Yamaha DSP-E580 El manual del propietario

Marca: Yamaha

Modelo: DSP-E580

Categoría: Receptor

Tipo: El manual del propietario

Este manual también es adecuado para

DSP

PRO LOGIC

TAPE

MONITOR

PROGRAM EFFECT

NATURAL SOUND DIGITAL SOUND FIELD PROCESSOR

AMPLIFIER DSP-E580

CONTENTS

PRECAUTIONS & SAFETY INSTRUCTIONS ....................Inside Front Cover

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

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

1-2. SETUP.......................................................................................................8

1-3. CONTROLS & ADJUSTMENTS.............................................................18

1-4. ADJUSTMENT.........................................................................................21

GENERAL OPERATION.................................................................................24

2-1. PLAYING A SOURCE.............................................................................24

2-2. DIGITAL SOUND FIELD PROGRAMS ..................................................25

2-3. SELECTING SOUND FIELD PROGRAMS............................................25

2-4. MUTING THE EFFECT SOUND ............................................................25

2-5. SUPERIMPOSED VIDEO PROGRAM/PARAMETER

DISPLAY..................................................................................................25

2-6. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS......................26

CREATING YOUR OWN SOUND FIELDS....................................................30

3-1. SELECTING AND EDITING PROGRAM PARAMETERS ....................30

3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD

PARAMETERS........................................................................................32

TROUBLESHOOTING ....................................................................................34

SPECIFICATIONS...........................................................................................35

OPERATION MANUAL

DIGITAL SOUND FIELD PROCESSING AMPLIFIER

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 built-

in 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;

B. Objects have fallen, or liquid has

been spilled into the unit;

C. The unit has been exposed to rain;

D. The unit does not appear to operate

normally or exhibits a marked change in

performance;

E. The unit has been dropped, or the

cabinet damaged.

16 Servicing – The user should not

attempt to service the unit beyond those

means described in the operating

instructions. All other servicing should be

referred to qualified service personnel.

17 Power Lines – An outdoor antenna

should be located away from power lines.

18 Grounding or Polarization –

Precautions should be taken so that the

grounding or polarization is not defeated.

SAFETY INSTRUCTIONS

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK), NO USER-SERVICEABLE

PARTS INSIDE, REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead

symbol, within an equilateral triangle,

is intended to alert you to the

presence of uninsulated “dangerous

voltage” within the product’s

enclosure that may be of sufficient

magnitude to constitute a risk of

electric shock to persons.

The exclamation point within an

equilateral triangle is intended to alert

you to the presence of important

operating and maintenance

(servicing) instructions in the

literature accompanying the

appliance.

•

Explanation of Graphical Symbols

CAUTION

IMPORTANT!

Please record the serial number of this

unit in the space below.

Model:

Serial No.:

The serial number is located on the rear

of the unit.

Retain this Owner’s Manual in a safe

place for future reference.

WARNING

TO REDUCE THE RISK OF FIRE OR

ELECTRIC SHOCK, DO NOT EXPOSE

THIS UNIT TO RAIN OR MOISTURE.

PRECAUTIONS & SAFETY INSTRUCTIONS

1 To ensure the finest performance,

please read this manual carefully. Keep it in

a safe place for future reference.

2 Install your unit in a cool, dry, clean

place – away from windows, heat sources,

and too much vibration, dust, moisture or

cold. Avoid sources of hum (transformers,

motors). To prevent fire or electrical shock,

do not expose to rain and water.

3 Do not operate the unit upside-down. It

may overheat, possibly causing damage.

4 Never open the cabinet. If a foreign

object drops into the set, contact your

dealer.

5 Do not use force on switches, knobs or

cords. When moving the set, first turn the

unit off. Then gently disconnect the power

plug and the cords connecting to other

equipment. Never pull the cord itself.

6 Do not attempt to clean the unit with

chemical solvents; this might damage the

finish. Use a clean, dry cloth.

7 Always set the volume control to “–

∞

”

while lowering the tonearm to play a record;

turn the volume up with the stylus in the

groove.

8 Be sure to read the “Troubleshooting”

section on common operating errors before

concluding that your unit is faulty.

9 Do not connect audio equipment to the

AC outlets on the rear panel if that

equipment requires more power than the

outlets are rated to provide.

We Want You Listening

For A Lifetime

YAMAHA and the Electronic Industries

Association’s Consumer Electronics

Group want you to get the most out of

your equipment by playing it at a safe

level. One that lets the sound come

through loud and clear without annoying

blaring or distortion – and, most

importantly, without affecting your

sensitive hearing. Since hearing damage

from loud sounds is often undetectable

until it is too late, YAMAHA and the

Electronic Industries

Association’s Consumer

Electronics Group

recommend you to avoid

prolonged exposure from

excessive volume levels.

PRECAUTIONS

FCC INFORMATION

1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this

manual, meets FCC requirements. Modifications not expressly approved by

Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT : When connecting this product to accessories and/or another

product use only high quality shielded cables. Cable/s supplied with this product

MUST be used. Follow all installation instructions. Failure to follow instructions

could void your FCC authorization to use this product in the USA.

3. NOTE : This product has been tested and found to comply with the requirements

listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with

these requirements provides a reasonable level of assurance that your use of

this product in a residential environment will not result in harmful interference

with other electronic devices.

This equipment generates/uses radio frequencies and, if not installed and used

according to the instructions found in the users manual, may cause interference

harmful to the operation of other electronic devices.

Compliance with FCC regulations does not guarantee that interference will not

occur in all installations. If this product is found to be the source of interference,

which can be determined by turning the unit “OFF” and “ON”, please try to

eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the

interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits

or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the

antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type

cable.

If these corrective measures do not produce satisfactory results, please contact

the local retailer authorized to distribute this type of product. If you can not

locate the appropriate retailer, please contact Yamaha Electronics Corp., U.S.A.

6660 Orangethorpe Ave, Buena Park, CA 90620.

The above statements apply ONLY to those products distributed by Yamaha

Corporation of America or its subsidiaries.

Congratulations!

You are the proud owner of a Yamaha Digital Sound Field Processing (DSP) System—an

extremely sophisticated audio component. The DSP system takes full advantage of Yamaha’s

undisputed leadership in the field of digital audio processing to bring you a whole new world

of listening experiences. Follow the instructions in this manual carefully when setting up your

system, and the DSP system will sonically transform your room into a wide range of listening

environments—anything from a famous concert hall to a cozy jazz club. In addition, you get

incredible realism from Dolby-Surround encoded video sources using the built-in Dolby Pro

Logic Surround Decoder.

Rather than tell you about the wonders of digital sound field processing, however, let’s get

right down to the business of setting up the system and trying out its many capabilities.

Please read this operation manual carefully and store it in a safe place for later reference.

1-1. GETTING STARTED

Unpacking

If you haven’t already done so, carefully remove this unit and its

accessories from the box and wrapping material. You should find the

unit itself and the following accessories.

Installing the Remote Control Unit Batteries

Since the remote control unit will be used for many of this unit’s

control operations, you should begin by 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 (R6, AA, UM-3 type), being careful to align

them with the polarity markings on the inside of the battery

compartment.

3. Close the battery compartment cover.

SETUP & ADJUSTMENT

Remote control

Batteries

Pin cable, audio x 2 Pin cable, video

●

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. Always replace

all batteries at the same time.

●

This remote control uses an advanced, highly directional infrared

beam. Be sure to aim the remote control directly at the remote

control sensor on the main unit when operating.

Remote control transmitter operation range

Notes

●

There should be no large obstacles between the remote

control transmitter and the main unit.

●

If the remote control sensor is directly illuminated by strong

lighting (especially an inverter type of fluorescent lamp etc.),

it might cause the remote control transmitter to work

incorrectly. In this case, reposition the main unit to avoid

direct lighting.

Digital Sound Field Processing

What is it that makes live music so good? Today’s advanced

sound reproduction technology lets you get extremely close to the

sound of a live performance, but chances are you’ll still notice

something missing, the acoustic environment of the live concert hall.

Extensive research into the exact 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 any one of these live performance

environments, all in your own home.

30°

Remote control

sensor

Within approximately

7 m (23 feet)

Dolby Pro Logic Surround

The Dolby Pro Logic Surround Decoder program lets you

experience the dramatic realism and impact of Dolby Surround movie

theater sound in your own home. Dolby Pro Logic gets its name from

its professional-grade steering logic circuitry, which provides greater

effective channel separation 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, unlike

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 you the best performance without

manual adjustment.

Manufactured under license from Dolby Laboratories Licensing

Corporation. Additionally licensed under one or more of the following

patents: U.S. number 3,959,590; Canadian numbers 1,004,603 and

1,037,877. “Dolby”, “Pro Logic”, and the double-D symbol are

trademarks of Dolby Laboratories Licensing Corporation.

Dolby Pro Logic Surround + DSP

Additionally you can enjoy sound environment created by the

combination of Dolby Pro Logic and YAMAHA DSP.

Precise sound

movement and orientation by the Dolby Pro Logic technology is

added to sound fields which are precisely recreated on the

basis of actual acoustic environments by the DSP technology,

so it is suitable for any Audio/Video source with video image.

This combination is used on sound field programs No.5 through

No.14, and No.16.

The YAMAHA “CINEMA DSP” logo indicates these programs

created by the combination of Dolby Pro Logic and YAMAHA DSP

technology.

Setting Up Your Speaker System

This unit has been designed to provide the best sound field

quality with a full five-speaker system setup, using one extra pairs of

effect speakers to generate the sound field plus one center speaker

for dialog, when using Dolby Pro Logic Surround decoding. We

therefore recommend that you use a five-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 upgrade

to the full five speaker system later.

Use of the Center Dialog Speaker Is Recommended

With digital sound field programs No. 5 through No. 16, by using

either the Directional Enhancement circuit or the Dolby Pro Logic

decoder, decoded signals will be output from the center channel.

Therefore, if you want to upgrade 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 speaker, it is

possible to enjoy movie viewing without it. Best results, however, are

obtained with the full system.

It is also possible to further expand your system with the addition

of a subwoofer and amplifier. You may wish to choose the

convenience of a Yamaha Active Servo Processing Subwoofer

System, which has its own built-in power amp.

5 Speaker System

This is the recommended speaker

system, providing the best sound

effects.

With sound field programs No. 1

through No. 4, using effect speakers

reproduces the effective sound field.

With the sound field programs No. 5

through No. 16, the center speaker

provides precise center localization.

Center Mode—Set to NRML or WD.

(See page 23.)

4 Speaker System

Simple system without center

speaker.

With sound field programs No. 1

through No. 4, a sound effect matching

that of a 5-speaker system can be

obtained. With sound field programs No.

5 through No. 16, center sound is output

from the left and right main speakers.

Center Mode—Set to PHNTM.

(See page 23.)

Speakers and Speaker Placement

Your full five-speaker system will require two speaker pairs: the

MAIN SPEAKERS (your normal stereo speakers) and the REAR

EFFECT SPEAKERS, plus the CENTER SPEAKER. You may also

be using a subwoofer.

You will probably use your present stereo speakers as the MAIN

SPEAKER pair. The rear effect do not need to be equal with the

MAIN SPEAKERS, although the center speaker should be as close

as possible. They should have enough power handling capacity to

accept the maximum output of the DSP system or the external amps

that will drive them.

Place the MAIN SPEAKERS in the normal position.

Place the REAR EFFECT SPEAKERS behind your listening

position. They should be nearly six feet up from the floor.

Place the CENTER SPEAKER precisely between the two MAIN

SPEAKERS. (To avoid interference, keep the speaker 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 speaker is not so critical

because low bass tones are not highly directional.

Main speaker Rear effect speaker Center speaker

1-2. SETUP

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

REAR PANEL

SINGLE

DUALDUAL

INPUT

TAPE

OUTPUT

SINGLE

10dB 0dB

To AC outlet

15 7

9 D

2 3 4 6 8

0 A CB

(General Model)

1 Main Level Switch

Normally set to “0 dB”. If desired, you can decrease the main-

channel line output level at the MAIN OUTPUT jacks by 10 dB by

setting this switch to “–10 dB”.

2 Main Output Jacks

Main-channel line output. Connected to input jacks of external

stereo power amplifier (MAIN IN or AUX or TAPE PLAY jacks of

integrated amplifier or receiver).

3 Center Output Jack

Center-channel line output. Can be connected to input jack of an

external power amplifier driving the center speaker.

4 Rear Effect Output Jacks

Rear-channel line output. Can be connected to input jacks of an

external stereo power amplifier driving the rear effect speakers.

5 Center Speaker Terminals

When using the built-in center-channel amplifier, connect the

center speaker(s) here.

6 Rear Effect Speaker Terminals

When using the built-in rear-channel amplifier, connect the rear

effect speakers here.

7 Unswitched AC Outlet

You may plug another component into this socket as long as its

power consumption does not exceed the specified value

shown. “Unswitched” means that power is available even when

this unit is off.

8 Switched AC Outlet (U.S.A., Canada and General Model)

The power consumption of a component plugged into this

socket should not exceed the specified value shown.

“Switched” means that component is turned on and off by this

unit’s power switch.

9 Input Jacks

Accept input from a preamplifier, the “PRE OUT” or “TAPE REC”

outputs from an integrated amplifier, or direct input from a line-

level source.

0 Tape Rec Out and Playback Jacks

Connect the inputs and outputs of a stereo tape deck for

convenient recording and playback via this unit (the effect sound

cannot be recorded).

A Low Pass Jack

When using a subwoofer, connect its amplifier input to this jack.

Frequencies below 200 Hz from the left main, right main and

center channels are output to this jack.

B Video Superimpose Input/Output Jacks

Used to display this unit’s current operating status on your video

monitor, superimposed on the picture. Connect the VIDEO OUT

jack to the VIDEO IN jack of your monitor. Connect your

integrated amplifier or control amplifier equipped with video signal

output jacks or video signal source to the VIDEO IN jack.

Alternatively, the S VIDEO OUT and S VIDEO IN jacks can be

used for higher resolution and improved picture quality if your

monitor and video signal source are equipped with S connectors.

C Video NTSC/PAL Switch (General Model only)

Set this switch to the position corresponding to the standard

that your video equipment employs.

D Voltage 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.

NOTE: Even if an external power amplifier is connected to the REAR

or CENTER line output jacks, the corresponding internal amplifier will

not be turned off and output will be available at the speaker

terminals.

VIDEO SUPERIMPOSE

If you connect your video monitor to this unit and send video

signals to the video monitor via this unit, you can take advantage

of this unit’s capability to display program titles, parameter 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 no video signal is input to this unit, the information will be

displayed over a blue colored background.

NOTE: The program titles, parameter data and other information

are also displayed on the display panel of this unit.

CONCERT HALL

DSP

P01 CONCERT HALL

CONNECTING AN INTEGRATED STEREO

AMPLIFIER OR STEREO RECEIVER TO THIS UNIT

Using an Integrated Amplifier or Stereo Receiver with PRE OUT

and MAIN IN Terminals

Some integrated amplifiers and stereo receivers have PRE OUT

and MAIN IN jacks which permit the preamplifier and power amplifier

sections to function independently. If your integrated amplifier or

stereo receiver has these jacks, begin by removing the jumpers that

connect the PRE OUT and MAIN IN jacks (or decouple the

preamplifier and power amplifier using the appropriate switch—refer

to your amplifier or receiver operation manual).

Connect the amplifier’s PRE OUT jacks to this unit’s INPUT jacks

with a stereo pin cable. Make sure that the “L” output from the

amplifier is connected to the “L” input on this unit, and that the “R”

output from the amplifier is connected to the “R” input on this unit.

Connect the MAIN OUTPUT jacks on this unit to the MAIN IN

jacks on your integrated amplifier or receiver with a second stereo pin

cable—making sure to connect the left and right channels correctly.

Connect the MAIN speakers to the speaker output terminals of your

integrated amplifier or receiver.

INPUT

TAPE

OUTPUT

10dB 0dB

MAIN

PRE

OUT

Main Speaker L Main Speaker R

Integrated Amp

Using an Integrated Amplifier or Stereo Receiver that Does Not

Have PRE OUT and MAIN IN Terminals

If your integrated amplifier is NOT equipped with PRE OUT and

MAIN IN jacks, this unit must be connected to the amplifier or receiver

TAPE jacks. This unit provides additional TAPE PB and REC OUT

jacks so you will still have a place to connect your tape deck.

Connect the amplifier or receiver TAPE REC (or TAPE OUT) jacks

to this unit’s INPUT jacks with a stereo pin cable. Make sure that the

“L” output from the amplifier or receiver is connected to the “L” input

on this unit, and that the “R” output from the amplifier or receiver is

connected to the “R” input on this unit.

Connect the MAIN OUTPUT jacks on this unit to auxiliary (AUX)

input jacks, or the TAPE PLAY (or TAPE IN) jacks on your amplifier or

receiver with a second stereo pin cable—making sure to connect the

left and right channels correctly. Connect the MAIN speakers to the

speaker output terminals of the amplifier or receiver.

NOTE: If your system includes a tape deck which has been displaced

by connecting this unit to the TAPE jacks, reconnect your tape deck to

this unit’s TAPE PB and REC OUT jacks. REC OUT from this unit

goes to the INPUT jacks on your tape deck, and this unit’s TAPE PB

jacks should be connected to the tape deck’s OUTPUT jacks.

Main Speaker L

Main Speaker R

Integrated Amp

AUX or Tape Play (or Tape In)

INPUT

TAPE

OUTPUT

10dB 0dB

INPUTOUTPUT

Tape Rec or Tape Out

Tape Deck

CONNECTING A COMPONENT PREAMPLIFIER TO

THIS UNIT

Connect the PRE OUT jacks of the preamplifier (control amplifier)

to this unit’s INPUT jacks with a stereo pin cable. Make sure that the

“L” output from the preamplifier is connected to the “L” input on this

unit, and that the “R” output from the preamplifier is connected to the

“R” input on this unit.

Connect the MAIN OUTPUT jacks on this unit to the INPUT jacks

of a stereo power amplifier with a second 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.

Main Speaker L Main Speaker R

Control Amplifier

Power Amplifier

INPUT

TAPE

OUTPUT

10dB 0dB

INPUTPRE

OUT

CONNECTING TO VIDEO SIGNAL JACKS

If your integrated amplifier or similar component is equipped with

a video output jack, connect it to this unit’s VIDEO IN jack, and

connect this unit’s VIDEO OUT jack to the video input of your

monitor.

* If your integrated amplifier or similar component is not equipped

with any video output jack, connect the video output jack of your

video cassette recorder or another video source to this unit’s

VIDEO IN jack directly.

If your integrated amplifier, video cassette recorder, etc. and your

monitor are equipped with “S” (high-resolution) video terminals,

connect the “S” video output from your integrated amplifier or video

source to this unit’s S VIDEO IN jack, and connect this unit’s S

VIDEO OUT jack to the “S” 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 respective output jacks

independently.

NOTE: If your unit is the General Model, be sure the NTSC/PAL

switch has been correctly set to the standard that your video

equipment employs. U.S.A. and Canada models have no switch and

use the NTSC standard, while other models without a switch use the

PAL standard.

Notes about the Video superimpose

●

If you watch a video source which 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 OUT jack.

●

When no video signal is input to either S VIDEO IN and VIDEO IN

jacks of this unit, signals of screen display information are output

from both S VIDEO OUT and VIDEO 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 OUT or

VIDEO OUT jack in this case.

Integrated Amplifier etc.

Monitor TV

VIDEO

OUT

S VIDEO

OUT

VIDEO

S VIDEO

CONNECTING SPEAKER SYSTEMS

Connect the SPEAKERS terminals to your speakers with wire of

the proper gauge, cut as short as possible. If the connections are

faulty, no sound will be heard from the speakers. 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 unnatural

and will lack bass. Do not let the bare speaker wires touch each

other or any other metal part as this could damage this unit and/or

speakers.

NOTE: Use speakers with the specified impedance shown on the

rear of this unit.

Red: positive (+)

Black: negative (–)

➀ Press down the tab.

➁ Insert the bare wire.

[Remove approx. 5mm (1/4”)

insulation from the speaker

wires.]

➂ Press up the tab and secure

the wire.

CONNECTING THE REAR EFFECT SPEAKERS TO

THIS UNIT

Connect the REAR effect speakers to the REAR SPEAKERS

terminals of this unit.

NOTE: If for some reason, you wish to use an external power amp

for the rear effect channel, connect the REAR OUTPUT jacks to the

INPUT jacks of the external amp and connect the rear effect speaker

pair to the speaker terminals of the external amp.

SINGLE

DUALDUAL

SINGLE

Rear Effect

Speaker

Rear Effect

Speaker

➀

➁

➂

CONNECTING THE CENTER SPEAKER(S) TO THIS

UNIT

Connect the CENTER speaker to the CENTER SPEAKERS

terminals. One or two CENTER speakers can be connected to this

unit. For the respective connections, follow the methods figured

below. If, however, you will not be using a CENTER speaker, be sure

to set the Center Mode to “PHNTM” (phantom). (See page 23.)

For connecting one CENTER speaker

For connecting two CENTER speakers

NOTE: If for some reason, you wish to use an external power amp

for the center channel, connect the CENTER OUTPUT jack to the

INPUT jack of the external amp and connect the center speaker to

the speaker terminals of the external amp.

SINGLE

DUALDUAL

SINGLE

DUALDUAL

SINGLE

Center speaker

Center speaker Center speaker

ADDING A SUBWOOFER

You may wish to add a subwoofer to reinforce the bass

frequencies.

This unit provides a line-level subwoofer output, which contains

only the frequencies under 200 Hz from the main and center

channels. Connect the LOW PASS jack to the INPUT jack of the

subwoofer amplifier, and connect the speaker terminals of the

subwoofer amplifier to the subwoofer.

With some subwoofers, including the Yamaha Active Servo

Processing Subwoofer System, the amplifier and subwoofer are in

the same unit.

OUTPUT

10dB 0dB

Subwoofer system

1-3. CONTROLS & ADJUSTMENTS

FRONT PANEL

NATURAL SOUND DIGITAL SOUND FIELD PROCESSOR

AMPLIFIER DSP-E580

TAPE

MONITOR

PROGRAM EFFECT

DSP

PRO LOGIC

123456

7 8

(General Model)

1 Power Switch

* STANDBY Mode (Europe model only)

While the power is on, pressing the POWER key on the remote

control unit switches the unit to the STANDBY mode. (In this

mode, the indicator is half illuminated.)

2 Remote control sensor

Signals from the remote control unit are received here.

3 Display Panel

Shows program names, parameters and information about other

various settings and adjustments.

4 PRO LOGIC Indicator

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

being activated.

5 DSP Indicator

Illuminates while the built-in Sound Field Processor is being

activated.

6 Program Selector

Sequentially selects the digital sound field processing

programs in the + or – direction.

7 Effect Switch

Normally ON, this switch can be turned OFF to disable output

from the center and effect speakers so that the sound

becomes normal 2-channel stereo.

8 Tape Monitor Switch

Used when you have connected the tape deck to this unit’s

TAPE terminals to select that tape as the source. (See page 12

and 24.)

9 Master Volume Control

Simultaneously controls signal level at all outputs: main, rear

effect, center, and subwoofer. (This does not affect TAPE REC

OUT level.)

REMOTE CONTROL UNIT

1 Power Key

Turns this unit on and off.

* (Europe model only): Turns the POWER on mode to the

STANDBY mode and vice versa.

2 Program Select Keys (1 through 16)

Select DSP programs 1 through 16.

3 Test Switch

When pressed, sends a signal to the main left, center, main

right, and rear effect speakers in turn for easy comparison of

level settings.

4 Set Menu/Parameter +/– Keys

Edit DSP program parameters, make settings/adjustments in the

SET MENU mode, or used in the main/center/effect speaker level

balance adjustment.

5 Effect On/Off Key

Cuts off the sound’s output from the rear effect and center

speakers. To restore the output from those speakers, press this

key again.

6 Set Menu/Parameter Select Keys

Select DSP program parameters or titles of settings/adjustments

in the SET MENU mode, or used in the main/center/effect

speaker level balance adjustment.

7 Tape Monitor Switch

Used when you have connected the tape deck to this unit’s

TAPE terminals to select that tape as the source. (See pages

12 and 24.)

8 Master Volume +/– Keys

Increase (+) or decrease (–) the master volume level.

TEST

EFFECT

SET MENU

PARAMETER

MASTER

VOLUME

POWER

—

HALL

CONCERT

VIDEO

THEATER

CHURCH

OPERA

SPORTS

JAZZ CLUB

CLASSIC

FILM

GAME

PRO LOGIC

ROCK

CONCERT

ANIMATION

KARAOKE

– ENHANCED

THEATER

mm MOVIE

—

TAPE

MON

PROGRAM

PREPARATION

1. Set all volume controls—on the main amp (preamp) and effect

power amplifiers—to their MINIMUM positions.

2. Turn on the power to all system components. This unit is turned

on by pressing the POWER switch on the front panel or the POWER

key on the remote control unit.

3. Use the MASTER VOLUME control on the front panel or the

MASTER VOLUME keys on the remote control to set the master

volume to its lowest level. If you are using external power amplifiers

on any channels, any volume controls on the power amps should be

set to maximum.

4. Select your video cassette deck or video disc player (or other

Dolby Surround encoded program source) on your A/V selector,

integrated amplifier, preamplifier, or receiver.

5. Begin playback of Dolby Surround encoded program material.

6. Increase the setting of the volume control on your preamplifier,

integrated amplifier, or receiver to about the halfway point.

* Depending on the particular model of preamplifier, integrated

amplifier, or receiver you are using, a slightly different volume

setting may be necessary. If there is distortion on loud passages,

try reducing the volume control setting slightly.

7. Use the MASTER VOLUME control on the front panel or the

MASTER VOLUME keys on the remote control unit to set the master

volume to a comfortable listening level.

For optimum performance—minimum noise and maximum

dynamic range—it is desirable to set the volume control of your

preamplifier, integrated amplifier or receiver to its center position,

making any necessary adjustments to the listening level by changing

the MASTER VOLUME control setting on this unit.

1-4. ADJUSTMENT

POWER

Front Panel Remote Control

MASTER

VOLUME

—

Front Panel Remote Control

MASTER

VOLUME

—

Front Panel Remote Control

MAIN/CENTER/REAR EFFECT SPEAKER LEVEL

BALANCE ADJUSTMENT

This operation uses an internal test-tone generator for balancing

the levels of the main, center and rear effect speakers. All speakers

should be adjusted to the same apparent sound level for proper

Dolby Pro Logic decoding.

1. Depress the TEST switch on the remote control to enter test

mode. A hiss-like calibration signal should be heard from the left

main speaker, center speaker(s), right main speaker and rear effect

speakers in turn (see diagram). Adjust the MASTER VOLUME to a

normal listening level.

* The state of test-tone output is shown by the display panel and

the monitor screen. (Especially on the monitor screen, it is shown

by an image of audio listening room.) This is convenient for

adjusting each speaker level.

2. Adjust the center and rear effect speaker level.

For adjusting the center speaker level:

Press the SET MENU/PARAMETER select (▲▲) key. “CENTER

LEVEL ··· dB” appears on the display and the test-tone is output from

the center speaker(s). In this state, adjust the center speaker level by

pressing the SET MENU/PARAMETER +/– keys.

For adjusting the rear effect speaker level:

Press the SET MENU/PARAMETER Select (▼▼) key. “SURROUND

LEVEL ··· dB” appears on the display and the test-tone is output from

the rear effect speakers. In this state, adjust the rear effect speaker

level by pressing the SET MENU/PARAMETER +/– keys.

Adjust each speaker level so that the sound coming from the

corresponding speakers seems to be at the same level as that from

the main speakers when you are at a normal listening position.

If there is insufficient volume from the effect speakers, you may

decrease the main speaker volume level by setting the MAIN LEVEL

switch on the rear panel to “–10 dB”, and adjust the center and rear

level again.

NOTE: If the CENTER MODE is set to the PHNTM (phantom)

position, the center speaker level cannot be adjusted. If using a

center speaker, be sure to set the CENTER MODE to the “NRML” or

“WD” position.

After completing this adjustment, press the TEST switch once

again.

NOTE: Once you have completed these adjustments, use only this

unit’s MASTER VOLUME control to adjust listening volume. Do not

change any other volume settings in the system.

Left main Center Right main

Rear

LEFT CENTER RIGHT

SURROUND

OTHER IMPORTANT SETTINGS AND ADJUSTMENTS

IN THE “SET MENU” MODE

The following three types of settings and adjustments should be

done before enjoying audio and video sources. Note that these

settings and adjustments cannot be done without monitoring the

display information (or the information displayed on the monitor

screen).

CENTER MODE

DIMMER

MEMORY GUARD

SETTING/ADJUSTMENT PROCEDURE

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

2. Select any desired mode or edit parameters on the item.

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

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. For this

reason even a speaker smaller than the main left and right speakers

can obtain a sufficient effect.

In Wide (WD) position, all range of frequencies for the center-

channel 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.

2. Changing brightness of the display (DIMMER)

You can select one of the five levels of brightness of the display.

3. 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 following functions on this unit

can be locked by this operation.

• DSP parameters

• Other setting/adjustment items in the “SET MENU” mode

(CENTER MODE/DIMMER)

• TEST switch

SET MENU

PARAMETER

—

SET MENU

PARAMETER

—

2-1. PLAYING A SOURCE

1. Set the MASTER VOLUME control to minimum.

2. Turn the power on.

3. Select a source using the input selector on the integrated

amplifier etc.

* To select a tape deck connected to this unit’s TAPE terminals, turn

the TAPE MONITOR switch on so that the indicator over the switch

on the front panel lights up. (Otherwise, turn this switch off so that

the indicator goes off.)

NOTE: If this unit is connected to the TAPE terminals of the

integrated amplifier etc., the following operations are needed.

• If your amplifier has the REC OUT selector which is independent

of the input selector;

1.Set the input selector to the AUX position.

2.Select the source to be input to this unit using the REC OUT

selector.

• If your amplifier does not have the REC OUT selector which is

independent of the input selector;

1.Set the TAPE monitor switch on the amplifier to on.

2.Select the source to be input to this unit using the input

selector.

4. Play the source.

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

listening level.

GENERAL OPERATION

POWER

Front Panel Remote Control

MASTER

VOLUME

—

Front Panel Remote Control

Front Panel

TAPE

MONITOR

TAPE

MON

Front Panel Remote Control

2-2. DIGITAL SOUND FIELD PROGRAMS

This unit has 16 programs for digital sound field processing, 4

from actual acoustic environments from around the world, and 12

programs for Audio/Video sources including sources encoded with

Dolby Pro Logic surround. Many of the programs contain various

parameters that can be adjusted to the listener’s taste.

2-3. SELECTING SOUND FIELD

PROGRAMS

Select the desired sound field program by pressing the

PROGRAM selector on the front panel or by using the Program

Select keys on the remote control.

2-4. MUTING THE EFFECT SOUND

The EFFECT switch makes it simple to compare the normal

stereo sound with the fully processed effect sound.

To mute the effect sound and monitor only the main sound, press

the EFFECT switch. Press the EFFECT switch a second time to

restore normal operation.

2-5. SUPERIMPOSED VIDEO

PROGRAM/PARAMETER DISPLAY

You can select program names and edit parameters

watching their data displayed on your video monitor screen and

superimposed over the video image as described on page 10.

1. Turn your monitor on.

2. Program name and its parameters will be displayed on the

monitor screen for a few seconds just after you have selected them.

Parameters are selected by pressing the SET MENU/PARAMETER

Select (▼▼) key, and edited by pressing the SET MENU/PARAMETER

+/– keys. (See page 31 for details.)

HALL

CONCERT

VIDEO

THEATER

CHURCH

OPERA

SPORTS

JAZZ CLUB

CLASSIC

FILM

GAME

PRO LOGIC

ROCK

CONCERT

ANIMATION

KARAOKE

– ENHANCED

THEATER

mm MOVIE

PROGRAM

For stereo audio

sources

For Audio/Video

sources

2-6. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS

The following list gives brief descriptions of the sound fields produced by each of the DSP programs. Keep in mind that most of these are

precise digital recreations of actual acoustic environments. The data for them was recorded at the locations described using sophisticated sound

field measurement equipment.

* The channel level balance between the left rear effect speaker and the right rear effect speaker may vary depending on the sound

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

1. CONCERT HALL:

A large round concert hall with a rich surround effect.

Pronounced reflections from all directions emphasize the

extension of sounds. You will experience the sound field with a

great deal of presence sitting at about the center position near

the stage.

This sound field is also effective for karaoke. This is because

you feel as if you are standing on a real stage.

2. CHURCH:

A church in Tokyo shaped like a cross. There is the altar at the

upper side of the “cross”, and a pipe organ at the opposite side

(the lower side of the cross). It is a very unique shape with

walls all leaning inside, and pillars standing by the side of walls

only. The sound field has moderate reverberations of which

time is 2.5 seconds.

3. JAZZ CLUB:

A jazz club in New York. It is in a basement and has a relatively

spacious floor area. The reflection pattern is similar to that of a

small hall.

4. ROCK CONCERT:

The ideal program for lively, dynamic rock music. The data for

this program was recorded at LA’s “hottest” rock club.

5. CONCERT VIDEO:

This program produces an enthusiastic atmosphere and lets you

feel that you are in the midst of the action, as if attending an

actual jazz or rock concert.

The indirect sound constituent spreads on the surround side of

the sound field by the use of data of a large round hall for the

surround side, so the image space around the screen and the

sound space are fully expanded.

6. OPERA:

This program provides excellent depth of vocals and overall

clarity, restraining excessive reverberation.

For opera, the orchestra pit and the stage are ideally combined,

letting you feel a full presence sound. The rear surround side of

the sound field is relatively moderated, however, it reproduces

beautiful sound by the use of the data of a concert hall. You will

not be tired from long watching of an opera.

7. CLASSIC FILM:

This program is for reproducing monaural video sources (old

movies etc.). Monaural sounds are reproduced with much

presence by the front presence side of the sound field and

optimum reverberation effect. The use of the center speaker

makes conversations more audible, obtaining a pleasant mix of

conversations and picture.

8. ANIMATION:

Powerful reverberations on the front presence side of the sound

field adds depth to the image, so expanding the image space. On

the rear surround side, sounds are reproduced lightly but vividly.

The sound field of this program matches image effects of

animated films regardless of the genre. Conversations, sounds

and sound effects are reproduced with vitality by this program. A

source in stereo will obtain more effect, letting you steep yourself

in a fantastic world of animations.

9. TV THEATER:

The data of the sound field of a relatively narrow space is used for

the front presence side. A moderately sized spatial sound field

without excessive sound extension and reverberations gives

reality to the characters in a drama.

The data of the sound field of an opera house is used for the rear

surround side. In a stereo program, background music is

reproduced more beautifully with much depth, enhancing sound

effects on the drama. It’s natural sound effect will not make you

tired from long watching.

10.TV SPORTS:

Though the front presence side of the sound field is relatively

narrow, the rear surround side employs the sound environment of

a large concert hall. With this program, you can enjoy watching

various TV programs such as the news, variety shows, music

programs or sports programs. In a stereo broadcast of a sports

game, the commentator is oriented at the center position, and the

shouts and the atmosphere in the stadium spreads on the

surround side, however, spreading of them to the rear side is

properly restrained.

11.GAME:

The sound field of a disco is used for the front presence side, and

the sound field of a concert hall in Vienna is used for the rear

surround side.

This program reproduces video game music etc. more vividly

emphasizing the fast tempo and lightness of the music. If the

music is in stereo, more effective sound field will be gained by this

program.

This program is also suitable for karaoke popular music.

12.KARAOKE:

Vocals are reproduced with gentle reverberations on the stage

surrounded by seats in a round hall. A feeling of echo from the

high ceiling and reverberations in front and behind the hall brings

a lot of presence on both the stage and the seats. By using a

source with digital sound, the sound of the greatly instrumental

accompaniment is much expanded, so emphasizing the spatial

effect with vocals. You feel as if you are standing on a live-stage.

13.70 mm MOVIE THEATER 1:

This program is ideal for precisely reproducing the sound design

of the newest movies. The sound field is made according to the

design of the newest movie theaters, so the reverberations of the

sound field itself are restrained as much as possible. The three

dimensional feeling of the sound field is emphasized, and dialog

is precisely oriented on the screen. You can enjoy watching

S.F.X., adventure movies, etc. with this program.

14.70 mm MOVIE THEATER 2:

This program is for reproducing sounds on a 70 mm multi-track

film, and characterized by a soft and extensive sound field. The

front presence side of the sound field is relatively narrow. It

spatially spreads all around and toward the screen, restraining

echo effect of conversations without losing clarity. For the

surround side, the data of the sound field of an opera house is

used on an enlarged scale, so the harmony of music or chorus

sounds beautifully in a wide space at the rear of the sound field.

15.PRO LOGIC:

The digital Dolby Pro Logic decoder reproduces sounds and

sound effects of a source encoded in Dolby Surround. The

realization of a highly efficient decoding process improves

crosstalk and channel separation and makes sound positioning

smoother and more precise.

16.PRO LOGIC ENHANCED:

This program ideally simulates the multi-surround speaker

systems of the 35 mm film theater. Surround signals by the Dolby

Pro Logic decoder are processed on the surround side of the

sound field based on the data of the sound field of a shoe-box

hall. The surround effects produced by this sound field folds the

viewer naturally from the rear to the left and right and toward the

screen.

Programs No. 13 through No. 16 reproduces video discs, video tapes and similar sources which are Dolby Surround encoded and bear the

“DOLBY SURROUND” logo.

NOTE: The Dolby 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 overadjustment of the BASS or TREBLE controls, the

relationship with the rear channels may produce an unnatural

effect.

3-1. SELECTING AND EDITING PROGRAM PARAMETERS

WHAT IS A SOUND FIELD?

In order to explain the impressive 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 even 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 player’s instrument, there are two distinct

types of sound reflections that combine to make up the sound field:

(1) Early Reflections. Reflected sounds reach our ears extremely

rapidly (50 ms — 100 ms after the direct sound), after reflecting from

one surface only—for example, from the ceiling or a wall. These

reflections fall into specific patterns as shown in the diagram on page

32 for any particular environment, and provide vital information to our

ears. Early reflections actually add clarity to the direct sound.

(2) Reverberations. These are caused by reflections from more than

one surface—walls, ceiling, the back of the room—so numerous 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 reverberations in your listening room, you would be able

to create your own listening environment. The acoustics in your room

could be changed to those of a concert hall, a dance floor, or virtually

any size room at all. This ability to create sound fields at will is

exactly what Yamaha has done with the DSP system.

DSP programs consist of some parameters to determine

apparent room size, reverberation time, distance from you to the

performer, etc. In each program, those parameters are preset with

values precisely calculated by Yamaha to create the sound field

unique for the program. It is recommended to use DSP programs

without changing values of parameters, however, this unit also allows

you to create your own sound fields. Starting with one of the built-in

programs, you can adjust those parameters. Even if power is turned

off, your custom sound fields will remain in the DSP system’s

memory for about two weeks. The following pages detail how to

make your own sound fields.

CREATING YOUR OWN SOUND FIELDS

Each sound field program has a set of parameters that allow you

to change the characteristics of the acoustic environment to create

precisely the effect you want. These parameters correspond to the

many natural acoustic factors that create the sound field you

experience in an actual concert hall or other listening environment.

The size of the room, for example, affects the length of time between

the “early reflections”—that is, the first few widely spaced reflections

you hear after the direct sound. The “ROOM SIZE” 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. Surfaces

that absorb sound, for example, cause the reflections and

reverberations to die out quicker, 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 many other factors that

contribute to your personal sound field, allowing you to essentially

“redesign” the concert halls and rooms provided to create custom-

tailored listening environments that ideally match your mood and

music.

Refer to “3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD

PARAMETERS” on page 32 for a description of what each

parameter does, how it effects the sound, and its control range.

1. With the desired program selected, press the SET MENU/

PARAMETER Select (▼▼) key on the remote control unit once. This

will recall the first parameter. In the case of the CONCERT HALL

program, for example, this would be the INIT. DLY parameter. You

can continue pressing the SET MENU/PARAMETER Select (▼▼) key

to select other parameters in sequence. If the key is pressed when

the last parameter is being displayed, the first parameter is selected

again.

2. When the desired parameter has been recalled, use the SET

MENU/PARAMETER + (increment) and – (decrement) keys to

change its value to create the effect you want. + increases the value

of the selected parameter, and – decreases the value of the selected

parameter. In both cases you can hold the key down for continuous

incrementing or decrementing. The display will pause for a moment

at the initial value of the parameter as a reminder. (On the monitor

screen,

mark at the head of parameter name disappears at the

initial value of the parameter.)

NOTE: Parameter edits made in this way will remain in effect even

with power cut due to power failure or the power plug disconnected

from the AC outlet for up to about two weeks, after which all

parameters, as well as other adjustments or settings on this unit, will

return to their initial values or conditions.

3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD PARAMETERS

Not all of the following parameters are found in every program.

●

INIT DLY (Initial Delay)

How it Affects the Sound:

Changes the apparent distance from the source sound.

Since the distance between a sound source and a reflective

surface determines the delay between the direct sound and the first

reflection, this parameter changes the location of the sound source

within the acoustic environment.

What it Does:

Adjusts the delay between the direct sound and the first reflection

heard by the listener.

Control Range:

1 – 49 milliseconds

For a small living room this parameter would be set for a small

value. Large values for a big room. Larger values produce an echo

effect.

●

ROOM SIZE

How it Affects the Sound:

Changes the apparent size of the music venue. 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 before the subsequent,

dense reverberation begins.

Control Range:

0.1 – 2.0

Standard setting is 1.0.

Changing this parameter from 1 to 2 increases the apparent

volume of the room eight times (length, width, and height all

doubled).

Level

Direct sound

Early reflections

Time

Small space

Small

Level

Direct sound

Early reflections

Time

Large

Level

Direct sound

Early reflections

Time

Large space

INIT. DLY INIT. DLY INIT. DLY

Level

Time

Small

Level Level

Time

Large

Direct sound

Early reflections

●

REV. TIME (Reverberation Time)

How it Affects the Sound:

The natural reverberation time of a room depends primarily on its

size and the characteristics of its inner surfaces. This parameter,

therefore, changes the apparent size of the acoustic environment

over an extremely wide range.

What it Does:

Adjusts the amount of time it takes for the level of the dense,

subsequent reverberation sound to decay by 60 dB (@ 1 kHz).

Control Range:

1.0 – 5.0 seconds.

The reverb time in a small-to-medium size hall would be between

1 and 2, and in a large hall it is normally between 2 and 3.

●

EFCT TRIM (Effect Trim)

Performs fine adjustment of the level of all the effect sounds.

Control Range:

–3 dB to 3 dB

●

DELAY

Adjusts the delay between the direct sounds (at the main left,

center and main right channels) and the effect sounds (at the front

effect and rear effect channels). The larger the value, the later the

effect sounds are generated.

Control Range:

15 – 30 milliseconds

REV. TIME

60 dB

REV. TIME

60 dB

REV. TIME

60 dB

Level

Reverberations Reverberations Reverberations

Time

Small

Level Level

Time

Large

Direct sound

Early reflections

PROBLEM POSSIBLE CAUSE WHAT TO DO

Power does not come on. AC cord not properly plugged in. Carefully plug AC plug into outlet.

Hum. Bad cable connection. Firmly plug in all connection cables.

No sound. Bad or incorrect input connection. Check connections.

Incorrect input source selection.

Check A/V selector, receiver or amplifier switch settings.

No sound from the effect speakers. The EFFECT switch is set off. Press the EFFECT switch to turn on.

The DOLBY PRO LOGIC program is being used Use a different sound field program.

with material not encoded with Dolby Surround.

No sound from the center speaker. The center mode is in “PHNTM”. Select the appropriate center mode.

Incorrect sound field program. Select the appropriate program.

The sound suddenly goes off. The protection circuit has activated because of Turning the unit off and then on will reset the protection circuit.

short circuit etc.

The volume level cannot be increased, The power to the component connected to the Turn the power to the component on.

or sound is distorted REC OUT jacks of this unit is off.

DSP parameters or other settings on this The “MEMORY GUARD” function is Turn the “MEMORY GUARD” OFF.

unit cannot be changed. set ON.

Left rear and right rear channels not This is normal operation and is an exact

balanced in certain digital sound field duplication of the actual data which was

programs. measured for that particular hall etc.

The sound field cannot be recorded. It is not possible to record the sound field on a

tape deck connected to this unit’s TAPE

REC OUT jacks.

The remote control unit does not function Dead batteries. Replace batteries.

properly. Wrong distance or angle. The remote control unit will function from a maximum range of 7

meters, no more than 30 degrees off-axis from the front panel.

Direct sunlight or lighting (of an inverter type of Change position of the main unit.

flourescent lamp etc.) is striking the remote

control sensor of the main unit.

Noise from nearby TV or tuner. This unit is too close to the affected Move the unit further away from the affected equipment.

equipment.

TROUBLESHOOTING

Minimum RMS Output Power Per Channel

Center (1 kHz 0.03% THD 8Ω) ...................................................................... 25W

Rear Effect (1 kHz 0.03% THD 8Ω) ..................................................... 25W+25W

Input Sensitivity/Impedance (1V)

INPUT/TAPE PB ............................................................................ 150 mV/47 kΩ

Maximum Input Signal

INPUT/TAPE PB

(1 kHz 0.05% THD, EFFECT ON).............................................. More than 2.3V

Output Level/Impedance

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

PRE OUT (MAIN L/R) ........................................................................ 1.0V/1.2 kΩ

LOW PASS (fc=200 Hz) (EFFECT OFF) .......................................... 4.0V/3.3 kΩ

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

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

Frequency Response (20 Hz – 20 kHz)

PRE OUT (MAIN L/R) (EFFECT OFF) ................................................... 0±1.0 dB

Total Harmonic Distortion

INPUT to PRE OUT (MAIN L/R)

1V, 20 Hz – 20 kHz (EFFECT OFF)......................................... Less than 0.01%

Built-in amplifier (CENTER, REAR L/R)

10W/8Ω, 20 Hz – 20 kHz ......................................................... Less than 0.03%

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

INPUT (Input Shorted) (EFFECT OFF) ..................................... More than 98 dB

Residual Noise (IHF-A Network)

PRE OUT (MAIN L/R).................................................................... Less than 5 µV

Channel Separation Vol –30 dB

INPUT Input 5.1 kΩ Terminated (EFFECT OFF)

1 kHz/10 kHz .................................................................. More than 65 dB/50 dB

Filter Characteristics (Highcut Filter)

LOW PASS (fc = 200 Hz) ........................................................................ 6 dB/oct.

Video Section

Video Signal Type

[U.S.A. and Canada models] ..................................................................... NTSC

[Australia, Europe and U.K. models] ............................................................ PAL

[General Model] ................................................................................. NTSC/PAL

Video Signal Level .............................................................................. 1 Vp-p/75Ω

S-Video Signal Level

Y ...................................................................................................... 1 Vp-p/75Ω

C ............................................................................................... 0.286 Vp-p/75Ω

Maximum Input Level ............................................................. More than 1.5 Vp-p

Signal-to-Noise Ratio .................................................................. More than 50 dB

Monitor Out Frequency Response .................................... 5 Hz – 10 MHz, –3 dB

Power Supply

U.S.A. and Canada models ......................................................... AC 120V/60 Hz

Australia and U.K. models ............................................................ AC 240V/50 Hz

Europe model ............................................................................... AC 230V/50 Hz

General model ................................................... AC 110/120/220/240V 60/50 Hz

Power Consumption ......................................................................................... 85W

AC Outlets

1 SWITCHED OUTLET

[U.S.A. and Canada models] .................................................... 120W max. total

[General model] ......................................................................... 100W max. total

1 UNSWITCHED OUTLET

[U.S.A. and Canada models] ............................................................ 180W max.

[Australia, Europe, U.K., and General models] ................................ 200W max.

Dimensions (W x H x D) ...................................................... 435 x 146 x 400.5 mm

(17-1/8” x 5-3/4” x 15-3/4”)

Weight ..................................................................................... 8.5 kg (18 lbs. 11 oz.)

* Specifications are subject to change without notice.

SPECIFICATIONS

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

VR 38910-0 BWWY R Printed in Japan

Yamaha DSP-E580 El manual del propietario

Marca: Yamaha

Modelo: DSP-E580

Categoría: Receptor

Tipo: El manual del propietario

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