Pioneer SP-700D User manual

inetoy
Oper.
ating
DOLBY
PRO
LOGIC
&
SOUND
FIELD
PROCESSOR
Instructions
S
P
_
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Ol
Thank you for buying this fine Pioneer product. For the most effective
performance of ail the functions of this unit, please read this operation
manual carefully before using. Store this manual in a safe place together
with warranty and service center information for future reference.
WARNING:
to
prevent
FIRE
OR
SHOCK
HAZARD.
LINE
VOLTAGE
SELECTOR
SWITCH
DO
NOT
EXPOSE
THIS
APPLIANCE
TO
RAIN
OR
MOISTURE.
Only
multi-voltage
models
are
provided
with
this
switch.
U.S.,
Canadian,
European,
U.K.,
and
Australian
models
are
not
provided
with
this
switch.
IMPORTANT
NOTICE
Mains
voltages
in
Saudi
Arabia
are
127
V
and
220
V
only.
[For
U.S.
and
Canadian
models]
Never
use
this
mode!
with
110
V
setting
in
Saudi
Arabia.
The line voltage selector switch is on the rear panel. Before
The.
sen!
number
for.
this
equipment
is
located
on
the
rear
your
model
is
shipped
from
the
factory,
this
switch
is
set
to
panel.
Please write
this
serial
number
on
your
enclosed
war-
pe
Bes
‘i
the
power
requirements
of
the
destination.
Check
that
it
is
set
ranty
card
and
keep
it
in
a
secure
area.
This
is
for
your
securi-
properly
before
plugging
the
power
cord
into
the
AC
wall
ty.
socket.
If
the
voltage
is
not
properly
set
or
if
you
move
to
an
area
where
the voltage
requirements
differ, adjust
the
"
selector switch
as
follows.
{For
Canadian
model]
1,
Use
a
medium-size
screwdriver.
CAUTION:
to
prevent
ELECTRIC
SHOCK
DO
NOT
2.
Insert
the
screwdriver
into
the
groove
on
the
voltage
USE
THIS
(POLARIZED)
PLUG
WITH
AN
EXTENSION
CORD,
selector
and
set
to
the
voltage
vaiue
of
your
area.
RECEPTACLE
OR
OTHER
OUTLET UNLESS
THE
BLADES
CAN
BE
FULLY
INSERTED
TO PREVENT
BLADE
EXPOSURE.
ATTENTION: pour prevenin Les CHOCS ELEC-
TRIQUES NE PAS UTILISER CETTE FICHE POLARISEE AVEC
UN PROLONGATEUR UNE PRISE DE COURANT OU UNE
VOLTAGE SELECTOR
AUTRE SORTIE DE COURANT, SAUF SI LES LAMES PEUVENT oA Bar
ETRE INSEREES A FOND SANS EN LAISSER AUCUNE PARTIE Medium-size
A
DECOUVERT.
screwdriver
FEATURES
Ssh
scveorsinre
ated
nen
ireee
nmin
3
PARAMETER
CONTROL
......ecsscccosesssseeeeseesnstsesessvacseeeenes
16
BEFORE
USE..
CREATING PROGRAMS I (IN THE SOUND FIELD
CONTROL MODE)
3
PRECAUTIONS BEFORE OPERATING .4
24 USING SURROUND MODE.
5
7
BLOCK DIAGRAM...
ABOUT SOUND FIELD CONTRO
CONNECTING
PANEL FEATURES AND FUNCTIONS
PRELIMINARY OPERATIONS
FUNCTIONS
USING SOUND FIELD CONTROL
CREATING PROGRAMS II (IN THE SURROUND MODE)
HOW TO USE THE DIGITAL EQUALIZER ........
HOW TO USE THE USER PROGRAM MEMORY .-
TROUBLESHOOTING
SPECIFICATIONS
Y PIONEER’
The future of sound and vision.

——
IMPORTANT
The bghtning flash unth arrowhead, within an equitsterat
is mmtended to alett the user to the presence of
ed “dangerous voltage” within the product's
enclosure that may be of sufficient magnitude to constitute
atisk of electre shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION:
TO PREVENT THE RISK OF ELECTRIC SHOCK. DO
NOT REMOVE COVER {OR BACK}. NO USER:
SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
Hateral trang’
The exclamation point witht
intended
to
alert
the
user
¢
nce
of
impartent
operating
and
maintenance
gi
instructions
in
the
firerature
accompanying
tn
sapliance
READ INSTRUCTIONS ~ All the safety and operating
instructions should be read before the appliance is
operated
RETAIN INSTRUCTIONS -- The operating instructions
should be retained for future reference
HEEO WARNING ~ All warnings on the appliance and in
the operating instructions should be adhered to.
FOLLOW INSTRUCTIONS — Alt operating and use in-
structions should be followed.
WATER ANO MOISTURE ~ The appliance should not
be used near water ~ for example, near a bathtub,
washbowl, kitchen sink, laundry tub, in a wet base
ment, or near a swimming pool, ete
LOCATION — The appliance shouid be installed in a
stable focation,
WALL OR CEILING MOUNTING ~ The apptiance
should not be mounted to a wall or ceiling
VENTILATION -- The appliance should be situated so
that its location or position does not interfere with
its proper ventitation. For example, the appliance
should not be situated an a bed, sofa, rug, or similar
surface that may block the ventilation openings; or,
placed in a built-in installation, such as 8 bookcase
or cabinet that may impede the flow of air through
the ventilation openings.
HEAT ~ The appliance should be situated away from
heat sources such as radiators, heat registers,
stoves, or other appliances (including amplifiers)
that produce heat.
POWER SOURCES ~- The appliance should be con-
nected to a power supply only of the type de-
sctibed in the operating instructions or as marked
on the appliance.
POWER-CORD PROTECTION — Power-supply cords
should be routed so that they are not fikely to be
walked on or pinched by items placed upon or
against them. Pay particular attention to cords at
plugs, convenience receptacles, and the point
where they exit from the appliance
POLARIZATION — If your purchased product is pro
vided with a polarized power plug, please read the
follawing instructions. This product is equipped
with 3 polarized alternating current line plug (a piug
having one blade wider than the other). This plug
will fit into the power outlet only one way. This is 3
safety feature. If you are unable to insert the plug
fully into the outlet, try reversing the plug. If the
plug should still fail to fit. contact yaur electrician to
replace your obsolete outlet, Do not defeat the
safety purpose of the polarized plug
CLEANING ~ The appliance should be cleaned only
with a polishing cloth or a soft dry cloth. Never
clean with furniture wax. benzine, insecticides oF
other volatile liquids since they may corrode the
cabinet
EQUIPMENT <7
POWER LINES - An outdoor antenna shouid be located
away from power lines.
NONUSE PERIODS ~ The power cord of the appliance
should be unplugged from the outlet when left un:
used tor a long period of time
OBJECT AND LIQUID ENTRY ~ Care should be taken
s0 that objects do not (all and liquids are not spilled
into the enclosure through openings.
DAMAGE REQUIRING SERVICE ~ The appliance
should be serviced by a Pioneer authorized service
center or qualified service personnel when
@ = The power-supply cord or the plug has been dam
aged
@ Objects have fatien, oF liquid has been spilied into
the appliance
The appliance has been exposed to rain.
The appliance does not appear to operate normally
or exhibits a marked change in performance
@ The appliance has been dropped or the enclosure
damaged
SERVICING - The user should not attempt to service
the appliance beyond that described in the opera-
ting instructions. For all other servicing, contact the
nearest Pioneer authorized service center.
GROUND.
ELECTRIC
SERVICE
~ GROUND CLAMPS
—_—
SAFETY
INSTRUCTIONS
———
OUTDOOR ANTENNA
GROUNDING
~
if
an
outside
an
tering
is
connected
to
sa
terminal,
bé
sure
the
antenna
system
i
so
as
to
provide
some
protection
against
vor:
surges
and
built
up
static
charges
in
the
USA.
section
819
of
the
National
Electrical
Code,
ANSUNFPA
No.
75-1985.
provides
informa:
tion
with
respect
to
praper
grounding
of
the
mast
and
supporting
structure,
grounding
of
the
lead-in
wire
to
an
antenna
discharge
unit,
size
of
grounding
conductors,
location
of
antenna
discharge
unit,
connection
to
grounding
electrodes,
and
require-
ments
for
the
groundirg
electrode,
See
Fig.
A
CART
~
An
appliance
and
cart
combination
should
be
moved
with
care,
Quick
sions.
excessive
force,
and
uneven
surfaces
may
cause
i
appliance
and
cart
combination
to
overturn
NEC = NATIONAL ELECTRIC CODE
ANTENNA
ANTENNA
DISCHARGE UNIT
(NEC SECTION 810 ~ 201
GROUNDING CONDUCTORS:
ION 810 = 217
+ POWER SERVICE GROUNDING
ELECTRODE SYSTEM
FIG.
A
INEC
ART
250,
PART
H)
[For Canadian model]
This
digital
apparatus
does
not
exceed
the
Class
B
limits
for
radio
noise
emissions
from
digital
apparatus
set
out
in
the
Ra-
dio
interference
Regulations
of
the
Canadian
Department
of
Communications.
2
<ARB1203>
[Pour
le
modéie
Canadien]
‘interference,
radioélectrique
générée
par
cet
apparel
nu-
mérique
de
type
B
ne
dépaésse
pas
les
limites
énoncées
dans
le
Réglement
sur
les
perturbations
radioélectriques,
section
appareif
numérique,
du
Ministére
des
Communications.

FEATURES
mw Provides 8 Surround effect and 16 Sound Field
Control programs.
mw Using original high performance DSP
technology, |.E.R.S (Integrated Early Reflection
System) provides four extremely realistic sound
field programs...... HALL 1, HALL 3, JAZZ 4,
ROOM 1.
m Program parameters, sound effect levels, and
optional balance settings for 16 original
programs can be stored in memory.
BEFORE USE
m Check the accessories
AUCIG TOTS cece 4
™ Loading the remote control unit with batteries.
1, Open the cover of the battery case on the back of the
remete control unit by pulling in the direction indicated
by the mark while pressing.
2. Take two of the supplied Size AAA, RO3/UM-4
batteries and insert as shown in the battery case.
3. Close the battery case cover.
Size AAA, RO3/UM-4 batteries ... 2
§ You can create just the sound you want with the
Digital Equalizer.
® Equipped with a test tone generator to enable
accurate setting adjustment.
® The supplied remote control unit allows you to
operate the unit without moving from the
listening position.
Using the batteries incorrectly may cause them to leak
or burst. Pay careful attention to the following points.
1. {nsert the two batteries making sure they are aligned with the polarity
markings in the battery case.
2. Don’t use a new battery with an old one.
3. Batteries of the same size may have different voltages so don’t use
different kinds of batteries together.
Range of Operation of the Remote Control Unit
The remote control unit can dperate the main unit within a distance of
7 meters, and within an angle no more than 30 degrees off-axis from
the infrared receiver.
INFORMATION TO USER [FOR U.S. MODEL}
This asvanent generates and uses radio frequency
ener ¢ not installed and used properly. that is. in
strict aocorsance with the manufacturer's instructions,
erference to radio and television recep.
type tested and found to comply with
Cass 8 computing device in accordance
ieations in Subpart J of Part 18 of FCC
designed to provide reasonable pro-
tection aswine: such interference in a residential instat-
lation, omeever there is NO guarantee that interference
will moo @ particular installation.
If this equipment does cause interference to radio or
television reception, which can be determined by turn-
ing the equipment off and on. the user 1s encouraged to
try to correct the interference by one or more of the
following measures
@ reorient the recerving antenna
@ relocate this equipment with respect (0 the recemver
@ move this equipment away from the recever
@ olug this equipment mto a different outlet so that
equipment and receiver are on different branch cu
cuits
if necessary. the user should consult the deaier or an
experienced radio/television technician for additional
suggestions. The user may find the following booklet
prepared by the Federal Communications Commission
helpful
“How fo idenufy and Resolve Radio. TV interference
Probiems”
This booklet 1s available from the US Government
Printing Office, Washington, DC, 20402, Stock No
004-000-00345-4
The above instructions apply only to units which will
be operated in the Unued States.
3
<ARB1203>

PRECAUTIONS BEFORE OPERATING
@ Install in a well ventilated location and avoid high
temperatures and high humidity
To avoid damage to the cabinet or intemal parts, do not install near heat
sources such as stoves or other heat producing appliances, or in
locations that receive direct sunlight. Instailing in hot, humid, steamy,
smoky, or dusty locations, or near furniture, may also fead to damage
or accidents.
BLOCK DIAGRAM
pean
|
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Ls
ek FRONT OUT
ON
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rt
t
L>-or
TAPE shy
PLAY ~ ic]
oO- BY SINE
=a PRO LOGIC “
if rn MONO QUT
| 4 2 |
1
tf >f5 center our
LROm | ‘
LEVEL
BALANCE iweut | | +o wet H
2 Oe i +f >-01
—-@- $- $45 t
L yA £ } Ff oarran PROCESSING
rT} «po po
[" ee H al PATER FRONT OUT
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Tata be ot 3
Lame) itt iti et
T+ B+ ZO | i i
Len TALIS | ‘
i
ae
|
mr
:
CONTROL
j—
?
| f OIGITAL
Oni weut i i pegs : 1 REAR OUT
i Pt
5 2 Lal ova — i>~-OR
Micsopracessor | Microprocessor Sit
Key INPUT 5 a MeMoRY to 4
4
em
|
Lee
1
4
MASTER
VOLUME
oseray [-——___}
4
<ARB1203>>

ABOUT
SOUND
FIELD
CONTROL
gourd
7s
at
a
concert
differs
depending
on
the
listening
He
amen
ame
vour
listening
position.
This
is
because
sympathetic
;
ps
aria
sounds
reflected
from
the
ceiling
and
walls
reach
your
-
anes.
from
different
directions.
With
this
unit,
computer
ation
jets
experience
the
sensation
of
listening
to
any
genre
ayaic
in
Ue
OST
suitable
acoustic
environment.
There
is
a
choice
j
pa
proset
sounc
Feld
programs,
which
include
8
Surround
settings.
HALL
(4)
to
(4)
#
corvincing
hall
sound
whether
you
are
listening
to
a
gay ca ence
a
ull
symphony
orchestra.
all
orchesT?
&
2
JAZZ (1) to (4)
This
gives
you
Te
sound
field
of
a
jazz
club
or
an
intimate
nightclub.
w DISCO (1) and (2)
“sy
sound,
with
extra
reverb
for
greater
ambience.
A
eho!
high-27
ROCK (4) and (2)
citing atmosphere of a live concert.
w ROOM {1} and (2)
With
this
you
can
enyoy
the
sirnulated
sound
of
a
comfortable
listening
room,
w CHURCH
The sound fie
pipe organ.
“mw DELAY
inthis
mode,
somes
with
different
volume
levels
and
degrees
of
delay
ate
output
throwign
cifferent
speakers
to
create
a
spacious
effect
when
used
in
conjuresion
with
the
main
speaker.
church, ideal for reproducing the rich sound of a
This
unit
is
equipped
with
a
Dolby
Surround
Processor
that
uses
digital
delay
circuitry
to
produce
a
more
spacious
sound
field
with
greater
presence.
m= DOLBY PRO LOGIC SURROUND
Use
this
effect
for
movie
soundtrack
sources,
particularly
those
bearing
the
(0
[pots
surmouno
|
mark.
You
get
the
impression
of
actually
being
in
a
movie
theater
or
at
a
concert.
The
standard
delay
time
for
DOLBY
SURROUND
is
20ms.
® DOLBY 3 CHANNEL LOGIC
This
adds
the
rear
speaker
signal
to
the
front
speakers
to
simulate
the
PRO
LOGIC
effect
through
the
three
front
channels
(front
1,
R,
and
Center).
= STADIUM
Use
this
effect
when
watching
five
sports
broadcasts
such
as
baseball
or
football,
and
you
will
feel
as
though
you
are
right
there
in
the
stadium.
= SIMULATED SURROUND (1), (2)
Select
this
effect
with
monaural
sources
such
as
ordinary
TV
to
create
a
wide,
spacious
sound.
It
can
also
be
used
with
stereo
sources.
@ THEATER (1), (2)
These
effects
are
ideal
when
you
want
to
enjoy
stereo
movie
soundtrack
sources
that
don’t
bear
the
[J]
[potsy
surrouno
]
mark.
=
STUDIO
This
recreates
the
effect
of
listening
to
a
performance
in
a
comparatively
small
place,
such
as
a
studio
or
small
hall.
When listening to monaural sources, enjoy the effect of SIMULATED
SURROUND. If you use anything other than SIMULATED
SURROUND 1, 2, in the Surround mode when listening to a
monaural source, there will be no sound from the rear speaker.
Manufactured under license from Dolby Laboratories Licensing
Corporation.
Additionally
licensed
under
one
or
more
of
the
following patents: U.S. numbers 3,632,886, 3,746,792 and
3,959,590;
CANADA
numbers
1,004,603
and
1,037,877.
“Dolby” and the double-D symbol are trademarks of Dolby
Laboratories Licensing Corporation.
Manufacturé
sous
licence
de
Dolby
Laboratories
Licensing
Corporation.
En
outre,
sous
license
d’un
ou
plusiers
des
brevets
suivants:
numéros
ameéricains
3,632,886,
3,746,792
et
3,959,590;
numéros
canadiens
1,004,603
et
1,037,877.
Le
terme
“Dolby”
et
le symbole
Double-D
sont
des
marques
dépsoées
de
Doiby
Laboratories
Licensing
Corporation.
NOTE:
In
order
to
optimize
the
DOLBY,
SURROUND
decoder’s
operation,
be
sure
to
adjust
the
DOLBY
SURROUND
input
balance
frefer
to
“PRELIMINARY
OPERATIONS”
on
page
13).
5
<ARB1203>

ABOUT SOUND FIELD CONTROL
PLACING THE SPEAKERS
For the best sound field contro! effect, set up your speakers as shown
in the figure below.
Basic Setup
Front Speaker
{Left)
(Right)
Y
Listening
LL)
Rear
Rear Speaker. |
Zr SS iRight)
NOTE:
* Speakers placed very close to a TV should be magnetically shielded.
°
Place
the
Jeft
and
right
speakers
at
equal
distances
from
the TV.
* When using only one center speaker, place it above the TV. if you
place it at the side of the TV, the sound and the picture may not seem
quite synchronized.
* itis more effective if the rear speakers and processing front speakers
are positioned slightly higher than the level of your ears when listening,
*
It
is
recommended
you
use
amps
and
speakers
that
are
matched
in
output
and
efficiency.
Example of an Expanded Setup
Center Speaker
Front Speaker
Front Speaker
{Left}
Subwoofer
Processing
Processing
Front
ont
Front
Speaker
Speaker
Listening Area
Rear
Rear Speakers
(Left) FL=/) Soh
Placing the center speakers between two widely spaced front speakers
assures much clearer orientation of speech or vocals.
CONCERNING THE LISTENING ROOM
The best effect cannot be obtained from this unit if there are a lot of
sound reflections in the room. If your room suffers from this problem,
take the following measures
* in a room where sound reflections and vibrations are easily generated,
use thick woolen curtains or try moving furniture to different positions.
* In a room with hard, rigid walls or glass doors, prevent generation
of reflections and standing waves by using thick woolen curtains.
6
<ARB1203>

CONNECTING
THE
EASIEST
WAY
TO
ENJOY
THE
SOUND
FIELD
:
EFFECTS
Sources
tae { Your amp
Turntable
|
CD player ft
Tuner —
|
I
I
I
LD player
Cassette decks
Speakers
ee tend ADAPTOR } « Either use the ADAPTOR OUT, IN jacks,
OUT IN or TAPE REC QUT, PLAY IN jacks.
FRONT (R)
« When using these
connections, put
the SOUND FIELD
SYSTEM SELECTOR
switch to the 4CH side.
© The long slit on the power outiet is the
ground. This is convenient when matching
the polarity of power cords of other devices.
p="
To AUX etc.
b=")
Optional amp
REAR {R}
REAR
—
™ Connecting the Power Cord
Home AC power outlets have polarity, and are grounded. This unit takes
Lit
Using
tre
from
processing
speaker,
put
this
switch
in
the
4CH
advantage
of
this
polarity
to
improve
sound
quality.
As
shown
in
the
ing
front
output
will
be
mixed
with
the
front
figure,
insert
the
pin
on
the
side
of
the
power
cord
marked
with
a
white
gs
means
you
can
still
enjoy
Sound
Field
Control
line
into
the
ionger
of
the
two
slits.
fiver wet onry four speakers.
Home power outlet
fratt sing the center speaker, when using DOLBY
MHL arc DOLBY 3CH LOGIC with these connections, switch
ten ARDDE to PHANTOM (See page 21).
> The longer one is the ground.
White fine
7
<ARB1203>

CONNECTING
ENJOY THE FULL SOUND FIELD EFFECT
This is the same setup as on the previous page, but additionally using
two amps, two processing front speakers, center speakers, and a
subwoofer.
PROCESSING
PROCESSING
FRONT (L) FRONT (L) CENTER CENTER FRONT {R} FRONT (A)
© ©
SUBWOOFER
STEREO AMP
*
AUX1 AUX2 is ;
2 L a
28 @ ‘
B
% In the SOUND FIELD CONTROL MODE, switch
the input selector to AUX 1 and the speaker
selector to A. in the SURROUND MODE,
switch the input selector to AUX 2, and the
speaker selector to B.
* Use when bass output is imsu*
* Use a monaural aro or the one
channel of a sterex amp.
a .
} Your amp or an optional amp
SP-70012
* With these connections, put the SOUND
FIELD SYSTEM SELECTOR switch to the
6CH position.
To connect power amps to this unit:
* If directiy connecting a power amp that has no volume control to the
front output, use power amps for the processing front, rear, center,
REAR
iL)
and
mono
outputs
that
have
nearly
the
same
amount
of
power
as
that of the power amp used for the front output.
* In order to obtain effective sound field balance, volume contro! should
be a capability of the power amps or integrated amps connected to
outputs other than the front output.
8
<ARB1203>

PANEL
FEATURES
AND
FUNCTIONS
REAR PANEL
[-
0.009995
}
f ®
wi
i
©
@
Audio
Input
Jacks
(INPUT)
Conrect
to
2
stereo
amp’s
audio
output
jacks
(such
as
an
adaptor
output
of
tage
wack
recording
output).
@Tape Jacks (TAPE)
Record
(REC):
Connect
to
a
cassette
deck’s
record
input
jacks.
Playback
(PLAY):
Connect
to
a
cassette
deck’s
playback
output
jacks.
@ Front Output Jacks (FRONT)
Conrecz
tp
@
stereo
amp’s
input
jacks
(such
as
an
adaptor
input
or
tape
playeece
input).
NOTE.
if
you
caemect
the
audio
input
and
front
output
jacks
of
this
component
toa
9
amp,
use
the
stereo
amp’s
tape
monitor
jacks
and
switch
the
Tot.
MONITOR
switch
ON.
@
Processing
Front
Output
Jacks
(PROCESSING
FRONT)
Connect
to
@
stereo
amp’s
audio
input
jacks
for
processing
front
speak
as,
©)
Processing
Rear
Output
Jacks
(PROCESSING
REAR)
Connect to the audio input jacks of the stereo amp used to drive the
processire
ar speakers.
(6) Center Output Jacks (CENTER)
These avs used as front center output. Connect to the amp used to drive
tho cer speakers. Because the left and right signals output through
those laces are the same, so it is possible to use only one channel.
o 7 im]
i
)» © ®
@) Mono Output Jack (MONO)
This mixes and outputs left and right channel audio signals. If the bass
sound is insufficient, connect to an amp that drives the subwoofer.
Output fevel is linked only to the master volume.
@® SOUND FIELD SYSTEM SELECTOR
When controlling the sound field without the processing front speakers,
switch to the 4CH position. in general, leave it in the 6CH position.
@ Power Outlet (UNSWITCHED, 500W or MAX)
* Regardless of whether this unit’s power switch is turned off or on,
power is supplied at all times directly to the unit plugged into this
outlet. (Therefore, use the ON-OFF power switch of the connected
component to turn it on and off.)
* Be careful that the power consumption of the component connected
to this unit does not exceed 5O0W.
NOTE:
* This unit should be disconnected by removing the power plug from
the wall socket when not in regular use, e.g. when on vacation.
* Do not connect appliances with high power consumption such as
heaters, irons, or television sets to these AC OUTLETS in order to
avoid overheating and fire risk.
This can cause the receiver to malfunction.
GO) Power Cord
3
4 <ARB1203>

PANEL FEATURES AND FUNCTIONS
FRONT PANEL
@) POWER switch
Press to switch the power ON. Press again to switch the power OFF.
(Function switches
DIGITAL EQUALIZER: Only the remote contro! unit can be used to
control equalization of seven frequency bands (65Hz, 160Hz, 400Hz,
1kHz, 2.5kHz, 6.5kHz, 12.5kHz). (See page 23)
SURROUND : this switches sound field reproduction to
SURROUND.
USER PROGRAM : For playback with memorized user
programs.
SOUND FIELD CONTROL: Press for reproduction of one of the unit's
16 internal sound field programs.
@ Operation Display (See page 11)
@ MODE switch
UP, DOWN switches: Use these to call up the desired program from
the above three functions (excluding DIGITAL
EQUALIZER), Pressing the UP switch gives you
the next program, and the DOWN switch takes
you back to the previous program No.
@ INPUT LEVEL
Adjust as necessary to accommodate the PREOUT level of the amp
connected to the INPUT jack. In general, leave it in the center position.
if the overload indicator lights, turn in a counterclockwise direction until
the overload indicator goes out.
10
<ARB1203>
(® INPUT BALANCE
Adjust the Dotby Pro Logic Surround input balance.
NOTE:
When playing back in the SURROUND mode, follow procedure in
“PRELIMINARY OPERATIONS” on page 13.
@ MASTER VOLUME
This adjusts the overall volume level.
@® REMOTE SENSOR
When using the supplied remote control unit, point it at this sensor
(2 TAPE MONITOR switch
Press when playing back from a cassette deck or other component
connected to the REC/PLAY jacks on the rear panel.
@® MUTING switch
Press to temporarily stop sound output. Press again to resume listening.

PANEL FEATURES AND FUNCTIONS
OPERATION
DISPLAY
ach tocic |}
SSHz s60tz _ a0OHz ahh
PFRONT + REAR
MT center
2.SKHZ
CENTER MODE
PROCESSING FRONT EQ REAR EG)
NORMAL
WIDE
DIGITAL USER
EQUALIZER
PROGRAM
SOUND FiELD) EUS
CONTROL | SEETTRSSITS
HF REVERS
DELAY TIME
suRRoui |
Ka
fu
@)
MUTE
Indicator
This
iqras
when
muting
is
ON.
@ TAPE Indicator
This
ig>cs
when
the
unit’s
tape
monitor
switch
is
ON.
@
DOLBY
SURROUND
Indicator
This
cism@ys
DOLBY
PRO
LOGIC
SURROUND
and
DOLBY
3CH
LOGIC
programs
in
the
SURROUND
MODE.
(4)
PROXCESSING
EQ
Indicator
This
cissmweys
the
EQ
changes
that
can
be
made
to
the
processing
front
Of
rear
@©
When
not
displaying
DIGITAL
EQ
level
adjustments
for
different
frequency
bands,
the
contents
of
the
program
are
displayed.
© OVERLOAD Indicator
This
ligne
if
the
INPUT
level
jack
is
too
high.
EQUALIZER ON Indicator
_(. This ligrcs if the EQ ON/OFF key on the remote control unit is pressed.
it alse iegoms when playing an equalized sound.
@)
This
displays
the
channel
being
controlled
and
its
comzents
in
the
indicators
@,
@.
(@)
TEST
TONE
Indicator
The
chacne!
outputting
the
test
tone
(pink
noise)
lights.
®
®
@® CENTER MODE Indicator
This lights when a DOLBY SURROUND or DOLBY 3CH LOGIC program
is selected. Each time you press the CENTER MODE key on the remote
control
unit,
the
setting
switches
among
NORMAL
~
WIDE
—
PHANTOM
-
OFF.
The
light
goes
out
when
the
setting
is
OFF.
@ Function Indicator
DIGITAL
EQUALIZER,
SURROUND,
USER
PROGRAM,
and
SOUND
FIELD CONTROL fight when selected with the function switch.
@®) Processing Indicator
When
the
PROCESSING
ON/OFF
key
on
the
remote
control
unit
is
pressed, this lights.
(3 Parameter Indicator
Each
time
the
remote
control
unit
PARAMETER
SELECT
key
is
pressed,
successive
parameters
are
lit.
Depending
on
the
program,
certain
parameters
may
not
be
fit.
@
This
shows
the
degree
of
change
in
parameter
levels
(See
page
16).
11
4 <ARB1203>

PANEL FEATURES AND FUNCTIONS
REMOTE CONTROL UNIT
Function keys
Select one from Digital Equalizer, Surround, User Program, and Sounc
Field Control.
PIONEER
DOLBY PRO LOGE
& SQUNO FIELD PROCESSOR
REMOTE CONTROL UNIT
Program keys
Select the desired sound field program from the 16 Sound Field Canwet
or 8 Surround programs. Or use to call up user program memory.
Parameter Setting keys
PARAMETER SELECT key:
Selects the type of parameter.
ADJUST (+, -} keys:
Change parameter values. Press both keys at the same time to return
to the standard (STD) values.
LEVEL.
Equalizer Control keys
FREQUENCY (+, -) keys:
Select the frequency band to be equalized.
LEVEL keys:
Change the level of the selected frequency bands, Press the +, ~ keys
at the same time to return to the standard (STD) values.
P.FRONT/REAR key:
Switches between Processing Front and Rear.
£Q ON/OFF key:
Switches the equalizer ON and OFF.
FLAT key:
Returns adjusted equalization patterns to the flat setting.
GENTER DELAY TAY TM
wane Gate ELE GME
Surround keys
CENTER MODE key:
When using DOLBY PRO LOGIC or DOLBY 3CH LOGIC, the setting
changes among NORMAL ~ WIDE ~> PHANTOM -> OFF each time
it is pressed,
DELAY L+R/L/R key:
Selects delay time of L and R together, only L or only R,
DELAY TIME keys (+. -):
Changes delay time values. Pressing the + and - keys at the same time
returns you to the standard (STD) delay time value.
TEST TONE key
Switches the TEST TONE ON/OFF.
DISPLAY SELECT key
Switches the operation display.
PROCESSING LEVEL keys
{+,-}: Increase or decrease the level of effect sound.
\ VIEMORY key
Press when memorizing parameter settings or
effect sound ievels to the User Program.
MASTER VOLUME keys
{+, -}: Increase or decrease the overall volume level.
LEVEL keys
Use when balancing volume fevels (See page 13). PROCESSING ON/OFF key
When this is off, the reflected sound, equalizer, and other effects ere
cut, and only the original sound is reproduced,
MUTE key
Press to temporarily cut out sound.
12
<ARB1203>

PRELIMINARY
OPERATIONS
6. Select SURROUND with the function key, and
select DOLBY PRO LOGIC SURROUND with the
UP, DOWN switches on the main unit, or the
program keys on the remote control unit.
7. Play a monaural source such as dialogue portion of
Dolby surround encoded movie and put the
MASTER VOLUME in the usual listening position.
8. Select OFF with the CENTER MODE key. {The
center mode indication is then off.)
“ace Sede CE IME 9. Adjust the INPUT BALANCE knob to the position
8
that
gives
minimum
volume
from
the
front
and
rear
speakers.
10. Adjust the volume level balance for all speakers.
(Select the center mode to match the system you
are using.) See page 21.
Press the TEST TONE key on the remote contro! unit, and you
can hear the test tone.
* The test tone can be heard in the order as follows.
FRONT (L}—» CENTER (C)—* FRONT (R)--* REAR (L) + (R)->
(3),10,11
12
FRONT
(L)
* When DOLBY PRO LOGIC SURROUND and DOLBY 3CH
[Listening
with
SURROUND]
LOGIC
without
using
a
center
speaker
with
the
center
mode
switched
to
PHANTOM,
center
output
is
output
through
the
+.
Switch
on
the
power
to
the
amp
and
other
front
speakers
components in your system.
© With the test tone, adjust the volume level of all the speakers
to until the levels are the same with the volume control of the
2. Switch on the power to this unit. ame they are connected:
i this unit's power switch is ON, and the power card is connected
én amp’s switched power outlet, the power to the unit can 11. After adjustment, stop the test signal by pressing
itched on and off with the amp’s power ON/OFF switch. the remote control unit TEST TONE key
3. Lowering the Unit’s Output Level
Tum down the MASTER VOLUME knob (counterclockwise).
12. Precise adjustment of level balance.
Select a fistening position, and carry out precise adjustment with
4. When this unit is connected to an amp‘s adaptor the remote control unit. There may be some difference in levels
jacks or tape monitor jacks, the amp’s adaptor due to the position of the speakers, so adjust while playing back
2 .. . * a source of your choice.
switch or tape monitor switch should be in the ON With balance adjustment finished, you have completed afl the
position. preliminary operations required before actual music reproduction.
Make any further volume adjustments with the MASTER
5. Put the volume control knobs of all the amps in the VOLUME control.
usual listening position.
~ne volume knobs should be set between 9 and 12 o'clock. * When the processing level is O dB (max.}, the effect sound level
cannot be raised the beyond present level. Adjust with the
aie e 12 o'clock voiume control of the connected amp.
9 o'clock —-~--
or correct reproduction of the surround effect, be sure to carry
out the following adjustments.
13
<ARB1203>

PRELIMINARY OPERATIONS
[Listening with SOUND FIELD CONTROL]
(1) Follow steps 1 through 5 of the “Listening with
SURROUND” procedure.
(2) Use FUNCTION controls to select SOUND FIELD
CONTROL.
(3) Adjust the volume level balance for all speakers.
Press the TEST TONE key on the remote control unit, and you can
hear the test tone.
* The test tone can be heard in the order as foliows.
FRONT (L) + (R) -* PROCESSING FRONT (L} + (R} -* REAR (L)
+ (R) FRONT (L) -- FRONT (R) -- PROCESSING FRONT (L}
PROCESSING FRONT (R) -» REAR (L} -* REAR (R) -* FRONT (L}
+ (R)...
* Without using the processing front speakers, when the SOUND
FIELD SYSTEM SELECTOR on the main unit is in the 4 CH
position, processing front output is-output through the front main
speaker.
* With the test tone, adjust the volume level of ail the speakers
to until the levels are the same with the volume control of the
amp they are connected,
(4) Follow steps 11 and 12 of the “‘Listening with
SURROUND" procedure.
About test tone
* The test tone only operates when the function is SOUND FIELD
CONTROL and when the DOLBY PRO LOGIC program is selected
in the SURROUND made.
* The test tone operates when the PROCESSING ON/OFF key of the
remote control unit is ON.
NOTE:
* When using this unit connected to an integrated amp, set the MAS-
TER VOLUME to a position less than 12 o'clock.
* When the function is Sound Field Control, the PROC. LEVEL key
changes the processing front and rear fevels at the same time. When
the function is SURROUND, it changes the center and rear tevels at
the same time.
* When adjusting PROCESSING FRONT or REAR L R balance, if the
level of the channel being controlled becomes the same as the
other channel, the tevel of the other channel! will decrease.
14
<ARB1203>"
FUNCTIONS
In this unit there are 24 preset sound field programs, 16 in the Sound
Field Control mode, and 8 in the SURROUND mode. You can call up
the ideal sound field program for the source you wish to listen to.
1. FUNCTION SELECTION
The four following modes are available.
@ SOUND FIELD CONTROL
These programs were computer simulated of actual sound field data
of famous concert halls and jazz clubs around the world.
The SOUND FIELD CONTROL MODE can be called up by pressing the
SOUND FIELD CONTROL key on either the main unit or the remote
control unit.
SOUND
FIELD
ESE
Co
Main unit Remote contro! unit
(2 USER PROGRAMS
in this mode, you can call up programs you yourself have made (User
programs) and stored in memory, or you can cail up the patterns of
digital equalizer. When the unit leaves the factory, the memorized
programs for this mode are exactly the same as those in the Sound Field
Control mode.
To call up the USER PROGRAM MODE, press the USER PROGRAM key
on either the main unit or the remote control unit. Surround and digital
equalizer can be included in user program memory, and is explained later
in this manual.
WISER
Main unit Remote control unit
@ SURROUND
With such sources as movie sound tracks or live sports broadcasts, this
mode provides the effect of actually being in a movie theater or sports
arena.
To call up the SURROUND mode, press the SURROUND key on either
the main unit or the remote control unit.
SUR
Co
Main unit Remote controf unit
@ DIGITAL EQUALIZER
in the same way as an ordinary graphic equalizer, the front 2 CH can
be equalized.
To call up the Digital Equalizer, press the DIGITAL EQUALIZER key on
the main unit or the remote control unit.
* You can enjoy 2CH stereo equalization as shown in the figure,
INPUT OUTPUT
L © 7 band EQ}—~ <Q FRONT L
R O17 band EQ}- © _ FRONT R
* Processing front, rear, and center signals are not output,

USING SOUND FIELD CONTROL
4.CALLING UP A PROGRAM Calling up with the UP/DOWN switches ————
‘t the Sound Field Control function, and press a program key on
mote control unit to call up a program. Press the key for the
am you want, and the program name is shown on the main unit
it’s also possible to call up a program using the UP/DOWN switches
on the main unit. Press UP for the next program number, and press
DOWN for the previous program number.
PRO-LGO | SCH LGC THTR 4
HALL1 HALLe
STADIUM] STUDIO
wdAZZ4 JAZZA2
r
oIscoay | O
Cad
ROOM1
2.H the processing indicator and equalizer ON
indicator are off, then turn them on.
[P
3.PLAYING A SOURCE
Play the desired source and adjust the volume level with the MASTER
VOLUME.
0) 0 Q 0
D
18 wt
BIE
fo
MASTER
VOLUME
PRESET PROGRAMS
Wo. | Program name | Features and Most Suitable Sources
TT HALL 1 * | This is a typical large, shoe-box shaped symphony concert hall in Europe, with approximately 1,600 seats.
2 | HALL2 ~ A concert hail in Europe that seats approximately 1,800, with a very wide, spacious sound. 7
~~ | HALL 3 la 2,000-seat vine yard type concert hail in Japan, equipped with a pipe organ.
2 | HALL 4 | Enis is a multi-tiered hall with a very high ceiling, particularly suitable for opera. a
= | JAzz1 The sound field of a small jazz club with a floor area of about 200m’.
é JAZZ 2 Another small club, seats about 200, with a ciose, more intimate sound.
7 | sazz3 This is the sound field of a small jazz club, with a floor area of about 200m’. The wall opposite the seats is circular
{ and surrounds the stage.
2 i Jazz 4 * A relatively large 600-seat club, this has a sound field similar to that of a smail hall.
2 2 i DISCO 1 The sound field of a square disco with the dance floor in the center. “|
ae i DISCO 2 With this sound field, you get the impression of listening to music slightly away from the dance floor. It's a little
‘ larger than DISCO 1, with a much more authoritative bass sound.
ee | ROCK 1 A famous hall in America, used for various types of concerts. It seats about 2,800.
we | ROCK 2 This sound field gives you the feeling of being in a very large concert hail.
43: | ROOM 1 * This gives you the reverberation of a large listening room.
4 | ROOM 2 Ideal for listening to a small ensembie.
13 | CHURCH This is perfect for listening to church music, such as that at a mass.
[8 I DELAY Provides added presence for all sources.
R.S mode: The frequency response of reflected sound varies depending on the properties of the walls, ceiling and floor. Taking advantage of
fact that this is computer simulation, 1.E.R.S employs such digital signal processing devices as LPF {Low Pass Filter) to attenuate the higher
ncies of reflected sounds with repeated reflections, This provides reflected sounds very close to those found in real situations
15
<ARB1203>

PARAMETER
CONTROL
WHAT
IS
PARAMETER
CONTROL?
This
processor
provides
24
preset
programs
(16
Sound
Field
Controt,
@
SURROUND)
of
sound
fields
ideal
for
any
genre
of
music
and
any
concert
setting.
When
listening
to
a
music
source
using
the
preset
programs,
however,
you
may
feel
that
you
want
a
more
spacious
sound,
or
a
slightly
more
“‘live’’
sound.
By
changing
the
parameters
(Le.
the
elements
that
make
up
a
sound
field)
of
a
preset
program,
you
can
create
a
sound
field
with
the
exact
qualities
you
are
tooking
for.
DESCRIPTIONS
OF
THE
DIFFERENT
PARAMETERS
The
following
are
the
six
parameters.
(The
parameter
settings
vary
depending
on
the
program)
1. INITIAL DELAY
This
can
be
controlled
in
the
Sound
Field
Contrat
mode.
As
shown
in
fig.{a},
the
time
delay
between
the
direct
sound
@),
and
the
first
reflected
sound
@
to
reach
the
ear
can
be
adjusted.
This
gives
you
a
expansive,
spacious
sound.
2. ROOM SIZE
This
can
be
controlled
in
the
Sound
Field
Control
mode.
(This
does
not
include
the
HALL
4,
ROCK
2,
ROOM
2,
CHURCH
or
DELAY
programs).
As
shown
in
fig.{a),
the
delay
between
the
early
reflections
®,3,@,
and
@)
is
adjusted
to
change
the
apparent
size
of
the
sound
field.
3. LIVENESS
This
can
be
controlled
in
the
Sound
Field
Control
mode.
(This
does
not
include
the
HALL
4,
ROCK
2,
ROOM
2,
CHURCH
or
DELAY
programs)
As
shown
in
fig.{a),
the
decay
rate
of
early
reflections,
that
is,
the
degree
of
loss
in
intensity
of
@,
@,
and
)
compared
to
@),
is
adjusted
to
recreate
the
‘‘live”
feel
of
a
performance.
A
siower
decay
rate
gives
you
a
more
“‘five’’
sound.
4. REVERB TIME
This
can
be
controlled
in
the
HALL
4,
ROCK
2,
ROOM
2,
and
CHURCH
programs
in
the
Sound
Field
Control
mode.
As
shown
in
fig.(b},
subsequent
multiple
reflections,
or
reverberations,
reach
the
ear
of
the
listener
from
all
directions.
The
time
it
takes
for
the
reverberation
sound
to
decay
can
be
adjusted
to
change
the
atmosphere
of
the
acoustic
environment
for
a
richer
sound.
5. H.F.REVERB
This can
be
controlled
in
the
HALL
4,
ROCK
2,
ROOM
2,
and
CHURCH
programs
in
the
Sound
Field
Control
mode.
The
reverberation
time
of
higher
frequencies
can
be
adjusted
so
that
they
decay
faster
than
lower
frequencies.
This
produces
a
sound
field
with
a
much
more
natural
feel.
6. P. FRONT EQ, REAR EQ
P.
FRONT
and
REAR
signal
equalization
can
be
carried
out
regardiess
of type of program.
16
<ARB1203>
|
|
{a)
Direct
sound
and
first
reflected
sound
Controls the delay time between
INITIAL
DELAY}--
the
direct
sound
and
the
first
reflected sound.
Direct sound
ROOM
SIzE}-:
Controls
the
time
interval
between
successive
reflected
sounds.
LIVENESS}- Controls the rate of
decay of reflected
sounds.
[H. F. REVERB}. Controls the
decay rate of only high
aes frequency reverberations.
tt ™
tify
Signal intensity ———+
my
AGHA
|-—-
REVERS
TIME|
|
seats Controls the time rear
reverberations continue,

CREATING
PROGRAMS
|
(IN
THE
SOUND
FIELD
CONTROL
MODE)
Bon LGC
HALLE
C2]
Exisiale}
JAZZE
Le]
AT |
al ROCK :
ROOMe
NARAMETER ADy
SNLECT F
SE FRONT EQ
VREAR ON/OFF
FLAT.
1.
Select
the
Sound
Field
Control
mode
on
the
main
unit
or
with
the
remote
control
unit.
2.
Call
uo
the
desired
program
with
the
program
key.
je
to
call
up
a
program
using
the
UP/DOWN
switches
It's ais 3
on the i nit,
*
If
tre
a-ocessing
indicator
and
equalizer
ON
indicator
are
off,
then
ture Tae" on,
3.
Call
uc
the
parameters
you
want
to
change
with
the
PARAMETER SELECT key.
4.
Press
the
~
or
-
ADJUST
keys,
and
release
when
you
have
rsached
the
desired
value.
Pressing
the
+
and
~
keys
together
returns
you
to
the
standard
(STD)
ing functions, be sure to do it slowly.
{1}
Adjessting
the
delay
between
the
direct
sound
and
the
“ist
reflection
(the
apparent
distance
from
the
source)
Cait
“LAL
DELAY
with
the
PARAMETER
SELECT
key,
and
adiusc
ts
the
most
effective
value
for
the
music
you
are
listening
to.
*
Larger
vives
create
the
effect
of
being
further
from
the
source.
Sale
values
give
the
impression
of
being
close
to
the
source,
weer
very strong sound.
=I | Example: HALL 1
Preset program value is
{ displayed.
IN THE DELAY PROGRAM
FRONT
INITIAL
DELAY
and
REAR
INITIAL
DELAY
can
be
adjusted.
Each
time
you
press
the
PARAMETER
SELECT
key,
the
following
can
be
adjusted.
P.FRONT
_P.FRONT
P.FRONT
—
REAR
REAR REAR
—_
—
ae
_
—
L+R
i
R
L+R
t
R
{2)
Adjusting
the
size
of
the
sound
field.
Call
up
ROOM
SIZE
with
the
PARAMETER
SELECT
key,
and
adjust
with
the
ADJUST
keys.
ROOM
SIZE
is
the
parameter
that
decides
the
size
of
the
sound
field.
Pressing
the
—
key
Jowers
the
value
of
the
setting,
for
a
tess
spacious
sound.
Pressing
the
+
key
increases
the
value,
giving
you
a
more
spacious
effect.
l rl Example: HALL 1
ROOM
Preset
program
value
is
SIZE
(.
Li
displayed.
{3) Adjusting the Liveness
Press the PARAMETER SELECT key to call up the LIVENESS
parameter, and then adjust with the ADJUST keys.
~~ Example: HALL 1
—, | Preset program value is
LIVENESS _| | cisplayea
The
LIVENESS
parameter
decides
the
degree
of
reverberation.
Pressing
the
-
key
lowers
the
value,
giving
you
a
weaker
reverb
effect.
Pressing
the
+
key
has
the
opposite
effect,
giving
you
a
stronger
reverb
effect..
(4) Adjusting Reverberation Time.
Call
up
the
REVERB
TIME
parameter
with
the
PARAMETER
SELECT key, and adjust with the ADJUST keys.
| ml Example: CHURCH
— Preset program value is
REVERB TIME wwf LE | displayed.
s
The
REVERB
TIME
parameter
decides
the
reverberation
time.
Press
the
—
key
and
the
value
will
decrease,
making
the
reverb
time
shorter.
Press
the
+
key
and
the
value
increases,
making
the
reverb
time
longer.
7
<ARB1203>

CREATING
PROGRAMS
|
(IN
THE
SOUND
FIELD
CONTROL
MODE)
é
(5)
Adjusting
High
Frequency
Reverberation
Call
up
the
H.F.REVERB
parameter
with
the
PARAMETER
SELECT
key,
and
adjust
with
the
ADJUST
keys.
Preset program value is
} displayed.
rtd ! Example: CHURCH
|
H. F. REVERB
The
REVERB
TIME
parameter
decides
the
reverb
time,
but
the
H.F.REVERB
parameter
decides
the
reverb
time
of
high
frequencies
only.
Press
the
-
key
to
lower
the
value
and
decrease
the
reverb
time
of
high
frequencies.
Press
the
+
key
to
raise
the
value,
and
eventually
the
decay
of
high
frequencies
becomes
imperceivable.
5. Adjusting P-FRONT EQ.
4.
Select
P.
FRONT
with
the
P.
FRONT
REAR
key
on
the
remote
control
unit.
2.
Select
the
frequency
band
with
me
FREQUENCY
{+,
-]
keys.
3.
Set
to
the
desired
level
with
t
VEL
keys.
4.
Carry
out
the
same
procedures
es
in
2
and
3
for
other
frequency
bands.
6. Adjusting P. REAR EQ
4.
Select
REAR
with
the
P.
FRONT
SEAR
key
on
the
remote
contro}
unit.
2.
Select
a
frequency
with
the
QUENCY
(+,
~}
keys.
3.
Set
to
the
desired
level
with
LEVEL
key.
4.
Repeat
the
same
procedures
2s
2
and
3
for
other
frequencies
_ JAZZ 4, ROOM 1), P.FRONT
d to 5 Band.
CT, ADJUST, FREQUENCY
‘cr correct operation,
d for use with specific types
ai for classical music, JAZZ for
,
sound
field
program
parame~
-sounding
effect
for
each
type
2
sound
field,
always
bear
in
oe listening to,
* In the LE.R.S mode {HALL 1, HA!
EO and REAR EQ changes from 7
* Be sure to press the PARAME
(+,
-),
and
LEVEL
keys
slowly
*
The
sound
field
programs
are
%
of
music.
For
example,
HALL
is
fusion
and
jazz,
etc.
in
each
ters
are
set
to
give
the
mostn
of
music
source.
When
select]
mind
the
type
of
music
you
w’
Depending
on
the
type
of
music
and
selected
sound
field
pro-
gram,
output
from
the
sound
d
processor
will
sometimes
sound
a
little
unnatural.
For
exam
oie,
HALL
settings
may
cause
the
bass
drum
to
sound
too
boar»
and
prominent.
In
such
cases,
select
the
sound
field
program
te:
gives
the
most
natural
sound,
or
adjust
individual
parametess
suit.
.
OUTPUT
-— ~~ FRONT &
— ~Q FRONT &
Reflected ar ae
sound 1
processing I
t
18
<ARB1203>
5, 7 band EQ
P.FRONT L
t
H
1
[ETindeo)]——o
PeronT
a
|
i
6, 7 band EQ}—--—-© REAR L
{
|}——+—[5,
7
band
EQ|-+—--O_
REAR
RA
depending
on
the
program.
together 18
If
you
call
up
another
progr
parameter
cate
ae
equalization
levels
will
be
era
&
1s
recorunen
:
memorize
in
a
USER
program
24}
7
turns
you
to
the

CREATING PROGRAMS I (IN THE SOUND FIELD CONTROL MODE)
PARAMETER TABLE
| Ne rogram Name | Parameter Name Minimum value Preset Value Maximum value Effect
(STD value} {
(INITIAL DELAY - 1ms + 20ms ~ 50 ms
if RALL ROOM SIZE 0.1 - 1.0 bed 25 This program only reproduces initial reflections.
+ | LIVENESS 1 “5 4 10
~~ [INITIAL DELAY st ms = 20ms > 50 ms
z HALL 2 ROOM SIZE 0.1 -10 7 3.0
LIVENESS 1 5 =: 10
INITIAL DELAY ims - 20ms > 50 ms
zh HALL 3 ROOM SIZE 0.1 Ow > =: 2.2
« | LIVENESS 1 “5 sd 10
INITIAL DELAY T ms = 20ms > 50 ms
ri ALL 4 REVERB TIME O.1s = 206. = 10s ae program reproduces initial reflections and
H.F. REVERB 0.1 +09 7 1.0
INITIAL DELAY ims - 10ms > 50 ms |
= JAZZ 1 ROOM SIZE 0.1 “10 4.0 This program only reproduces initial reflections
LIVENESS 1 -5 ~ 10
“INITIAL DELAY T ms = 10ms > 50 ms
é ~AZZ 2 ROOM SIZE 0.1 “10 - 4.0
LIVENESS 1 “5 ~ 10
INITIAL DELAY Tims -10ms > 50 ms
7 ~ALZZ 3 ROOM SIZE 0.1 10%), 4.0
re LIVENESS 1 “5 ~ 10
INITIAL DELAY 1ms - 10ms > 50 ms
§ atZZ 4 ROOM SIZE 0.1 -10 — 4.0
+ | LIVENESS 7 =5 = 70
INITIAL DELAY 1ms + 10ms > 50 ms
9 DISCO 1 ROOM SIZE 0.1 +10 > 4.0
LIVENESS 1 -5 => 10
r i: INITIAL DELAY 1 ms = 10ms + 50 ms -
1 DISCO 2 [Room SIZE 0.1 “10 7 4.0
| LIVENESS ait “5 > 10
[INITIAL DELAY 1 ms = 20ms = 50 ms
Vt ROCK 1 ROOM SIZE 0.1 =—1.0 = 3.5
LIVENESS 1 “5 > 10
i INITIAL DELAY Tims - 20ms > 50 ms
12 ROCK 2 REVERB TIME Ols ~ 208 2 TOs This program reproduces initial reflections and
rear reverberations,
H.F. REVERB 0.7 “08 -— 1.0
7 INITIAL DELAY ims - 10ms + 50 ms
tS ROOM 1 ROOM SIZE 0.1 iO. oo. 3.0 | This program only reproduces initial reflections.
* | LIVENESS 1 = 5 = 10
INITIAL DELAY ims - 20ms > 50 ms
ta ROOM 2 REVERB TIME Ole ere eae TOs This program reproduces initial reflections and
rear reverberations.
H.F.REVERB 0.1 “08 — 1.0
INITIAL DELAY ims - 20ms > $0 ms
CHURCH REVERB TIME O.1s -3.0s — 10s
H.F.REVERBS 0.1 +08 > 1.0
[Imma oetay tims a8me— same | Tia moatam oni renrdknes te pinay
19
<ARB1203>

aha Anarene
CREATING PROGRAMS | {IN THE SOUND FIELD CONTROL MODE)
EQUALIZER PRESET VALUE CHART
NO. Processing equalizer preset (STD) values
65Hz | 160Hz 400Hz | ikHz | 2.5kHz 6.5kHz | 12.5kHz
1 P.FRONT - =2 ° o. | 0 ~
HALL 1 REAR - ~2 o (| 0 0 Ge =
2 P.FRONT ~2 o | 0 oT o | 0 -2
HALL 2 REAR ~4 0 O o O -2 -2
3 | P.FRONT = ° 0 o O 2 -
HALL 3 REAR = -2 O 0 O 0 7
4 | P.ERONT [=2 0 a o | 9 O °O
HALL 4 REAR -4 0 0 o | 0 0 -2
5 | P.FRONT 0 0 oT Oo! } 0 0
JAZZ 1 REAR | O 0 0 0 | 0 0 3
6 | P.FRONT -2 ,) 0 0 0 0 =2
JAZZ 2 REAR ° ° 0 O 0 “O ~O
7 P.FRONT ° 0 0 0 o | oO ~O
JAzz3. «| REAR 0 0 0 0 0 0 0
8 “P-FRONT = 2 o | 0 0 ° -
JAzz4 | REAR = -2 0 0 0 o -
+ 4 emeeeues —
3 P.FRONT ~2 0 0 0 0 0 0
DISCO 1 REAR -2 0 0 es o 0 0
10 P.FRONT 2 0 0 0 0 a. a
DISCO 2 REAR ~4 0 0. | 0 0 -2 ~2
fi P.FRONT -2 0 o | ° 0 0 0
ROCK 1 REAR =2 ° a. | 0 0 0 oe 4
12 P.FRONT mae: 0 0 0 oe ae ao.
ROCK 2 REAR -2 0 Oo | 0 0 0 4
13 | pPRONT = 4 -2 0 0 =2 ~
ROOM 1 _| REAR - -6 -2 | 0 o [| -2 | -
14 P.FRONT -6 —4 ° 0 0 0 2a
ROOM 2 REAR -6 4 0 0 Oo” 0 0
i 15 P.ERONT -6 0 0 o | oO. 5 ~4
CHURCH REAR ~4 0 0 o | 0 0 o
16 P.FRONT 0) ° 0 o | ) 0 oO
DELAY REAR 0 O 0 o | o 0 °
20
<ARB1202>