er.

6 Test Switch

When pressed, sends a signal to the main left, center, main
right, and rear effect speakers in turn, and when pressed once
again, sends a signal to the main and front effect speakers in
turn for easy comparison of level settings.

7 Front Level +/– Ke ys

Increase (+) or decrease (–) the volume le v el of the front effect
speakers.

21

8 Center Level +/– Keys

Increase (+) or decrease (–) the volume le v el of the center
speaker(s).

F Parameter +/– K e ys

Edit program parameters or used f or seven types of
settings/adjustments.

9 Rear Level +/– Keys

Increase (+) or decrease (–) the volume le v el of the rear effect
speakers.

: Reset Button

Press this button to “reset” the internal microcomputer which
controls remote control operations. Microcomputer “reset” is
necessary when the remote control freezes.
* Pressing the RESET button will not erase learned functions.

A On Screen Display Ke y

Changes the type of display showing the prog ram name and
parameters, or information about various settings/adjustments on
the connected monitor’s screen.
Whenever pressed, the screen changes to a full display,
simplified display and no displa y in turn.

B Clear Button

Used in USER or LEARN mode to erase a learned function. (See
page 40.)

C Effect On/Off Ke y

Cuts off the sound’s output from the front, rear effect and center
speakers. To restore the output from those speakers, press this
key again.

D Parameter Select K e ys

Select program parameters or titles of settings/adjustments.

E 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.

G Master V olume +/– Keys

Increase (+) or decrease (–) the master volume le v el.

H Parameter/Set Menu Switch

When set to the PARAMETER position, the Parameter Select
Ke ys and Parameter +/– K e ys will set and edit prog ram
parameters. When set to the SET MENU position, the P ar ameter
Select Ke ys and Parameter +/– K e ys are used to perform seven
types of settings/adjustments.

I Program Select Ke ys (1 through 12)

Select programs 1 through 12.

J Tuner Function Keys

Operate Yamaha tuner functions.

K Tape Deck Function Keys

Operate Yamaha tape deck functions.

L Blank Keys

Have no preset functions , so are used for learning other remote
controller’s functions only.

M 1/2 Switch

When the YPC/USER/LEARN Switch is set to YPC, this s witches
the CD/LD Function Ke ys to k e ys for use with either the CD
player or LD player. (“1” for the CD pla y er and “2” for the LD
player.) When the YPC/USER/LEARN Switch is set to USER or
LEARN, this switch selects page 1 or 2 for the learnable function
keys. (See page 39.)

22

1-4. ADJUSTMENT

Left main Center Right main

Rear

LEFT CENTER RIGHT

SURROUND

Main Front
MAIN FRONT

MAIN/CENTER/EFFECT SPEAKER LEVEL BALANCE
ADJUSTMENT

This operation uses an internal test-tone generator for balancing

the levels of the main, center and effect speakers.

3. F or the front effect speaker level adjustment, depress the TEST
switch on the remote control again so that “TEST DSP” appears in
the display panel. A calibration signal should be heard from the main
speakers and the front effect speak ers in turn (see diagram).

1. Depress the TEST s witch on the remote control so that “TEST
DOLBY” appears in the display panel to enter test mode. A hiss-lik e
calibration signal should be heard from the left main speaker, center
speaker(s), right main speaker and rear eff ect speak ers in turn (see
diagram). Adjust the MASTER V OLUME to a normal listening level.

2. Adjust the center and rear le v el by using the CENTER and REAR
LEVEL +/– keys on the remote control 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 using the MAIN LEVEL
control on the rear panel and adjust the center and rear lev el again.
Volume controls on external power amplifiers ma y also be adjusted if
necessary to achieve proper balance.

4. Adjust the front le v el by using the FRONT LEVEL +/– ke ys on the
remote control so that the speaker volume is the same as that of the
main speakers.

NOTE: If not using a center speaker , be sure to set the CENTER
MODE to the PHNTM (phantom) position. You will then hear the
center channel test tone from the left and right main speakers.

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.

23

INPUT LEVEL ADJUSTMENT

VCR 1

VCR 3 PHONO

VCR 2 CD

TV/DBS

AUX

INPUT SELECTOR

TAPE 2

MONITOR

LD

TAPE 1

TUNER

AUX

PHONO

TAPE 1 TUNER CD

VCR 3

VCR 2

VCR 1 TV

/

DBS LD

MASTER
VOLUME

VCR 1

VCR 3 PHONO

VCR 2 CD

TV/DBS

AUX

INPUT SELECTOR

TAPE 2

MONITOR

LD

TAPE 1

TUNER

AUX

PHONO

TAPE 1 TUNER CD

VCR 3

VCR 2

VCR 1 TV

/

DBS LD

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 le vel as closely
as possible.

1. Select the CD source.

4. Select any other source in y our system (VCR, turntable , etc.) and
play that source.

Front panel Remote control

or

Front panel Remote control

or

2.

Play the source.

3. Increase the setting of the MASTER VOLUME control to a
convenient listening level (you will use this as y our “reference” level).

Front panel Remote control

or

24

5. Adjust the le v el of the source to be approximately equal to your
CD player’s “reference” level 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 “7. Input level
adjustment (INPUT LVL TRIM)” on page 28.

Front panel

6. In the same way, adjust levels of other sources.

NOTE: The adjustments will be saved until it is readjusted.

NOTE: If the input level goes abo v e the permissible maxim um le vel,

the INPUT LEVEL OVER indicator on the front panel illuminates . If
this occurs frequently, decrease the signal level of the input source
with the INPUT TRIM control, otherwise the sound will be distorted.

OTHER IMPORTANT SETTINGS AND ADJUSTMENTS

PARAMETER

SET MENU

ON SCREEN

CENTER

LEVEL

PARAMETER

EFFECT

RESET CLEAR

ON/OFF

REAR
LEVEL

MUTING

SET MENU

TV

THEATER

MOVIE

THEATER 1

MOVIE

THEATER 2

PRO LOGIC

MASTER
VOLUME

9

10 11 12

ON SCREEN

CENTER

LEVEL

PARAMETER

EFFECT

RESET CLEAR

ON/OFF

REAR
LEVEL

MUTING

SET MENU

TV

THEATER

MOVIE

THEATER 1

MOVIE

THEATER 2

PRO LOGIC

MASTER
VOLUME

9

10 11 12

The following seven 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).

2. Select an item (title) of setting/adjustment.

1. CENTER MODE

2. CENTER GEQ

3. LOW FREQ. TEST

4. PARAMETER INIT

5. MEMORY GUARD

6. VCR3 VIDEO OUT

7. INPUT LVL TRIM

SETTING/ADJUSTMENT PROCEDURE

As described on page 9, you can perform these settings and
adjustments watching the information display ed on the monitor
screen (or superimposed over the video image). So , to use this
function, first turn the monitor on.

1. Set the PARAMETER/SET MENU switch to the SET/MENU
position on the remote control unit.

Remote control

3. Select any desired mode or edit par ameters on the item.

In the same way, perform settings/adjustments for other items .

NOTE: Setting conditions will be confirmed by using the INPUT
TRIM control and the SET MENU switch on the front panel. Items
No. 1 – 7 (e xcept No. 4) are called by pressing the SET MENU
switch and the settings can be changed by the INPUTTRIM control.

It is recommended to use the remote control for this operation.

25

DESCRIPTIONS OF THE ITEMS

1. 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.

2. Adjusting Center Channel Graphic Equalizer (CENTER
GEQ)

The built-in five band gr aphic equaliz er is used to tailor, over a ±6

dB range, the ov er all output frequency response of the center
channel. The five bands cov er the complete audib le sound spectrum
and are centered on 100 Hz, 300 Hz, 1 kHz, 3 kHz and 10 kHz
frequencies. Adjustment should be done to each frequency
individually.

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.

Operating procedure

After selecting the item (title) in step 2 on the previous page,
press the Parameter + or – k e y on the remote control to display the
condition of the equalizer . Then select a frequency with the
Parameter Select k e ys on the remote control and adjust its level with
the Parameter +/– k e ys .

26

3. Adjusting subwoofer level by the use of test-tone
(LOW FREQ. TEST)

The internal low frequency test-tone generator is useful for

adjusting subwoofer le vel to make the subwoof er sound match the
sound of other speakers in your audio system.

Operating procedure

1. After selecting this item (title) in step 2 on page 25, press the
Parameter + or – k e y to display the mode for adjustment.

4. Press the P ar ameter Select (
“FREQ- - - 35 Hz”. To confirm that the subwoofer sound matches
the sound of other speakers, change the frequency of test-tone
one by one by pressing the Parameter + or – ke y. (Frequency can
be changed from 35 Hz to 250 Hz in 1/6 octave step, and last, all
range (35 Hz–250 Hz) of frequencies are output.)
Adjust subwoofer level with the contr ol on the subw oof er so
that the subwoofer sound matches the sound of other speak ers in
any range of low frequencies.

▼▼ ) key so that the arrow points to

2. By pressing the Parameter + or – key, select a channel
(MAIN/CENTER/REAR EFFECT/FRONT EFFECT) to be
compared with subwoofer.

3. Press the P ar ameter Select (
“TEST TONE- - - OFF”. Ne xt press the Parameter + or – key to
switch the “TEST T ONE” to “ON”.
Hiss-like calibration signal is heard from the subwoofer(s)
connected to the MONO LOW PASS jack (or the SPLIT LO W
PASS jacks) on the rear of this unit and the speaker(s)
corresponding to the channel selected in step 2.

* Adjust the Master V OLUME control so that the test tone can

be heard at your desired listening level.

* Even if during source pla y, the test tone is output instead of

the source sounds.

▼▼ ) key so that the arrow points to

NOTE: This low frequency test-tone can also be applied to check the
bass response in your room. For the best bass condition, bass sound
must be heard definitely at any position in your room. If not so,
change the setting of subwoofer or furniture in your room.

27

4. Initializing parameters on a DSP program (PARAMETER
INIT)

6. Switching the VCR 3 VIDEO OUT jack to a second
monitor out jack. (VCR3 VIDEO OUT REC OUT/MONTR)

You can initialize all edited parameters on a DSP program. Note
that a DSP program has two sub-programs; all par ameters on both
sub-programs are initialized by this oper ation.

Operating procedure

This operation cannot be done without the remote control
unit. After selecting this item (title) in step 2 on page 25, press the

Parameter + or – k e y to display the DSP program numbers (1 – 12).
A program number whose parameters has been changed is marked
with “
number(s) of the parameter you want to initializ e . When initializ ed,
the “

”. Using the Program Select ke ys , press the progr am

*

” mark will disappear.

*

5. 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.

If you wish to connect a second monitor TV (or a projector) to this
unit, select “MONTR” position. The VCR 3 VIDEO OUT jack (and S
VIDEO jack also) is switched to a second monitor out jack.

NOTES

• Even in the “MONTR” position, the VCR 3 VIDEO IN jack can be

used as a normal video signal input jack and the VCR 3 AUDIO

SIGNAL IN/OUT jacks as normal audio input/output jacks.

• If using the VCR 3 jacks for connecting a third video cassette

recorder only, be sure to select “REC OUT” position.

If the picture on the monitor is disturbed while the third video

cassette recorder is functionning, “MONTR” position may be

selected. If so, re-select “REC OUT” position.

7. Input level adjustment (INPUT LVL 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.

• DSP parameters

• Other setting/adjustment items described in this section

• ON SCREEN display key

• INPUT TRIM control

• FRONT, REAR and CENTER level +/– keys

• TEST switch

28

To adjust the input level, either press the INPUT TRIM control on
the front panel (see page 24), or select the “7. INPUT LVL TRIM” in
step 2 on page 25.

GENERAL OPERATION

MASTER
VOLUME

TAPE 2

MONITOR

TAPE 2 MON

CHAPTER

PAUSE/STOP

PLAY

DISPLAY

STILL SEARCH

VCR 1

VCR 3 PHONO

VCR 2 CD

TV/DBS

AUX

INPUT SELECTOR

TAPE 2

MONITOR

LD

TAPE 1

TUNER

AUX

PHONO

TAPE 1 TUNER CD

VCR 3

VCR 2

VCR 1 TV

/

DBS LD

POWER

POWER TV VCR 1 VCR 2

2-1. PLAYING A SOURCE

1. Set the MASTER V OLUME control to minim um.

Front panel

2. Turn the power on.

Front panel Remote control

or

*To select a tape deck connected to this unit’s TAPE 2 terminals,
press the TAPE 2 MONITOR switch. (Otherwise , turn this switch off.)

Front panel Remote control

or

4. Pla y the source .

5. Increase the setting of the MASTER VOLUME control to your
listening level.

Front panel Remote control

or

ENGLISH

3. Select a source.

Front panel Remote control

or

Adjust the BASS, TREBLE, BALANCE controls, etc., or select a
desired sound field program. (See page 31.)

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.

29

2-2. RECORDING A SOURCE TO AUDIO/VIDEO TAPE

MASTER
VOLUME

VCR 1

VCR 3 PHONO

VCR 2 CD

TV/DBS

AUX

INPUT SELECTOR

TAPE 2

MONITOR

LD

TAPE 1

TUNER

AUX

PHONO

TAPE 1 TUNER CD

VCR 3

VCR 2

VCR 1 TV

/

DBS LD

(OR DUBBING FROM A TAPE TO ANOTHER)

1. Set the REC OUT selector to the SOURCE position.

2. Select the source to be recorded.

Front panel Remote control

or

3. Pla y the source and increase the setting of the MASTER
VOLUME control to confirm it.

Front panel Remote control

or

Regardless of the setting of the INPUT SELECTOR, when y ou
set the REC OUT selector to CD , the audio signal from your CD
player can be recorded b y your first tape deck. Like wise , when the
REC OUT selector is set to LD , TV/DBS, VCR 2, VCR 3 or A UX,
both the audio and video signals of the selected source can be
recorded by your first VCR.

When using the REC OUT selector for recording as described
above, y ou may monitor the audio (or the audio and video) signals
being recorded by selecting TAPE 1 (or VCR 1) on the INPUT
SELECTOR. Also, while using the REC OUT selector to make a
recording, you may use the INPUT SELECTOR to play any source.

Moreover, while you are using the REC OUT selector for record­ing as described above, y ou ma y also use an y other VCR or tape
deck not selected by the REC OUT selector to record an audio and
video source selected by the INPUT SELECT OR.

NOTE: The audio and video signals from VCR 2 (or VCR 3) are sent
to VCR 1 when the REC OUT selector is set to VCR 2 (or VCR 3).

4. Set the tape deck or VCR used for recording to the recording
mode.

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) you can record only a S video (or only a Composite Video)
signal on your second VCR.

30

If the REC OUT selector is set to VCR 2 (or VCR 3), you can not
dub from your first VCR to the second VCR (or the third VCR), even
if VCR 1 is selected by the INPUT SELECT OR.

To dub the audio from your second tape deck to the first one,
depress the TAPE 2 MONITOR switch (and set the INPUT
SELECTOR to any source other than TAPE 1 bef ore beginning to
record).

NOTE: Adjusting the MASTER VOLUME, BASS, TREBLE controls ,

PARAMETER

SET MENU

123 4

567 8

9101112

HALL 1

ROCK

CONCERT

TV

THEATER

MOVIE

THEATER 1

MOVIE

THEATER 2

CONCERT

VIDEO 1

CONCERT

VIDEO 2

HALL 2

JAZZ CLUB

HALL 3 CHURCH

PRO LOGIC

etc., or selecting a sound field program has no effect on the material
being recorded.

NOTE: Please check the copyright laws in y our country to record
from records, compact discs, radio, etc. Recording of copyright
material may infringe copyright laws.

2-3. DIGITAL SOUND FIELD PROGRAMS

This unit has 12 programs for digital sound field processing, 6
from actual acoustic environments from around the world, and 6
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

1. Set the PARAMETER/SET MENU switch on the remote control to
the PARAMETER position.

2. 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.

ENGLISH

For stereo audio
sources

For Audio/Video
sources

31

3. All sound field programs ha ve two “sub-programs” (see “2-7.

CONCERT HALL 1

Hall

A

in Europe

CONCERT HALL 1

Hall B in Europe

DESCRIPTIONS OF THE SOUND FIELD PROGRAMS”). The sub­programs are selected using the P arameter +/– keys on the remote
control unit. The CONCERT HALL 1 program, for example, contains
the sub-programs “Hall A in Europe” and “Hall B in Europe”. When
the CONCERT HALL 1 program is first selected, the “Hall A in
Europe” sub-program will be selected and display ed on the front
panel. To select “Hall B in Europe”, press the Parameter + or – key.
To return to Hall A in Europe, press the Parameter + or – ke y again.
The same selection procedure applies to all other programs.
(The sub program selection can also be done simply by pressing the
corresponding program select ke y on the remote control.)
* When the monitor screen is used to display inf ormation for this

unit, you can also change the sub-program b y using the Prog ram
Select keys. If the display type is a full display, press the key of
the corresponding program once. If the displa y type is a simplified
display or no displa y, press the key twice .

2-5. MUTING THE EFFECT SOUND

The EFFECT switch on the front panel and the EFFECT ON/OFF
key on the remote control unit mak e 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 ON/OFF key or the EFFECT s witch. Press the EFFECT
ON/OFF key or 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 y our video monitor screen and superimposed
over the video image as described on page 9.

32

1. Turn your monitor on, and press the ON SCREEN display k e y on
the remote control unit to call the full display mode.

2. The current program name and its par ameters will be displayed
on the monitor screen. The arrow-shaped cursor points to the
currently selected parameter . Parameters are selected and edited
using the Parameter Select k e ys and +/– keys. (See page 42 f or
details.)

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 channel and the right rear eff ect channel may be different depending on the sound

field you are listening to . This is due to the fact that most of these are recreations of actual acoustic environments.

ENGLISH

1. CONCER T HALL 1

Hall A in Europe: This is a fairly common type of concert hall

in Europe. It has approximately 2500 seats
and features a very beautiful (and
acoustically active) wood-panel interior .
The overall sound is rich but reserved.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 30 ms
ROOM SIZE 1.0
LIVENESS 5

Hall B in Europe: Another wood-interior concert hall that

seats a little less than 2400. Polished
reflective paneling abov e the stage
produces strong frontal reflections which
tend to reinforce the direct sound from the
stage. This hall has a very solid, powerful
sound.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 30 ms
ROOM SIZE 1.0
LIVENESS 5

2. CONCER T HALL 2
Hall C in Europe: A classic 1700-seat concert hall with pillars

and ornate carvings that, by creating an
extremely comple x field of reflections
arriving from all directions, produces a very
full, rich sound.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 30 ms
ROOM SIZE 1.0
LIVENESS 5

Hall D in U.S .A.: This is a large 2600-seat concert hall in the

United States which features a f airly
traditional European design. The interior is
relatively simple, allo wing the middle and
high frequencies to come through with
authority.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 35 ms
ROOM SIZE 1.0
LIVENESS 5

33

3. CONCER T HALL 3

4. CHURCH

Hall E in Europe: A classic large 2200-seat concert hall with

a circle stage and seats behind the stage.
Preset Parameter

EFCT TRIM 0 dB
INIT. DLY 30 ms
ROOM SIZE 1.0
LIVENESS 5

Live Concert: A round concert hall with a rich “surround”

effect and pronounced echo .
Preset Parameter

EFCT TRIM 0 dB
INIT. DLY 45 ms
ROOM SIZE 1.0
LIVENESS 5

Tokyo: The acoustic environment of an ordinary

church with moderate rev erber ations . This
is ideal for reproducing church music
played b y a pipe organ etc.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 40 ms
REV. TIME 2.5s
REV. DELAY 122 ms
REV. LEVEL 100%

Freib urg: This program recreates the acoustic

environment of a big church with a high
pointed dome and columns along the
sides. This interior produces very long
reverber ations .

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 95 ms
REV. TIME 4.0s
REV. DELAY 130 ms
REV. LEVEL 100%

34

5. ROCK CONCERT

6. JAZZ CLUB

ENGLISH

The Roxy Theatre: The ideal progr am f or lively, dynamic rock

music. The data for this progr am w as
recorded at LA’s “hottest” roc k club.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 15 ms
ROOM SIZE 1.0
LIVENESS 5
REV. TIME 1.6s
REV. DELAY 100 ms
REV. LEVEL 12%

Warehouse Loft: This program sim ulates a space enclosed

by concrete. An energetic sound field is
created with relatively clear reflections by
the wall.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 15 ms
ROOM SIZE 1.0
LIVENESS 7
REV. TIME 2.0s
REV. DELAY 120 ms
REV. LEVEL 32%

Village Gate: 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.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 17 ms
ROOM SIZE 1.0
LIVENESS 5

Cellar Club: This is a small, cozy jazz club with a low

ceiling. The sound is very close and
intimate.

Preset Parameter
EFCT TRIM 0 dB
INIT. DLY 20 ms
ROOM SIZE 1.0
LIVENESS 5

35

7. CONCER T VIDEO 1

8. CONCER T VIDEO 2

Classical/Opera: This program provides excellent depth of

vocals and ov erall clarity.
For opera, the orchestra pit and the stage
are ideally combined, letting you feel a full
presence sound.

Preset Parameter
EFCT TRIM 0 dB
DIR. ENHANCEMENT MID
P. INIT. DLY 12 ms
P. ROOM SIZE 1.0
S. DELAY 30 ms
S. ROOM SIZE 1.0

Recital: This program creates a widely surrounded-

by-sound environment.
Vocals are reproduced clearly on the stage
with good stage depth.
Moderate rev erber ations let y ou feel the
presence of the hall.This program is ideal
for bringing together music and video .

Preset Parameter
EFCT TRIM 0 dB
DIR. ENHANCEMENT MID
P. INIT. DLY 23 ms
P. ROOM SIZE 1.0
S. DELAY 30 ms
S. ROOM SIZE 1.0

Pop/Roc k: This program produces an enthusiastic

atmosphere and lets you feel that y ou are
in the midst of the action, as if attending an
actual jazz or rock concert.

Preset Parameter
EFCT TRIM 0 dB
DIR. ENHANCEMENT MID
P. INIT. DLY 21 ms
P. ROOM SIZE 1.0
S. DELAY 25 ms
S. ROOM SIZE 1.0
REV. TIME 1.6s
REV. DELAY 100 ms
REV. LEVEL 21%

Pa vilion: This program reproduces vocals clearly,

letting you feel the spaciousness of a
pavilion. Reverberation, which is somewhat
delayed, reproduces the live sound field
unique to a pavilion, and helps to make a
concert scene more exciting.

Preset Parameter
EFCT TRIM 0 dB
DIR. ENHANCEMENT MID
P. INIT. DLY 14 ms
P. ROOM SIZE 1.0
S. DELAY 45 ms
S. ROOM SIZE 1.0
REV. TIME 2.2s
REV. DELAY 125 ms
REV. LEVEL 40%

36

9. TV THEATER

10.MOVIE THEATER 1

ENGLISH

Mono Movie: This program is ideal for reproducing

monaural video sources (old movies etc.).
Monaural sounds are reproduced with
strong presence by creating moderate
reverber ation, while con versations are
oriented to the screen.

Preset Parameter
EFCT TRIM 0 dB
DIR. ENHANCEMENT MID
P. INIT. DLY 44 ms
P. ROOM SIZE 1.0
REV. TIME 1.8s
REV. DELAY 100 ms
REV. LEVEL 9%

V ariety/Sports: This program is furnished with a tight sound

field in which the sound will not spread
excessively on the front side , but the rear
surround side produces a dynamic sound
expansion. Vividness of live broadcastings ,
such as variety shows or sports programs in
collective stereo recordings, will be brought
directly to you.

Preset Parameter
EFCT TRIM 0 dB
DIR. ENHANCEMENT MID
P. INIT. DLY 10 ms
P. ROOM SIZE 1.0
S. DELAY 30 ms
S. ROOM SIZE 1.0
REV. TIME 1.6s
REV. DELAY 100 ms
REV. LEVEL 20%

Ideal for reproducing video discs, video tapes and similar sources
which are Dolby Surround encoded and bear the “DOLBY
SURROUND” logo.

70 mm Spectacle: This program creates the extremely wide

sound field of a 70 mm film movie theater . It
precisely reproduces the source sound in
detail, giving both the video and the sound
field incredible reality. Any kind of Dolby
Surround video sources (especially large­scale movie productions) are ideal for use
with this program.

Preset Parameter
EFCT TRIM 0 dB
DOLBY PRO LOGIC ON
P. INIT. DLY 13 ms
P. ROOM SIZE 1.0
S. DELAY 23 ms
S. ROOM SIZE 1.0

70 mm Musical: The data of the sound field of the newest

concert hall is used for the front presence
side, and the data of the sound field of a
shoe box type hall is used f or the rear
surround side. Therefore , each instrument
can be distinguished clearly, and the depth
of sound at the screen and the background
reflections are beautifully reproduced.

Preset Parameter
EFCT TRIM 0 dB
DOLBY PRO LOGIC ON
P. INIT. DLY 17 ms
P. ROOM SIZE 1.0
S. DELAY 20 ms
S. ROOM SIZE 1.0

37

11.MOVIE THEATER 2

12.DOLBY PRO LOGIC SURROUND

Ideal for reproducing video discs, video tapes and similar sources
which are Dolby Surround encoded and bear the “DOLBY
SURROUND” logo.

70 mm Adventure: 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 reverber ations 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.

Preset Parameter
EFCT TRIM 0 dB
DOLBY PRO LOGIC ON
P. INIT. DLY 15 ms
P. ROOM SIZE 1.0
S. DELAY 15 ms
S. ROOM SIZE 1.0

70 mm General: This program is characterized by a softer

sound with full depth at the front. Because
of the extensive sound field spreading all
around and toward the screen, the emotion
of the conversation taking place in the film
is well conve y ed, similar to the feeling
experienced in a modern, well facilitated
movie theater .

Preset Parameter
EFCT TRIM 0 dB
DOLBY PRO LOGIC ON
P. INIT. DLY 15 ms
P. ROOM SIZE 1.0
S. DELAY 15 ms
S. ROOM SIZE 1.0

Reproduces video discs, video tapes and similar sources which
are Dolby Surround encoded and bear the “DOLBY
SURROUND” logo .

Normal: The employment of the digital signal

processing system improves crosstalk and
sound positioning is smoother and more
precise.
A stable movie sound field is recreated.

Preset Parameter
S. DELAY 20 ms

Enhanced: Added to the “Normal” Dolby Pro Logic,

DSP technology simulates the multi­surround speaker systems of the 35 mm
film theater, widening the surrounded-by­sound field with much presence.

Preset Parameter
S. DELAY 20 ms
S. ROOM SIZE 1.0
S. LIVENESS 4

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.

38

2-8. REMOTE CONTROL “LEARNING” FUNCTION

ON SCREEN

CENTER

LEVEL

PARAMETER

EFFECT

RESET CLEAR

ON/OFF

REAR
LEVEL

MUTING

SET MENU

MOVIE

THEATER 2

MOVIE

THEATER 1

TV

THEATER

PRO LOGIC

MASTER
VOLUME

9

10 11 12

ENGLISH

The remote control unit, in addition to controlling the most
commonly used functions of the main unit and other connected
Yamaha audio and video equipment, has a sophisticated “learning”
function that allows it to control other equipment in your system or
other household appliances equipped with infrared remote control
receivers. By setting the YPC/USER/LEARN s witch on the remote
control unit to Learn mode, all keys will turn into “learnable function
keys”, each capab le of “learning” a different remote control function.
Also, each k e y can learn two diff erent functions b y switching the
learning page (1 or 2) with the 1/2 switch. Howe v er, as for the keys
shaded in the following figure , the PARAMETER/SET MENU switch
will select the learning page number (1 or 2) instead of the 1/2
switch.

PARAMETER/SET MENU switch

4. Aim the infrared transmitter windo w of the other remote control
unit. Press and hold down the button on the other remote control unit
corresponding to the new function to be learned. Hold the button
down until the TRANSMIT/LEARN indicator is extinguished. The
function has now been learned.

5-10 cm

5. Repeat steps 3 and 4 to learn additional functions.

Learning a New Remote Control Function

1. Select the learning page number (1 or 2) by using the 1/2 s witch.

2. Set the YPC/USER/LEARN s witch to Learn mode.

3. Press the ke y that is to have a new function assigned to it. The
TRANSMIT/LEARN indicator will illuminate.

6. Set the YPC/USER/LEARN s witch to User mode . Pressing the
learned key will now perf orm the assigned function. Provided user
program sheets should be used to record the functions learned by
the various keys .

39

NOTE: The originally preset function of a ke y is still a vailable in the

USER position if the key does not learn a new function.

NOTE: If all signals learned are long signals, it is possible that the
capacity of the memory could be completely filled before all of the
keys learn new functions, and so no further learning is possible.

Erasing All Learned Functions

1. Set the YPC/USER/LEARN s witch to the Learn mode.

2. Use the point of a pencil or other similar object to press and hold
the CLEAR button.

The function learned by any key can be easily changed by
repeating the learning process with a different function. It is also
possible to erase learned functions so that the keys return to the
originally preset functions.

Erasing a Learned Function

1. Set the YPC/USER/LEARN s witch to the User mode .

2. Use the point of a pencil or other similar object to press and hold
the CLEAR button.

3. Press and hold the ke y whose function is to be er ased until the
TRANSMIT/LEARN indicator flashes on and off three times.

3. Press and hold any k e y until the TRANSMIT/LEARN indicator
flashes on and off sev en times.

NOTE: All of the memorized functions will be retained while y ou
replace the batteries. However , if no batteries are installed f or a few
hours, the memory will be erased and will have to be progr ammed
again.

NOTE: There ma y occasionally be instances in which, due to the
signal-coding and modulation systems employed b y the other remote
control unit, that this unit will not be able to learn its signals.

NOTE: When the remote control freezes, press the RESET button on
the rear of the main unit to “reset” the internal microcomputer which
controls remote control operations.
Pressing the RESET button will not erase learned functions.

40

CREATING YOUR OWN SOUND FIELDS

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—wood 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 tw o 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
43 for any particular environment, and provide vital information to our
ears. Early reflections actually add clarity to the direct sound.

(2) Rev erber 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.

In addition to allowing you to recreate the sound fields of f amous
listening environments from around the world, the DSP system
allows you to create your o wn sound fields . Starting with one of the
built-in programs, you can adjust such parameters as apparent room
size, re v erber ation time , and distance from y ou to the performer.
Even if power is turned off, your custom sound fields will remain in
the DSP system’s memory for about tw o weeks . The following pages
detail how to make your o wn sound fields .

ENGLISH

41

In addition to the “TYPE” parameter which selects the sub­programs within each sound field program (e .g. “Hall A in Europe”
and “Hall B in Europe” for program 1, “CONCERT HALL 1”), each
program also 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 man y 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 e xample , aff ects the length of time betw een the “early
reflections”—that is, the first fe w widely spaced reflections you hear
after the direct sound. The “ROOM SIZE” parameter provided in
many of the DSP programs alters the timing between 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. Surf aces
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.

to select other parameters in sequence. Press the P ar ameter Select
(

▲▲) key to scroll upw ard through the par ameter list.

2. When the desired parameter has been recalled, use the
Parameter + (increment) and – (decrement) keys to change its value
to create the effect you w ant. + increases the value of the selected
parameter , and – decreases the v alue of the selected par ameter. In
both cases you can hold the ke y do wn f or contin uous incrementing or
decrementing. The display will pause f or a moment at the initial value
of the parameter as a reminder .

NOTE: Parameter edits made in this wa y will remain in effect ev en
with power turned off for up to about two weeks , after which all
parameters will return to their initial values.

Refer to “3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS” on page 43 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 Parameter Select

▼▼) key on the remote control unit once . This will recall the next

(
parameter after the program type. In the case of the CONCERT
HALL 1 program, for example, this would be the EFCT TRIM
parameter . You can continue pressing the Parameter Select (

42

▼▼) key

3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD PARAMETERS

INIT. DLY INIT. DLY INIT. DLY

ENGLISH

Not all of the following par ameters are f ound in every prog ram.
Refer to the “PROGRAM PARAMETER T ABLE” on page 48 for a
complete list of the parameters in each program.

●

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).

●

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 – 99 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.

Level

Direct sound

Early reflections Early reflections Early reflections Early reflections

Small

Time Time Time Time Time Time

Small space Large space

Level Level Level Level Level

Direct sound Direct sound Direct sound

Large Small Large

43

●

REV. TIME

60 dB

REV. TIME

60 dB

REV. TIME

60 dB

LIVENESS

●

REV. TIME (Reverberation Time)

How it Affects the Sound:

This parameter changes the apparent reflectivity of the walls in

the hall.

The early reflections from a sound source will lose intensity
(decay) much f aster in a room with acoustically absorbent wall
surfaces than in one which has mostly reflectiv e surf aces . A room
with highly reflective surfaces in which the early reflections decay
slowly is termed “live”, while a room with absorbent characteristics in
which the reflections decay rapidly is termed “dead”. The LIVENESS
parameter lets you adjust the early reflection decay r ate, and thus the
“liveness” of the room.

What it Does:

Changes the rate at which the early reflections decay.

Control Range:

0 – 10.

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.

Level

Time Time Time Time Time Time

Dead Live Reverberations Reverberations Reverberations

44

Level Level Level Level Level

Small

Direct sound

Direct sound

Early reflections

Large LargeSmall

●

REV.TIME

60 dB

REV.DELAY

REV. LEVEL

REV. DELAY (Reverberation Delay)

●

REV. LEVEL (Reverberation Level)

ENGLISH

This parameter sets the time difference between the beginning of
the direct sound and the beginning of the rev erberation sound. The
larger the value, the later the re verberation sound will begin. A later
reverber ation sound mak es y ou feel like the space of the acoustic
environment has become larger .

Control Range:

100 – 170 milliseconds

Level

Direct sound

Reverberations

Time

This parameter adjusts the volume of the re verberation sound.

The larger the value, the stronger the reverberation becomes.

Control Range:

1 – 100%

Level

Direct sound

Time

45

●

DIR. ENHANCEMENT (Directional Enhancement)

●

DOLBY PRO LOGIC (for MOVIE THEATER 1 and 2 only)

This circuit emphasizes the position of sound. If this circuit is
activated, the unity constituent of the input left and right channels
(those signals which are common to the left and right channels) will
be output from the center speaker , and the disparity constituent of
the left and right signals (the difference between the left and right
channels) will be output from the surround speakers.

Because the unity constituent signal determines localization,
precise localization is obtained ev en though a listener is left or right
of the ideal center listening position.

The primary sound field around the screen is obtained according
to processing based on left, center and right speakers as the sound
source. Also, with the processing of the surround sound source
based on the disparity constituent (which includes most of the
indirectional sound constituent), sound diffusion to the rear speakers
is obtained. Therefore, directional enhancement is an especially
effective processing option for vocal or operas.

With monaural sound sources, almost all sounds are output from
the center speaker instead of the left and right main speakers.

By adding the Dolby Pro Logic Decoder to the DSP effect, the full
presence of a 70 mm film theater is reproduced without deteriorating
the channel separation.

With monaural sound sources, almost all sounds are output from
the center speaker instead of the left and right main speakers.

Selectable levels:

OFF/MIN/MID/MAX

46

●

EFCT TRIM (Effect Trim)

●

S. DELAY (Surround Delay)

ENGLISH

Performs fine adjustment of the level of all the eff ect sounds .

Control Range:

–3 dB to 3 dB

●

P. INIT DLY (Presence Initial Delay)

Adjusts the delay between the direct sound and the first reflection
on the presence side of the sound field. The larger the value, the
later the first reflection begins.

Control Range:

1 – 49 milliseconds

●

P. ROOM SIZE (Presence Room Size)

Adjusts the apparent space size of the front presence sound field.
The larger the value, the longer the interval between reflections
becomes, which increases the depth of the sound source.

Control Range:

Adjusts the delay between the direct sound and the first reflection
on the rear surround side sound field. The larger the value, the later
the surround sound field is generated.

Control Range:

1 – 49 milliseconds (15 – 30 milliseconds for DOLBY PRO
LOGIC only)

●

S. ROOM SIZE (Surround Room Size)

Adjusts the apparent space size of the rear surround sound field.
The larger the value, the larger the surround sound field becomes .

Control Range:

0.1 – 2.0

●

S. LIVENESS (Surround Liveness)

Adjusts the apparent reflectivity of the walls on the rear surround
sound field. The larger the value, the more reflectiv e the surround
sound field becomes.

0.1 – 2.0

Control Range:

0 – 10

47

TABLES & SPECIFICATIONS

4-1. PROGRAM PARAMETER TABLE

If you alter parameters, write down the altered values on the table. If parameters are initializ ed because of a mis-oper ation or a long (more than
two weeks) cut in power, you can restore your custom values by adjusting parameters according to the table.

Parameter Name

TYPE

EFCT TRIM

1

2

3

4

5

CONCERT HALL 1

CONCERT HALL 2

CONCERT HALL 3

CHURCH

ROCK CONCERT

INIT. DLY

ROOM SIZE

LIVENESS

TYPE

EFCT TRIM

INIT. DLY

ROOM SIZE

LIVENESS

TYPE

EFCT TRIM

INIT. DLY

ROOM SIZE

LIVENESS

TYPE

EFCT TRIM

INIT. DLY

REV. TIME

REV. DELAY

REV. LEVEL

TYPE

EFCT TRIM

INIT. DLY

ROOM SIZE

LIVENESS
REV. TIME

REV. DELAY

REV. LEVEL

Preset Value

Hall A in Europe

0 dB

30 ms

1.0
5

Hall C in Europe

0 dB

30 ms

1.0
5

Hall E in Europe

0 dB

30 ms

1.0
5

Tokyo

0 dB

40 ms

2.5s

122 ms

100%

The Roxy Theatre

0 dB

15 ms

1.0
5

1.6s

100 ms

12%

Altered Value Altered ValueProgram NameNo.

Preset Value

Hall B in Europe

0 dB

30 ms

1.0
5

Hall D in U.S.A.

0 dB

35 ms

1.0
5

Live Concert

0 dB

45 ms

1.0
5

Freiburg

0 dB

95 ms

4.0s

130 ms

100%

Warehouse Loft

0 dB

15 ms

1.0
7

2.0s

120 ms

32%

48

Program NameNo.

6

7

8

9

JAZZ CLUB

CONCERT VIDEO 1

CONCERT VIDEO 2

TV THEATER

Parameter Name

TYPE

EFCT TRIM

INIT. DLY

ROOM SIZE

LIVENESS

TYPE

EFCT TRIM

DIR. ENHANCEMENT

P. INIT. DLY

P. ROOM SIZE

S. DELAY

S. ROOM SIZE

TYPE

EFCT TRIM

DIR. ENHANCEMENT

P. INIT. DLY

P. ROOM SIZE

S. DELAY

S. ROOM SIZE

REV. TIME

REV. DELAY

REV. LEVEL

TYPE

EFCT TRIM

DIR. ENHANCEMENT

P. INIT. DLY

P. ROOM SIZE

S. DELAY

S. ROOM SIZE

REV. TIME

REV. DELAY

REV. LEVEL

Preset Value

0 dB

17 ms

1.0
5

Classical/Opera
0 dB
MID

12 ms

1.0

30 ms

1.0

0 dB
MID

21 ms

1.0

25 ms

1.0

1.6s

100 ms

21%

0 dB
MID

44 ms

1.0
—
—

1.8s

100 ms

9%

Village Gate

Pop/Rock

Mono Movie

Altered Value

Preset Value

Cellar Club

0 dB

20 ms

1.0
5

0 dB

MID

23 ms

1.0

30 ms

1.0

0 dB

MID

14 ms

1.0

45 ms

1.0

2.2s

125 ms

40%

Variety/Sports

0 dB

MID

10 ms

1.0

30 ms

1.0

1.6s

100 ms

20%

Altered Value

Recital

Pavilion

ENGLISH

49

No. Altered Value

10

11

12

MOVIE THEATER 1

MOVIE THEATER 2

DOLBY PRO LOGIC

Parameter Name

TYPE

EFCT TRIM

DOLBY PRO LOGIC

P. INIT. DLY

P. ROOM SIZE

S. DELAY

S. ROOM SIZE

TYPE

EFCT TRIM

DOLBY PRO LOGIC

P. INIT. DLY

P. ROOM SIZE

S. DELAY

S. ROOM SIZE

TYPE

S. DELAY

S. ROOM SIZE

S. LIVENESS

Preset Value

70 mm Spectacle

0 dB

ON

13 ms

1.0

23 ms

1.0
70 mm Adventure

0 dB

ON

15 ms

1.0

15 ms

1.0

Normal

20 ms

—
—

Altered ValueProgram Name

Preset Value

70 mm Musical

0 dB

ON

17 ms

1.0

20 ms

1.0
70 mm General

0 dB

ON

15 ms

1.0

15 ms

1.0

Enhanced

20 ms

1.0

4

50

4-2. TROUBLESHOOTING

ENGLISH

PROBLEM

Power does not come on.
Hum.
No sound.

No sound from main speakers.
No sound from effect speakers.

No front reflection sound.

No sound from center speaker.

The sound suddenly goes off.

DSP parameters or other settings on this
unit cannot be changed.

The sound field cannot be recorded.

Noise from nearby TV or tuner.
The remote control unit does not work.

The TRANSMIT/LEARN indicator does not
illuminate or flash.
The remote control unit does not work.

Learning cannot be made successfully.

POSSIBLE CAUSE

AC cord not properly plugged in.
Bad cable connection.
Bad or incorrect input connection.
Incorrect input source selection.

The MAIN LEVEL control is set to “0”.
EFFECT switch is set off.
The DOLBY PRO LOGIC program is being used with

material not encoded with Dolby Surround.
In a 4-channel system, the front MIX switch is set

incorrectly.
The center mode is in “PHNTM”.
Incorrect sound field program.
The protection circuit has activated because of short

circuit etc.
The “MEMORY GUARD” function is set ON.

It is not possible to record the sound field on a tape deck
connected to this unit’s TAPE REC OUT jacks.

This unit is too close to the affected equipment.
Direct sunlight or lighting (of an inverter type of

flourescent lamp etc.) is striking the remote control sensor
of the main unit.

The batteries of this remote control unit are weak or the
memory capacity has been exceeded.

The batteries of the other remote control unit are weak.
The distance between the two remote control units is too

long or too short.
The signal coding or modulation of the other remote

control unit is not compatible with this remote control unit.
Memory capacity is full.

WHAT TO DO

Carefully plug AC plug into outlet.
Firmly plug in all connection cables.
Check connections.
Set the INPUT SELECTOR or TAPE 2 MONITOR switch to the

correct position.
Turn up the MAIN LEVEL control.
Press EFFECT switch to turn on.
Use a different sound field program.

Set the FRONT MIX switch to “ON”.

Select the appropriate center mode.
Select the appropriate program.
Turning the unit off and then on will reset the protection circuit.

Turn the “MEMORY GUARD” OFF.

Move the unit further away from the affected equipment.
Change the position of the main unit.

Replace the batteries with new ones and press the RESET button
on the remote control unit.

Replace the batteries.
Place the remote control units with the proper distance.

Learning is not possible.

Further learning is not possible without deleting unnecessary
commands.

51

4-3. SPECIFICATIONS

Minimum RMS Output Power Per Channel

Main (20 Hz – 20 kHz 0.015% THD 8Ω/6Ω) .................................... 80W/100W

Center (20 Hz – 20 kHz 0.015% THD 8Ω/6Ω)

[U.S.A., Canada and General models] ............................................. 80W/100W

[Australia, Europe and U.K. models] ................................................. 80W/100W

Front, Rear Effect (20 Hz – 20 kHz 0.05% THD 8Ω/6Ω)

[U.S.A., Canada and General models] ............................................... 25W/30W

[Australia, Europe and U.K. models] ................................................... 22W/26W

Dynamic Power Per Channel
(by IHF Dynamic Headroom Measuring Method)

[U.S.A., Canada and General models]

Main (8Ω/6Ω/4Ω) .................................................................. 130W/160W/215W

DIN Standard Output Power Per Channel [Europe model] (Main)

Main (1 kHz 0.7% THD 4Ω) ......................................................................... 130W

Dynamic Headroom [U.S.A., Canada and General models] (Main)

Main (8Ω/6Ω) ................................................................................... 2.1 dB/2.0 dB

IEC Power [Europe model]

Main (1 kHz 0.015% THD 8Ω/6Ω) ...................................................... 85W/105W

Damping Factor

Main (1 kHz 8Ω) ............................................................................................... 120

Input Sensitivity/Impedance

Phono MM ....................................................................................... 2.5 mV/47 kΩ

CD/TUNER/TAPE/LD/VCR/TV·DBS ............................................. 150 mV/47 kΩ

MAIN IN/CENTER IN ........................................................................... 1.0V/47 kΩ

Maximum Input Signal (1 kHz 0.05% THD)

CD/TUNER/TAPE/LD/VCR/TVzDBS..................................................................2.3V

Phono MM ................................................................................................. 130 mV

Output Level/Impedance

REC OUT .......................................................................................... 150 mV/1 kΩ

PRE OUT (MAIN L, R, CENTER) ......................................................... 1V/1.2 kΩ

PRE OUT (FRONT L, R, REAR L, R) ................................................... 1V/1.2 kΩ

LOW PASS (SPLIT L, R) (EFFECT OFF) ............................................ 2V/1.2 kΩ

LOW PASS (MONO) (EFFECT OFF) ............................................... 4.0V/1.2 kΩ

Maximum Voltage Output (20 Hz – 20 kHz 1% THD)

PRE OUT (MAIN L, R) ...................................................................................... 3V

Headphone Jack Rated Output/Impedance

Output Level 0.03% THD 1 kHz RL=8Ω, ..................................................... 0.19V

Impedance .................................................................................................... 100Ω

Frequency Response (20 Hz – 20 kHz)

CD/TUNER/TAPE/LD/VCR/TV·DBS ...................................................... 0±1.0 dB

MAIN IN ................................................................................................... 0±1.0 dB

RIAA Equalization Deviation

Phono MM ............................................................................................... 0±0.5 dB

Total Harmonic Distortion (20 Hz – 20 kHz)

Phono MM to REC OUT, 3V ....................................................................... 0.01%

CD/TUNER/TAPE/LD/VCR/TV·DBS to PRE OUT (MAIN L, R), 1V ....... 0.005%

MAIN IN to SP OUT (MAIN L, R, CENTER)

40W/8Ω .................................................................................................... 0.005%

50W/6Ω ................................................................................................... 0.005%

Signal-to-Noise Ratio (IHF-A Network)

Phono MM (Input Shorted) (EFFECT OFF) ............................... More than 86 dB

CD/TUNER/TAPE/LD/VCR/TV·DBS (Input Shorted) (EFFECT OFF)

..................................................................................................... More than 96 dB

Residual Noise (IHF-A Network) ................................................................. 150 µV

Channel Separation Vol –30 dB

Phono MM Input shorted

1 kHz/10 kHz .................................................................... More than 70 dB/55 dB

CD/TUNER/TAPE/LD/VCR/TV·DBS Input 5.1 kΩ Terminated

1 kHz/10 kHz .................................................................... More than 60 dB/45 dB

52

Tone Control Characteristics

Bass

Boost/Cut .................................................................................... ±10 dB (50 Hz)

Turnover frequency .................................................................................. 350 Hz

Treble

Boost/Cut ................................................................................... ±10 dB (20 kHz)

Turnover frequency ................................................................................. 3.5 kHz

BASS EXTENSION ............................................................................. +7 dB (70 Hz)

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.

ENGLISH

Filter Characteristics (Highcut Filter)

LOW PASS (fc = 200 Hz) ...................................................................... 12 dB/oct.

AUDIO MUTING ............................................................................................. –20 dB

Video

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 ................................................................................. 50 dB

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. model ................................................................................................ 400W

Canada model ................................................................................ 400W, 530 VA

Australia, Europe, U.K. and General models .............................................. 350W

Dimensions (W x H x D) ................................................... 435 x 170.5 x 468.5 mm

(17-1/8” x 6-11/16” x 18-7/16”)

Weight ..................................................................................... 21.0 kg (46 lbs. 3 oz.)

* Specifications are subject to change without notice.

53

YAMAHA ELECTRONICS CORPORATION, USA 6660 ORANGETHORPE AVE., BUENA PARK, CALIF. 90620, U.S.A.
YAMAHA CANADA MUSIC LTD. 135 MILNER AVE., SCARBOROUGH, ONTARIO M1S 3R1, CANADA
YAMAHA ELECTRONIK EUROPA G.m.b.H. SIEMENSSTR. 22-34, D-2084 RELLINGEN BEI HAMBURG, F.R. OF GERMANY
YAMAHA ELECTRONIQUE FRANCE S.A. 17 RUE DES CAMPANULES, LOGNES 77321 MARNE LA VALLEE CEDEX 2, FRANCE
YAMAHA ELECTRONICS (UK) LTD. YAMAHA HOUSE, 200 RICKMANSWORTH ROAD WATFORD, HERTS WD1 7JS, ENGLAND
YAMAHA SCANDINAVIA A.B. J A WETTERGRENS GATA 1, BOX 30053, 400 43 VÄSTRA FRÖLUNDA, SWEDEN
YAMAHA MUSIC AUSTRALIA PTY, LTD. 17-33 MARKET ST., SOUTH MELBOURNE, 3205 VIC., AUSTRALIA

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