User manual B&K REFERENCE 50 SERIE 2

B & K Components, Ltd. REFERENCE 50 SERIES 2 User Manual Seven Channel Surround A/V Preamplifier Processor 13790 1104 ii ACCESSORIES AND WARRANTY USER MANUAL - Reference 50 Series 2 © 2004 B & K Components Ltd. All rights reserved. The information in this manual is copyright protected. No part of this manual may be copied or reproduced in any form without prior written consent from B & K Components, Ltd. B & K Components Ltd. SHALL NOT BE LIABLE FOR OPERATIONAL, TECHNICAL OR EDITORIAL ERRORS/OMISSIONS MADE IN THIS MANUAL. The information in this manual is subject to change without prior notice. Accessories Included S IMPLY B ETTER! B&K 1 1 1 1 - SR10.1 Remote Control - AM Antenna - FM Dipole Antenna - Power Cord 1 1 1 1 - Warranty Card - User Manual - Serial to RJ-45 Adapter - BKcSuite CD-ROM SIMPLY BETTER! is a registered trademark of B & K Components, Ltd. Manufactured under license from Dolby Laboratories. "Dolby", "Surround EX", "Pro Logic" and the double-D symbol are trademarks of Dolby Laboratories. Manufactured under license from Digital Theater Systems, Inc. US Pat. No.5,451,942, 5,956,674, 5,974,380, 5,978,762, 6,487,535 and other U.S and worldwide patents issued and pending. "DTS", "DTS-ES" and "Neo:6" trademarks of Digital Theater Systems, Inc. Copyright 1996, 2003 Digital Theater Systems, Inc. All Rights Reserved. Motorola® , * DigitalDNATM, "Powered by MotorolaTM, Motorola name and logo are registered trademarks of Motorola, Inc. All Rights Reserved. Limited Warranty B & K Components Ltd., referred to herein as B & K , warrants your B & K equipment against all defects in material and workmanship for a period of five years from the date of purchase. This warranty applies only to the original purchaser and only to equipment in normal residential use and service. Defective equipment must be returned to B & K , prepaid, accompanied by proof of purchase and sufficient payment to cover the cost of return shipping and handling, and will be repaired or replaced at the discretion of B & K whose decision as to the method of reparation will be final. This warranty shall not apply to any equipment which is found to have been improperly installed, incorrectly fused, misused, abused, or subjected to harmful elements, used in any way not in accordance with instructions supplied with the unit, or to have been modified, repaired or altered in any way without the expressed, written consent of B & K . This warranty does not apply to the cabinet or appearance items such as the faceplate or control buttons, nor does it cover any expenses incurred in shipping the unit to and from the manufacturer's service department. This warranty on B & K Components, Ltd. products is NOT VALID if the products have been purchased from an unauthorized dealer or an E-tailer or if the original factory serial number has been removed, defaced or replaced in any way. B & K Components, Ltd. sells its products through authorized dealers in order to ensure that consumers obtain proper dealer service and support. Buying from an authorized B & K Components, Ltd. dealer insures that you have a FACTORY WARRANTY on your B & K Components, Ltd. product. If you have any questions concerning your Factory Warranty call B & K Components, Ltd. at 716-656-0026. Upgradeability : B & K is one of the first manufacturers in the audio/video industry to consistently offer software and hardware upgrades to its processing of audio signals. Through upgrades B & K delivers exceptional value to its customers. But what is "upgradeability"? Upgradeability is not a guarantee; we define it as a philosophy of designing and manufacturing products so that as audio technology evolves, B & K can provide enhancements and improvements to its products that are economically viable. THE EXPRESS FACTORY WARRANTY HEREIN CONTAINED IS IN LIEU OF ANY AND ALL OTHER WARRANTIES, EXPRESSED OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY, UPGRADEABILITY OR OF FITNESS FOR ANY PARTICULAR PURPOSE. B & K COMPONENTS, LTD. SHALL NOT UNDER ANY CIRCUMSTANCES BE LIABLE FOR DAMAGES, INCLUDING SPECIAL, INCIDENTAL, EXEMPLARY, PUNITIVE OR CONSEQUENTIAL DAMAGES ARISING OUT OF OR IN CONNECTION WITH THE PURCHASE, USE OR PERFORMANCE OF ANY B & K PRODUCT. This warranty gives you specific legal rights. You may also have other rights which vary from State to State. Some States do not allow the exclusion or limitation of incidental or consequential damages and the foregoing exclusions may not apply to you. No agent, representative, dealer or employee of B & K has the authority to increase or alter the obligations or terms of this warranty. Returning Equipment No equipment may be returned to B & K Components Ltd. without a RETURN AUTHORIZATION (RA). Should you find it necessary to return equipment to B & K , for any reason, a RETURN AUTHORIZATION (RA) number must be issued by B & K in respect to the equipment being returned. You may request an RA number by calling B & K at the numbers below. We will need the following information to issue your RA number. Please have it ready before you call. 1. 2. 3. 4. Your name, address, and phone number. The model and serial number of the equipment being returned. A description of the problem being experienced. Your sales receipt. Your call will be referred to a Technical Service Representative who will work with you to resolve the problem. If it is determined that the unit must be returned for repair, an RA number will be issued. 2100 Old Union Road Buffalo, NY 14227 1-800-543-5252 In NY: 716-656-0026 e-mail: info@bkcomp.com Web Site: www.bkcomp.com fax: 716-656-1291 TABLE OF CONTENTS 1 ii 1 3 4 5 6 10 11 12 13 13 13 13 14 14 14 14 15 15 16 17 18 18 18 19 19 19 19 20 21 21 21 22 22 23 24 25 25 26 26 26 27 27 29 30 31 31 31 32 32 33 34 34 ACCESSORIES AND LIMITED WARRANTY TABLE OF CONTENTS SAFETY PRECAUTIONS FEATURES AUDIO OVERVIEW AUDIO AND SURROUND FORMATS FRONT PANEL DESCRIPTION BACK PANEL DESCRIPTION QUICK START CONSIDERATIONS HARDWARE CONNECTIONS SOURCE CONNECTIONS Source Connection Diagram SACD or DVD-Audio Connection VIDEO MONITOR CONNECTION Component Video Monitor Connection S-Video Monitor Connection Composite Video Monitor Connection SURROUND OUTPUT CONNECTIONS 7.1 Balanced Output Connection 6.1 / 5.1 Balanced Output Connection RCA Surround Outputs / Subwoofer Connection PASS THROUGH / RECORD LOOP CONNECTIONS CONTROL OUTPUT CONNECTION IR Emitter Connection +12VDC Control Connection ZONE B CONNECTIONS Zone B Audio Amplification Zone B Video Connection REFERENCE 50 Series2 ZONE B CONNECTION DIAGRAM KEYPAD CONNECTION ZONE A & ZONE B IR CONNECTIONS AM / FM ANTENNA CONNECTION SETTING UP THE SYSTEM THE MENU SYSTEM MAIN MENU SELECTIONS SYSTEM SETUP SETUP SPEAKERS 1. Speaker Size 2. Setup Speaker Location 3. Setup Speaker Levels 4. Setup Crossover + LFE 5. Setup Room Equalization 6. Room Resonance (Notch Filters) SETUP INPUTS SETUP PRESETS SETUP DISPLAYS SETUP MUSIC MODES MEMORY BACKUP/RESTORE UNIT INFORMATION ADVANCED MENU Zone `1' Home Theater Power on Titles Control Outputs 2 DSP Usage Security Options RS-232 Control Port Plug and Play Timing Setup Zone 2 `B' Second Zone FACTORY RESET TABLE OF CONTENTS 35 35 36 37 38 38 39 40 40 40 40 40 40 41 41 41 41 42 42 43 43 45 45 47 48 49 49 51 51 51 53 54 55 56 57 58 Back SR10.1 REMOTE CONTROL OPERATION UNIT OPERATION Master Power On / Off On / Standby Adjusting Volume Center, Rear and Subwoofer Volume Source Selection Z1 Operation - Theater Sleep Timer Z2 Operation - Second Zone Zone Operation Button AM / FM Tuner Operation Headphone Operation FRONT PANEL DISPLAY OPERATION Processor Status AUDIO MODES & SPEAKER SELECTIONS Audio Mode Usages Speaker Selections EQUALIZATION SETTINGS AND ADJUSTMENTS PRESETS Saving a Preset Recalling a Preset Favorite Presets SR10.1 REMOTE EDITOR SOFTWARE Learning IR Codes BKcSuite SETUP SOFTWARE Troubleshooting Guide For BKcSuite TROUBLESHOOTING BACK PANEL PICTURE ON SCREEN MENU FLOW CHART SPECIFICATIONS Product Information Date of Purchase: Preamplifier Model #: Reference 50 Series 2 Preamplifier Serial #: Purchased From: Address: Phone #: SAFETY RISK OF ELECTRIC SHOCK DO NOT OPEN 3 CAUTION SAFETY PRECAUTIONS WARNING: to prevent fire or shock hazard, do not expose this unit to rain or moisture. Care should be taken to prevent objects or liquid from entering the enclosure. Never handle the power cord with wet hands. · The lightning flash with arrowhead within a triangle is intended to alert the user of the presence of uninsulated "dangerous voltage" within the product's enclosure that may constitute a risk of electric shock to you. · The exclamation point within a triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. · Caution: To prevent the risk of electric shock, do not remove cover. No user-serviceable parts inside. Refer servicing to qualified service personnel. · If an outdoor antenna is installed, be sure it is grounded to provide some protection against voltage surges and built up static charges. Keep outdoor antennas away from power lines. · Unplug the preamplifier from the AC outlet when plugging in or unplugging cables, when left unused for an extended period of time, when moving the preamplifier, or when you suspect lightning in your area. · Prevent damage to the power cord. Replace the power cord if it becomes damaged in any way. Always grasp the plug on the power cord when plugging or unplugging the preamplifier from the AC outlet. · Your system may produce sound levels capable of causing permanent hearing loss. Do not operate for extended periods of time at high volume levels. · Protect the preamplifier from impact and place the preamplifier on a level surface. · The preamplifier is equipped with raised feet to provide ventilation, reduce acoustic feedback, and protect against scratching the surface the unit is resting on. B & K advises against removing the feet. · Do not stack anything on top of the preamplifier (processor, source, etc.) Leave a minimum of 3" clearance from the top of the preamplifier to the next shelf (or component). · The preamplifier should be located away from sources sensitive to heat. · Do not perform any internal modifications to the preamplifier. · Always connect the preamplifier's power cord to a dedicated AC outlet for normal operation. · If young children are present, adult supervision should be provided until the children are capable of following all rules for safe operation. · Mistaking CONTROL OUTPUT or IR INPUT connectors for audio/video inputs or outputs may damage your preamplifier or other components. ·System impedance SHOULD NOT fall below the nominal impedance of the amplifier stage, i.e two 8 speakers in parallel = 4 (system impedance). Minimum stability refers to the periodic audio passages that demand large amounts of current at which time the output impedance drops. The preamplifier should be serviced by qualified personnel when: A. B. C. D. The preamplifier is not functioning properly. Objects have entered the chassis. The preamplifier was exposed to rain or any other type of moisture. The preamplifier was dropped, or the chassis is damaged. 4 FEATURES FEATURES The Reference 50 Series2 preamplifier is a versatile Audio/Video control center. This preamplifier is designed to sound sensational and be an attractive, easy-to-use addition to your Audio/Video system. Video Transcoding - Allows composite and S-Video inputs to source the composite, S-Video and component video outputs. Composite video will transcode to S-Video and S-Video will transcode to composite. Video transcoding allows a single set of component video cables to be used with a video monitor. Balanced Outputs - 7.1 balanced surround outputs are provided for superior transmission of audio material to the power amplification stage. Balanced Inputs - Two Balanced source inputs are provided for superior transmission of audio material for up to two source components. Room Equalization (Notch Filters) - Three sweepable notch filters and variable equalization are available in the digital domain for use in achieving the best possible room response. Motorola 371 Processor - The latest in Motorola technology provides outstanding processing power. Two-zone operation - One main digital & analog A/V zone, (Theater Zone) plus a separate independent analog A/V zone for use with a second listening/viewing area (2nd zone). CK1.2 Keypad Compatible - B & K 's CK1.2 Keypad easily integrates with the B & K processor/preamplifier for control of the main theater zone or the second A/V Zone B. Sleep Timer - 30 minutes to 4 hours in 30 minute increments. 5 Year Parts and Labor Warranty - For all B & K products sold through authorized dealers. Gold Plated Connectors - Improved sound with minimum signal loss and degradation. Internal Digitally Synthesized AM/FM Stereo tuner - Store up to 40 AM or FM stations in A/V presets. Digital inputs/outputs - Six coaxial and five optical inputs. Two coaxial outputs (Theater zone & Second zone) and one optical output for the Theater zone. Analog inputs/outputs - Seven A/V inputs each with stereo audio, composite video and S-video inputs. One assignable SACD or DVD-Audio input. One set of 7.1 line-level outputs. Three analog (record) loop outputs. Control Outputs - Four 12 VDC @ 50 mA outputs for turning on (triggering) B & K amplifiers and controlling external systems such as a projection screen. Up to three control outputs can be configured for IR outputs to allow integration with a keypad or IR repeater control system. IR inputs - Two IR inputs for keypads or external IR repeater control systems. A/V presets - 40 preset memories allow instant recall of user settings and system configuration. Customized Input and Preset Names - Assign custom names to presets, inputs, and the power on message. RS-232 Control - Easy control and interface of your B & K product with other system controllers. 96/24 bit A/D and 192/24 bit capable D/A Conversion - Ultra high reproduction resolution of musical details. 96/24 Bit Processing - 96/24 bit digital data and analog source material use 96 kHz, 24 bit DSP processing during all stereo listening modes. Selectable Bass Management Crossover Frequency and Slope - Allows system versatility for bass adjustments and management to assure superior performance from your speaker system. Shelving equalization adjustments can be made to either end of the response frequency spectrum to further enhance the listening room for optimal playback. Upgradeable - Modular design allows for future A/D, D/A, DSP, and Digital Preamplifier upgrades. State of the art today, state of the art tomorrow. AUDIO / VIDEO OVERVIEW 5 AUDIO / VIDEO OVERVIEW Definitions Sources - A source is considered to be any device that can be connected to the audio/video receiver or processor and transmit a signal that can be seen or heard. Typical sources include DVD players, satellite boxes, CD players, etc. Your preamplifier can provide audio from its built-in AM/FM tuner. Your preamplifier is designed to accommodate a wide range of audio and video signals. Zone - A zone is usually a room or section of the house that has speakers and/or video installed in it. Your preamplifier includes a full preamp/processor for Zone A , the main theater zone, plus an additional analog audio and video preamp for Zone B - the second zone. Two zones allow for watching a Dolby Digital movie in the main theater while simultaneously using the built-in AM/FM tuner in the second zone. Amplifier - An amplifier takes the output of a pre-amplifier/processor and increases its levels necessary to drive a speaker. In a receiver the amplifier is combined into the same box with the processor. B & K employs high current amplifiers in their receivers. These amplifiers are also available as separate components. Speakers - A surround sound system typically uses 5 speakers located left front, center front, right front, right surround, and left surround plus a subwoofer located anywhere in the room. With the new developments in surround technology from companies such as Dolby Laboratories and DTS, it is now possible to improve spatial expressions with an additional channel of information for use with a 6th or 7th surround back speaker(s). Although best results are achieved using seven large speakers plus a subwoofer, this is not always practical. Excellent results can be achieved using small and/or fewer speakers, as long as you go through the setup procedures described later in the manual. Your processor includes the capability of reproducing up to 7.1 channels of surround information. A/V Preamplifier - An A/V preamplifier has the capability to select from a number of A/V sources, adjust volume levels and route the audio to an amplifier and video to a video monitor. An A/V preamplifier requires the use of an external power amplifier. Surround Processor - A processor typically includes the capability to decode one or more surround formats, and convert between digital and analog as required. Your A/V preamplifier includes a high quality MotorolaTM processor capable of decoding the various audio surround formats. Composite video vs. S-video vs. Component video - Composite video is the oldest standard for color video. It combines the luminance (brightness or black-and-white) and chrominance (color) information onto a single conductor. At the monitor, this composite video signal must be separated again for it's display which results in some degradation of the original video quality. S-video is a standard that uses separate conductors for the luminance (Y) and chrominance (C) information resulting in better video quality. Component video is a form of video which first became popular with the introduction of the DVD player. Most component video signals are a variation of the red, green and blue signals that make up a television image. The simplest type, RGB, consists of the three discrete R, G & B signals sent over three video cables. Another type consists of RY, B-Y and Y (also known as YUV), sent over three video cables. Y is the luminance channel, R-Y is the red component minus the luminance information, and B-Y is the blue component minus the luminance information. Your preamplifier is capable of switching composite, S-video and component video signals, and converting between signal types. Your A/V preamplifier is capable of transcoding composite video and Svideo to component YUV video signals. Transcoding - Video transcoding is the process of converting one video format to another. Video transcoding is a new technology brought about by the need to integrate these many different video formats. Video transcoding does not change the resolution of the original video signal and allows different video formats to be viewed on one video monitor. Video transcoding research is being driven by the need to integrate video technologies pertaining to computer networks, cell phone, PDAs, television and satellite. Your A/V preamplifier is capable of transcoding composite video and S-video to component YUV signals. 6 AUDIO / VIDEO OVERVIEW Analog vs. Digital Audio - This refers to the method used to place audio information on the source material and how they are delivered to your preamplifier from the source. Analog signals exactly represent the sound you will hear through a continuously varying voltage. Audio cassettes are analog recordings and are normally delivered to your preamplifier over a pair of coaxial audio cables. Digital signals closely approximate the original audio signals with a set of numbers referred to as a bitstream. CDs and DVDs are sources of digital audio and are normally connected to your preamplifier through a single coaxial or optical digital cable. There are several different bitstream formats available. The simplest format is called Pulse Code Modulation (PCM). In PCM, the bitstream directly represents the original 2-channel audio. In Dolby Digital and DTS (see "Audio and Surround Formats" below) bitstreams are modified using a process called compression to squeeze more information into limited space. DTS squeezes 5.1 channels into the space normally required for two uncompressed channels, while Dolby Digital squeezes 5.1 channels into about ¼ the space required for two channels. Your preamplifier automatically detects the bitstream currently being provided from the source and performs the required decompression and surround processing. If no digital signal is present your preamplifier will automatically switch to analog processing. All sounds that you hear from your speakers are analog. Digital signals are automatically converted to analog by your preamplifier before being output to the speakers. If analog signals exactly represent the audio, while digital signals only approximate it, why would I want to use digital? All analog sources add some amount of noise and distortion to the audio signal. Additional noise can be picked up through the cables from the source to your preamplifier. It is impossible for the preamplifier to tell the difference between the desired signal and the added noise and distortion, so it reproduces both of them. The result is increased background noise and decreased dynamic range and fidelity. Digital signals are virtually immune to noise and distortion. The preamplifier can, therefore, reproduce the signal with the greatest possible fidelity. We recommend you use digital signals whenever possible. Also Dolby Digital and DTS (see "Audio and Surround Formats" below) work only with digital signals. AUDIO AND SURROUND FORMATS Your source material will be played back on your B & K processor in one of the following possible formats described below. Each format can be used for various listening conditions. Monaural (Mono) - Mono is the oldest format available. It contains a single, full range audio channel. Modern recordings are seldom made in this format, however older movies and music may only be available in this format. You may get mono from any source - digital or analog. Your preamplifier can produce mono in one to seven channels depending on speaker and audio setup. Since all modern sources are stereo, the mono information is usually replicated on both the left and right channels. Stereo - Stereo contains two discrete, full-range front left and right audio channels. This is the most common format for music and is also used on many movies. You may get stereo from any source - digital or analog. Sound will normally come from the seven speaker channels, but your preamplifier can produce stereo in two to seven channels, depending on speaker and audio setup. Dolby Digital 5.1 - Dolby Digital 5.1 is a method of transmitting and storing 5.1-channel soundtracks via digital media such as DVDs, digital cable, digital broadcast TV (DTV), and satellite transmissions. Dolby Digital 5.1 is transmitted over the optical digital or coax digital connections. Unlike the Dolby Surround encode/decode Pro Logic process, which sacrifices channel separation to get surround onto any stereo soundtrack, Dolby Digital 5.1 is a discrete system that keeps the multiple channels fully separated throughout the encoding and decoding processes. In addition to having full-range front left, center, right, left surround, and right surround channels, Dolby Digital 5.1 soundtracks carry a sixth (".1") channel recorded with lowfrequency effects. For more information on Dolby Laboratories, please visit www.dolby.com. AUDIO / VIDEO OVERVIEW Dolby Digital Surround EX - Dolby® Digital Surround EXTM provides a third surround channel on Dolby Digital movie soundtracks. The third surround channel can be decoded at the cinema's or home viewer's option for playback over surround speakers located behind the seating area. The left and right surround channels are reproduced by surround speakers to the sides. To maintain compatibility, the back surround channel is matrix-encoded onto the left and right surround channels of an otherwise conventional 5.1 mix, so no information is lost when the film is played in conventional 5.1. A 5.1-channel soundtrack can be played on a 5.1-speaker system. But it is not always understood that it can also be played on a 6.1- or a 7.1-speaker system. To do this, the two surround signals on the 5.1 soundtrack are spread across the three or four surround speakers. This distribution can be accomplished by a Dolby Digital EX decoder, or other proprietary methods provided in home theater equipment by various manufacturers. Dolby Pro Logic II - Pro Logic II brings exciting features and advanced performance for decoding the many thousands of existing Dolby Surround programs, making them sound more like a discrete Dolby Digital 5.1channel version than ever before. Pro Logic II is able to decode the thousands of existing Dolby Surround movies and TV shows already on the shelf, compatibly, and with enhanced image stability. The improvements in decoding techniques mean that the discreteness of the sound field elements are better preserved in the decoding process than was possible with the standard Pro Logic technology. Pro Logic II offers a music mode to expand stereo non-matrix recordings into a five-channel layout in a way that does not diminish the subtlety and integrity of the original stereo recordings. Dolby Pro Logic IIx - Dolby Pro Logic IIx is a new extension of Dolby Pro Logic II technology. This highly sophisticated algorithm processes native stereo audio signals and 5.1-channel multi-channel content to produce 6.1 or 7.1 output channels. Dolby Pro Logic IIx expands the choice in playback system configuration (allowing 5.1, 6.1, or 7.1 playback channels) and, when incorporated into an A/V receiver or processor such as B & K , it allows a convenient upgrade path from a traditional 5.1-channel sound system to 7.1 output channels. The surround back channels are decoded into stereo Center width - The Center Width control allows the user to modify the amount of steering that is applied to Center signals. As steering is reduced, the Center signal originates increasingly from the Left and Right speakers, and is concurrently reduced in the Center speaker. The purpose of the Center Width control is to reduce the "hard Center channel" phenomenon that sometimes results from Center signal steering of stereo encoded soundtracks. Panorama - The function of the Panorama mode is to create a more enveloping front surround field. It is equally useful when applied to Dolby Pro Logic IIx processing. Movie or Music - Surround programs are primarily movie based. Even TV dramas are essentially mixed like movies. When programs are mixed in surround, they are monitored through the surround decoder that will be used for playback in the cinema or home. Movie mode is the reference decoder mode for any such surround-encoded program. Music, on the other hand, is commonly mixed for stereo playback, and no surround monitoring is done by the mixer. When played back through a surround decoder, the results may not always be optimal. This is because a movie-type decoder is expecting a signal that has been deliberately surround encoded. Music mode brings the benefits of a highly natural and balanced multichannel surround sound field to content that was not specifically encoded for surround playback. 7 8 AUDIO / VIDEO OVERVIEW DTS 5.1 (Digital Theater Systems) - DTS is a multi-channel digital audio compression format transmitted over optical digital or coaxial digital connections. DTS is dedicated to delivering the "Ultimate Entertainment Experience." DTS has created a media-delivery format that makes audio tracks sound more dynamic, more realistic and more closely matching the original than other digitally encoded soundtracks and consumer media. Coupled with the multi-dimensional playback benefit of surround sound technology, DTS audio quality dramatically improves and enhances content. DTS 5.1 is an ultra realistic home theater environment, it delivers discrete channel precision plus the all-enveloping realism for which DTS is renown. For more information on the various DTS formats, visit www.DTSonline.com. DTS NEO:6 - An advanced matrix decoder. It will take any two-channel source and expand it into five or six channels, depending on the user's speaker layout. Two-channel sources include VHS tapes, broadcast television, stereo CDs and DVDs. DTS Neo:6 provides separate, optimized modes for stereo music materials and matrix surround motion picture soundtracks. DTS Neo:6 also decodes a center-surround channel from Extended Surround matrix soundtracks. Music and movie filters can be applied to the NEO:6 decoder. The differences between these two filters apply primarily to the differences in the type of soundtrack being played back. DTS-ES 6.1 (Extended Surround) - The Extended Surround (ES) adds a discrete back center-surround channel to the existing 5.1-channel array. DTS-ES Discrete 6.1 is the only home format that can deliver 6.1 discrete channels. DTS-ES is fully compatible with all types of multi-channel systems. All sounds will be heard even when played back on a system with less than 6.1 speakers DTS Neo:6 Movie - Movie steers decoded material toward the center channel while preserving the integrity of the stereo mix. When listening to movies using the DTS Neo:6 movie decoder with stereo TV shows or other surround-encoded programs, there is further enhancement to soundfield directionally, which is close to the quality of discrete 6.1-channel sound. Conventional narrow band monaural surround channel is played as stereo with a more realistic feel and movement. DTS Neo:6 Music - Music steers the effects into the soundfield by utilizing the surround channels for a more spacious, 3-dimensional feeling. When listening to music using the DTS Neo:6 music decoder, stereo music recordings are able to provide a wide and deep soundfield. DTS Neo:6 music decoder allows you to tailor the Center Image to your own preference. The Center Image control allows the sound of the center channel to be placed between its own speaker and the left and right front speakers. Bass Management - Dolby Digital and DTS-ES formats may contain up to 6 full range channels plus an LFE (Low Frequency Effects) channel. Only a system with six full-range (large) speakers plus a subwoofer can directly reproduce these formats. However, almost all commercially available center channel speakers and bookshelf speakers are considered small and incapable of reproducing the lowest bass frequencies without distortion or even damage to the speaker. Many people use small speakers in the rear of their system, while others use small speakers for all channels. Some people may choose not to use a center channel or surround speakers at all. Use of a subwoofer is mandatory when using small speakers to reproduce low frequencies. In order to handle any possible combination of large, small, or missing speakers, a home theater system must contain good bass management. Your B & K preamplifier contains a complete bass management system. You can use as few as two large (full range) front left and right speakers or two small front left and right speakers. Wherever a small speaker is used, the bass management system filters low frequency information from going to that speaker ("high pass"). This bass information is re-routed to a speaker that can handle it, usually a subwoofer. If no subwoofer is present, it can send the low frequency and LFE to large front or surround speakers. The bass management crossover point can be adjusted by the user according to the types of speakers being used. Notch Filters (Parametric Equalization)- Notch filters are used to enhance the frequency response of a given room. The full range frequency spectrum in an ideal scenario is completely flat. This means that there is no variation in the decibel level between any of the frequencies as you sweep up or down the frequency range. This type of response is almost impossible to achieve. Due to the physical geometry of any given room, the sound waves will bounce off walls, doors or windows within the room. This reflection of sound AUDIO / VIDEO OVERVIEW waves is a desirable effect to a point. Different locations in the room will have waves that collide with one another. This collision can cause a superposition (addition or subtraction) of the audible wavelength. In either case, these locations are referred to as nodes. If a positive node occurs in the primary listening position, that frequency drowns out all other frequencies at that location, resulting in limited frequency response for that location in the room. A node can occur at any frequency, however nodes are much more prevalent in the lower frequency ranges (below 130Hz). In these lower frequencies, the wavelengths are physically long enough that a superposition can have a more dramatic effect than frequencies at a higher (shorter) wavelength. A notch filter provides a means by which the preamplifier can effectively `notch' out resonant frequencies to achieve a balanced frequency response for a given room. Once the frequency response has been returned to its reference level, a fuller, more dynamic audio reproduction can be heard. B & K supports three separate notch filters for the frequency range of 20 Hz to 300Hz. DVD-Audio (also referred to as MLP) - DVD-Audio (also referred to as MLPTM) - MeridianR Lossless Packing. MLPTM is a lossless compression system for high-quality linear PCM audio. For DVD-Audio MLPTM performs lossless compression of 1 to 6 channels of 14 to 24-bit material sampled at rates between 32kHz and 192kHz. With lossless compression, the decompressed signal is bit-for-bit identical to the master, just 'packed' into a lower data rate which ultimately results in a reduced size to be stored on the disc. Currently, DVD-Audio can only be delivered to your preamplifier via the analog 5.1 inputs. Sound will normally come from your front left, front right, center, left surround, and right surround speakers, as well as your subwoofer, but your processor can produce sound in one (mono) to seven channels. Dolby Pro Logic IIx is used to matrix the surround back left and surround back right channels if a seven channel configuration is used. SACD (Super Audio CD) - Is a new audio recording format aimed at providing higher fidelity audio reproduction than the compact disc. It was developed by Sony and Philips. The sound of SACD comes directly from Direct Stream Digital (DSD) recording technology. SACD disks generally contain a 2-channel stereo mix. Many also contain a 5.1 surround sound mix. DSD's simplified mechanism for recording and playback results in a frequency response over 100kHz and a dynamic range over 120dB across the audible frequency range. DSD increases the resolution of music by more closely following the original wave form of the music, which results in music reproduction that is remarkably pure and faithful to the original. For additional information concerning the technology behind SACD, visit Sony Electronics SACD. Cinema Processing - Cinema is an exclusive set of standards and technologies that can be applied to any B & K surround mode. In a typical movie theater the front left, right, and center speakers are located behind the screen. The screen tends to block high frequency information. Therefore, movie soundtracks often have boosted high frequency content to compensate for the effects of the screen. This boost can cause some soundtracks to sound overly bright in a home theater where speakers are typically not behind a screen. B & K cinema mode adjusts the front left, right, and center frequency response to compensate for the boost applied for the movie theater. High Current Amplifiers - A high-current amplifier is capable of delivering power into low impedance speakers without going into protection and/or shutting down. Ideally, an amplifier's output power would double every time the load presented at its output is halved. In a typical amplifier-speaker circuit, voltage and current are delivered to a very complex load consisting of speaker drivers, resistors, inductors, and capacitors. Voltage may be thought of as the potential to do work, and current as what actually flows to do the work. Although basic power may be calculated by the simple multiplication of voltage and current, it is the delivery of the power from the amplifier to the complex speaker load that accounts for why two amplifiers may have the same power rating into identical impedances (speaker loads), but deliver a significantly different sound quality. Some of these sound quality differences may include perceived loudness, depth, and clarity. High quality speakers can have nominal impedances from 8 - 2 Ohms. During very loud and dynamic audio passages, the speaker load may dip below 2 Ohms. These low impedance drops may cause a high voltage power amplifier with limited power storage capacity to sound harsh and distorted. A high-current amplifier operates with much less effort and typically does not have any problem with low impedance speakers. B & K amplifiers and receivers are High Current Power amplifiers. 9 10 FRONT PANEL DESCRIPTION 1. Headphone Jack - Headphones having a standard ¼" (6.3mm) stereo plug can be connected to the headphone output. 2. Source Selector - Turning the selector clockwise or counterclockwise will cycle through the available inputs. Available inputs are V1, V2, TV, DVD, CD, SAT, TAPE, FM and AM. 3. Front panel buttons - ON/STANDBY PRESET ENTER DOWN & UP MODE MENU Toggles the preamplifier in and out of standby mode, (ON or OFF). Cycles through audio presets for instant preset recall. Confirm Selection. Presets, menu options, unit status. Steps through audio options or menu selections when in the menu system. Allows AM/FM tune - (down) or tune + (up). Steps through audio modes Enters into and out of the menu system. 4. Display - The preamplifier display contains a 16 character display. It will display current status of the preamplifier and any changes being performed. 5. Main power switch - Removes all power to the preamplifier. Normal operation of the preamplifier requires the power switch to remain on. Use the ON/STANDBY button for daily on and off of the preamplifier. ON/STANDBY places the unit in standby mode that allows turning back on with the remote control. Only turn the preamplifier off with the main power switch when not using the preamplifier for an extended period of time. 6. Volume control - Turning the volume control clockwise increases the volume level, counterclockwise decreases the volume level. The volume knob is also used to change other preamplifier settings. BACK PANEL DESCRIPTION 11 1. AC fuse holder - Holds the AC Line fuse. Replace only with same type and value - .5 amp Fast Blow. Note: The voltage rating label is located on the AC fuse holder cover plate. 2. AC input receptacle - For attaching the supplied AC power cord to the preamplifier. 3. Four 10-12VDC @ 50mA Control Outputs - 1/8" (3.5mm) mono mini plug. Trigger outputs for controlling external devices, such as amplifiers, projection screens, IR emitter, etc. Page 18. 4. ZA & ZB IR Data Input - Accepts IR from an external IR source. Internally summed. 5. Main RJ-45 jack - RS-232 input/output for computer interface and RS-232 controller applications. A B & K CK1.2 keypad can also be connected to the RJ-45 jack. Page 36. 6. DVD-Audio 5.1 inputs - Connections for a DVD-Audio or other 5.1 analog source device. Page 13. 7. RCA Surround outputs - 7.1 Outputs for driving external power amplifiers or powered speakers. Page 17. 8. Zone B Output - Line outputs for supplying the second zone. Configurable fixed or variable. Page 19. 9. Balanced Surround (XLR) outputs - Connections for 7.1 speakers in the main theater zone. Page 15. 10. Balanced Source (XLR) Inputs - The CD and/or DVD inputs can accommodate a balanced input signal. 11. Antenna inputs - Connections for the AM and FM antennas. Page 21. 12. Component Video output - Component video pass through. Transcoded component video output. Page 14. 13. Component Video inputs - Three assignable component video inputs. Page 14. 14. A/V Source inputs - Seven sources can be connected using analog audio, composite video or S-Video. 15. A/V Source record outputs - Tape loop outputs will provide analog audio / video source signals for zone A or Zone B recording. Page 18. 16. Optical SPDIF Digital - Optical digital connections for connecting optical digital audio signals from the source to the preamplifier. 5 optical digital inputs, 1 digital output. Page 13. 17. Coax SPDIF Digital - Coax digital inputs are used to connect coax digital audio signals from the source to the preamplifier. 6 coax digital inputs, 2 digital outputs. Page 13. 12 QUICK START QUICK START CONSIDERATIONS Your B & K preamplifier is pre-programmed for ease of operation right out of the box. In general, there is minimal setup required to start using your new A/V preamplifier. To quickly setup and begin operating your preamplifier, follow these quick steps: 1 Start with all AC power cords unplugged from their designated AC outlet. 2 From each source device, connect the A/V cables to the appropriate A/V SOURCE INPUTS on the preamplifier's back panel. 3 Connect the audio cables from the preamplifier's OUTPUTS to the power amplifier INPUTS. 4 Connect the appropriate video cables from the preamplifier's video OUTPUTS to the video monitor's input(s). 5 Plug each AC power cord into its designated AC outlet. 6 Turn on the main power switch on the front of each unit. On the preamplifier, press the ON/STANDBY button on the front panel, or the ON button of the remote. Turn on all A/V sources. 7 Select a source with the SR10.1 remote control or front panel source control of the preamplifier. 8 For use with a component video monitor, please see Setup Inputs page 30, Component Video Assignment. The rest of this manual will describe in detail the many aspects of your new preamplifier. Some additional installation considerations should be noted as follows: · It is important that your electronic equipment has proper ventilation. Failure to ventilate your preamplifier could result in erratic operation and possible failure caused by overheating. A minimum of 3" clearance should be maintained above the preamplifier. Do not place items directly on top of the preamplifier. Do not place flammable items on, around or near the A/V equipment (Curtains, paper, etc.). · B & K supports various software programs that are able to aide in the setup process of the receiver/ preamplifier, SR10.1 remote and CK1.2 Keypad. This software is available online at B & K 's website at www.bkcomp.com or by request from B & K 's customer service. The setup software is easy to use and is intended to simplify the setup process of your new B & K products. · Configure a system diagram of all components that are to be connected into the system. The preamplifier has seven sets of inputs. Even though the back panel is labeled for specific sources, in most cases it is possible to connect any source to any input. For example, if you have a satellite receiver you can connect it to the V2 input and it will work the same way as connecting it to the SAT input. Select V2 instead of SAT. The source name that will appear on the preamplifier's front panel and on the remote or keypad can be relabeled to match the source equipment that is being used. · Determine the type of cable that is needed. Keep in mind that the quality of the cabling that is used can make a difference in the overall audio and video quality. Try to keep interconnecting cable runs as short as possible. When routing cables between equipment, be sure to keep AC cables separate from audio cables. It is a good idea to bundle like cables together to keep interference (noise) to a minimum. · Decide on what types of audio and video signals are going to be used in the system. Determine the length of the cable for each component's connection and how it should be routed. It is a good idea to label each cable with a name or number at both ends when allocating each cable. Have all the cables you need before you begin the installation because it is inconvenient to run to the store when you are excited to hear what the system will sound like. · Plan enough cable length and space to allow future access to the back panel. · For best tuner reception, make sure the antenna is several feet away from the preamplifier and any other equipment that may produce high frequency interference such as personal computers, CD players, halogen lamps, etc. · For best performance it is recommended that a dedicated AC power line or supply be used for the best audio reproduction. If the equipment is installed in a rack, be sure to insulate the equipment from the rack itself. HARDWARE CONNECTIONS 13 SOURCE CONNECTIONS Your preamplifier supports several A/V input and output formats. In most cases only one audio and one video connection is needed for each source device. Shown below are the available options: Analog audio (Stereo): left and right. Digital audio: either coaxial or optical. DVD-Audio & Super Audio CD (SACD): Analog 5.1 Composite video: coaxial (Yellow RCA). Super-Video: S-Video. Component video: Red, Green & Blue. Connect an audio / video source to the surround preamplifier. Use the diagrams that follow as a guide for each of the seven source inputs. For analog audio connections, use the left and right (white and red) RCA connections. For composite video, use the yellow RCA connections. For S-video use the S-video connections. For digital audio, use EITHER the coaxial digital connection (orange RCA) or the optical digital connection per each source. The order of audio signal precedence per each input is: Optical Digital > Coax Digital > Analog left and right. For component video, use the red, green and blue RCA component connections. See Video Monitor Connection page 14 for details on connecting a video monitor. If the second zone of the surround preamplifier or the record loop outputs are going to be used, the analog audio and composite video and/or S-video signals must be connected to the surround preamplifier. The preamplifier will neither process nor convert digital audio or component video for use in the the second zone. Source Connection Diagram Coaxial Digital Connection Optical Digital Connection OR SACD or DVD-Audio Connection DVD-Audio or SACD is a discrete 5.1 channel analog audio mode. If the source gear contains connections for DVD-Audio or SACD, use the DVD-Audio input connections on the back panel of the surround preamplifier. The DVD-Audio input can be assigned to any source input except Tape (see Setup Inputs page 29). Be sure to maintain the discrete channel connections. Each channel is labeled appropriately according to the speaker location in the room. Many times, DVD-Audio players have multiple configuration options. The preamplifier does not supply bass or delay management for the DVD-Audio/SACD input. You should adjust your player's bass and delay management to match that of the preamplifier. 14 HARDWARE CONNECTIONS VIDEO MONITOR CONNECTION There are many types of video monitors that can be used with your B & K system. Some popular video monitors are televisions, plasma screens, LCD screens and projectors. The B & K A/V processor has video and audio switching capability. The system source devices should be connected to the B & K processor for both audio and video. One set of video cables may be connected from the B&K preamplifier's component video OUT to the video monitor. The B & K video processor features video transcoding. Video transcoding allows multiple video formats to be combined onto one. Transcoding will not change the resolution of the image. Specifically composite video is transcoded to S-video (S) and component video. S-video is transcoded to composite video and component video. Component video is not transcoded. The On Screen Setup Menu is available in all three video formats. B & K recommends using the component video inputs for High Definition source signals. Component Video Monitor Connection The B & K surround preamplifier provides three sets of component video inputs and one component video output. Since there are seven A/V inputs and only three component inputs, the preamplifier must be configured for which component input to use with the selected A/V source. For example, component Input 1 is assigned to DVD, whenever DVD is selected, the component output will come from component Input 1. Composite to S or S to composite transcoding will continue to function for the DVD input. Component video is not transcoded to composite or S. If no component assignment is made to a particular input, the component output will be transcoded from the appropriate composite or S-video input. The preamplifier automatically detects the presence of composite or S-Video. No user assignment is necessary. IMPORTANT: By factory default, all component video inputs are unassigned. For use with component video sources, HDTV receivers or progressive scan DVD players, each COMPONENT VIDEO must be assigned for use with an A/V SOURCE INPUT (page 29) to operate correctly. S-Video Monitor Connection Each of the seven A/V inputs are provided with an S-video input. There is an S-video output for each zone of the surround preamplifier. Zone A output will pass through S-Video or transcode from composite video. Zone B Svideo output will provide output only from Svideo inputs - there is no transcoding for Zone B. The Line Output section provides S-video outputs for recording devices in Zone A or Zone B. S-Video record outputs provide output only from S-video inputs - there is no video transcoding for the record outputs. Composite Video Monitor Connection Each of the seven A/V inputs are provided with a composite RCA video input (yellow). There is a composite RCA video output for each of the zones of the surround preamplifier. Zone A video output will pass composite video through or transcode from S-video. Zone B composite video output will provide output only from composite video inputs - there is no transcoding of video in Zone B. The Line Output section provides composite outputs for recording devices used in Zone A or Zone B. The composite video record outputs provide output only from composite video inputs - there is no video transcoding with the record outputs. HARDWARE CONNECTIONS 15 SURROUND OUTPUT CONNECTIONS Your B & K preamplifier has two types of surround outputs: balanced (XLR) outputs and coaxial (RCA) outputs. Both types of outputs connect from the preamplifier directly to the amplifier in the system. Either type of connection can be used when connecting to the external amplifier. When connecting audio cables to the amplifier, be sure to match the labeled output channel to the position of the speaker in the room. 7.1 balanced surround outputs are provided. Each balanced connector will click when locked in place. To release, push in on the silver tab and unplug the balanced connector. Be sure to pull on the plug and not the wire. Eight coaxial (RCA) surround outputs are provided. The RCA output section on the back panel is labeled Surround Outputs. See page 17 for a connection diagram using the coaxial connections. For best acoustic results, be sure to set up the speakers using the speaker setup menu. To Setup System Speakers see page 25. 7.1 Balanced Output Connections To connect a 7.1 or 7.0 audio system using balanced cabling, see the connection diagram below. All seven surround outputs should be connected to the amplifier. The point one (.1) indicates whether or not the system will use a subwoofer. If a subwoofer is used, the Reference 50 Series2 has two subwoofer outputs, one balanced (XLR) Subwoofer out and one coaxial (RCA) Subwoofer out, either can be used for connecting a subwoofer into the audio system. If a subwoofer is going to be used, connect the subwoofer cable from the subwoofer output to the subwoofer. The diagram below illustrates using a balanced cable to connect a powered subwoofer. 16 HARDWARE CONNECTIONS 6.1 / 5.1 Balanced Output Connections For use in a 6.1 or 6.0 audio setup, refer to the diagram below. We recommend the 6th speaker be connected to the surround back left channel of the surround preamplifier. However, either the back left or back right output will operate correctly when the system is configured for use with one back speaker. The point one (.1) indicates whether or not the system will use a subwoofer. If a subwoofer is used, The Reference 50 Series2 has two subwoofer outputs, one balanced (XLR) Subwoofer out and one coaxial (RCA) Subwoofer out, either output may be used. Connect the subwoofer cable from the subwoofer output to the subwoofer. The diagram below illustrates a connection using a balanced cable to connect to the subwoofer. A 5.1 or 5.0 speaker setup will not use the 6th or 7th surround back channel(s). To use the Reference 50 Series2 in a 5.1 or 5.0 audio setup, only connect five channels using the surround speaker channels. Do not use the surround back left or surround back right for a 5.1 setup. The speaker setup menu will then used to configure the internal software for proper audio selection and operation (see page 25). Reference 50 Series 2 AC LINE ZA OUT COAX S/PDIF DIGITAL TV V2 V1 OPTICAL S/PDIF DIGITAL OUT SAT CD DVD V2 V1 ZONE A OUTPUTS ZONE B ZB/V2 A/V SOURCE OUTPUTS V1 TAPE TAPE SAT CD A/V SOURCE INPUTS DVD TV V2 V1 IN 1 COMPONENT VIDEO IN 2 IN 3 OUTPUT CONTROL OUT 1 12VDC 2 50 mA + IR INPUT ZONE A E X PA N S I O N DVD IEEE 1394 3 4 IR INPUT ZONE B AUDIO RS-232 PORT SURROUND OUTPUTS ZB OUT SAT CD DVD S IMPLY B ETTER! INPUT B&K SUB CENTER SUB CENTER Audio/Video Systems Hand-Made in the U.S.A. SURRND FRONT SURRND FRONT FRONT LEFT S BACK ZONE B SURROUND LEFT SURROUND BACK S U BW O O F E R LEFT AM www.bkcomp.com ANTENNA FM RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION SURROUND BACK RIGHT SURROUND RIGHT FRONT RIGHT CENTER RIGHT CD XLR (BALANCED) LEFT RIGHT DVD XLR (BALANCED) LEFT FUSE C AU T I O N : F O R C O N T I N U E D PROTECTION AGAINST RISK O F F I R E R E P L A C E O N LY W I T H S A M E T Y P E A N D VA LU E F U S E Reference 200.7 Series 2 CONTROL I/O CONTROL IN ALLOWS AMPLIFIER OPERATION WHEN A 5-24V SIGNAL IS APPLIED WITH A 3.5mm MINI JACK SERIAL # BALANCED SURROUND OUTPUTS RCA (UNBALANCED) BALANCED LINE INPUTS RCA (UNBALANCED) CHANNEL 1 INPUT R I N G + 1 2 V LO W P O W E R CHANNEL 2 INPUT CHANNEL 3 INPUT CHANNEL 4 INPUT CHANNEL 5 INPUT CHANNEL 6 INPUT CHANNEL 7 INPUT SLEEVE GROUND CTRL IN CTRL OUT TIP +12V CTRL ENABLE XLR (BALANCED) XLR (BALANCED) XLR (BALANCED) XLR (BALANCED) 12VDC 200mA RCA (UNBALANCED) RCA (UNBALANCED) RCA (UNBALANCED) RCA (UNBALANCED) FUSE CHANNEL 1 OUTPUT CHANNEL 2 OUTPUT CHANNEL 3 OUTPUT CHANNEL 4 OUTPUT CHANNEL 5 OUTPUT CHANNEL 6 OUTPUT CHANNEL 7 OUTPUT POSITIVE N E G AT I V E POSITIVE N E G AT I V E POSITIVE N E G AT I V E POSITIVE N E G AT I V E POSITIVE N E G AT I V E POSITIVE N E G AT I V E POSITIVE AC LINE RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION SERIAL # S IMPLY B ETTER! B&K www.bkcomp.com H i g h Pe r f o r m a n c e Audio/Video Systems H a n d - M a d e i n t h e U. S. A. POS (+) NEG (-) POS (+) NEG (-) POS (+) NEG (-) Center Front Left Front Right Listening Area POS (+) NEG (-) X Surround Back L POS (+) NEG (-) ON I SUBWOOFER I/O OUT IN POS (+) IN NEG (-) AC Line O OFF OUT Surround Right Surround Left Subwoofer Connect this channel if 6.1 or 6.0 is desired E FU E FU E FU E FU E FU E FU E FU Balanced cables C A U T I O N: F O R C O N T I N U E D P R OT E C T I O N A G A I N S T R I S K O F F I R E R E P L A C E O N LY W I T H S A M E T Y P E A N D R AT I N G. SE F SE F SE F SE F SE F SE F SE F USE FUS USE FUS USE FUS USE FUS USE FUS USE FUS USE FUS N E G AT I V E HARDWARE CONNECTIONS 17 RCA Surround Output / Subwoofer Connection The Reference 50 Series2 supplies 7.1 RCA coaxial surround outputs. These surround outputs can be used to connect an external amplifier or the subwoofer to the preamplifier. To connect seven audio channels, connect seven coaxial audio cables between the surround outputs and the amplifier inputs. Be sure to match the appropriate preamp output to the speakers location in the room, i.e. connect the center channel output to the center speaker amplifier channel. If a 5 channel audio system is desired, do not connect the surround back audio channels. If a 6 channel audio system is desired, connect the 6th channel to the surround back left channel. See page 25 for speakers setup. If a subwoofer is used, The Reference 50 Series2 has two subwoofer outputs, one balanced (XLR) Subwoofer out and one coaxial (RCA) Subwoofer out, either output can be used. Connect the subwoofer cable from the subwoofer output to the subwoofer. The diagram below illustrates seven channels plus the subwoofer connected using the coaxial RCA outputs. 18 HARDWARE CONNECTIONS PASS THROUGH / RECORD LOOP CONNECTIONS The B & K preamplifier has a few options for record/pass through outputs. There is a Zone A optical digital output, a Zone A coaxial digital output and a Zone B coaxial digital output. The B & K preamplifier provides three analog audio, composite & S-video outputs. These outputs are labeled TAPE, V1 and Z2/V2 in the Line Outputs section of the back panel. Optical Digital Output - The optical digital output will output the digital signal of the source selected in the main theater zone (Zone A). Coaxial digital inputs are converted to optical. You need only connect one or the other. Analog inputs are not converted to digital output. If you wish to record both analog and digital sources you must connect both analog and digital inputs to your recorder. Zone A and Zone B Coaxial Digital Outputs - The Zone A and Zone B coaxial digital outputs will output the digital signal of the source selected in the corresponding zone. Optical digital inputs are converted to coaxial. You need only connect one or the other. Analog inputs are not converted to coaxial digital output. If you wish to record both analog and digital sources you must connect both analog and digital to your recorder. Tape Out - The analog Tape output is a pass through / record loop output for the source that is selected in the main theater zone. To prevent possible speaker damaging feedback, tape out will not output the TAPE source input. Digital audio is not converted to analog audio on the Tape output. You must connect analog audio to the A/V inputs if you want to make analog recordings from the input device. Only LtRt mode will downmix a digital bitstream into left and right analog. Video is not transcoded on the Tape output. If you have a composite recorder you must connect composite from each A/V source you wish to record. If you have a Svideo recorder you must connect S-video from each A/V source you wish to record. V1 Out - The V1 output can be configured as an output for a second recording device in Zone A or as a Zone A line output to connect a second video monitor and/or audio amplifier. As a record output, V1 will output the analog audio and video from the selected input in Zone A except when V1 is selected. This prevents feedback through the recording device which could damage your speakers. As a line output V1 will output the analog audio and video from whatever input is selected in Zone A. LtRt mode will downmix a digital bitstream to left and right. Record/Line settings also apply to the Zone A optical and coaxial digital outputs. Similar to the Tape output, digital audio is not converted to analog on the V1 output. Video is also not transcoded on the V1 output. To configure the V1 output see page 33. ZB / V2 Out - The V2 output can be configured as an output for a second recording device in Zone B or as a Zone B line output to connect a second video monitor and/or audio amplifier. As a record output, V2 will output the analog audio and video from the selected input in Zone B except when V2 is selected. This prevents feedback through the recording device which could damage your speakers. As a line output V2 will output the analog audio and video from whatever input is selected in Zone B. Record/Line settings also apply to the Zone B optical and coaxial digital outputs. As with the Tape output, digital audio is not converted to analog on the V2 output. Nor is video transcoded on the V2 output. To configure the V2 output, see page 38. CONTROL OUTPUT CONNECTION The B & K surround preamplifier is supplied with four control outputs. These control outputs can be used for a variety of applications that require a 12 volt control or an IR output (pass through). The control outputs use a 1/8" (3.5mm) mono mini plug. Each output is 10-12VDC @ 50 mA. Control output 1 is strictly a +12VDC control trigger. Control outputs 2-4 can be set up as either +12VDC controls or as an IR pass through. To configure the control outputs, see the control setup section on page 34. COAX S/PDIF DIGITAL OPTICAL S/PDIF DIGITAL V1 OUT SAT CD DVD V2 V1 OUTPUTS ZONE A ZONE B A/V SOURCE OUTPUTS ZB/V2 V1 TAPE TAPE SAT A/V SOURCE INPUTS CD DVD TV V2 V1 COMPONENT VIDEO IN 1 IN 2 IN 3 IR Emitter Connection To connect an IR emitter to the control output, one end should be terminated into a 3.5mm mono mini plug, tip (+), sleeve (-). The IR output will pass through IR signals received by the surround preamplifier. Only industry standard 38kHz IR may be used with the IR outputs. Additional resistance may be required in series with the IR emitter, check the current rating of the emitter you are using. ZA OUT TV V2 OUTPUT SUB ZB OUT SAT CD DVD IR INPUT ZONE A RS-232 PORT CENTER SUB CENTER SURROUND OUTPUTS Audio/Video Systems Hand-Made in the U.S.A. CONTROL OUT 1 12VDC 2 50 mA DVD IEEE 1394 3 4 IR INPUT ZONE B AUDIO INPUT + SURRND FRONT SURRND FRONT S BACK ZONE B AM ANTENNA FM L PLAY 8:33 HARDWARE CONNECTIONS 19 +12VDC Control Connection If the +12VDC trigger is going to be used, it should be connected as shown right. An external amplifier is being used for this example, however the external device could be any device that employs a control trigger circuit. The plug must be wired as tip (+) and the sleeve (-). The diagram at right shows a B & K amplifier controlled with the +12Volt control. ZONE B CONNECTIONS Your B & K preamplifier is capable of controlling a second independent analog audio and composite video or S-video zone. This second zone could encompass a small room or large area depending on how much amplification is supplied. The second zone is strictly analog audio, composite video and/or S-Video. There is no transcoding for Zone B. The composite video and analog (stereo) audio must be connected to the preamplifier in order to be seen and heard in the second zone. Control for the second zone can be accomplished by using a remote control or by connecting a CK1.2 Keypad. See page 21 for keypad connection description. The audio and video output signals are connected from the Zone B outputs on the back panel of the preamplifier to a Zone B video monitor and a Zone B amplifier. Zone B Audio Amplification To connect an amplifier for second zone (Zone B) audio, connect RCA type audio cables between the Zone B left and right output to the second zone amplifier. The Zone B audio output can be configured fixed or variable. Connect the second zone video cable to the Zone B composite or S-video output. The second zone has the ability to link power and/or source input to the main theater zone. From the factory, the second zone is configured as a separate, independent audio and video zone. To configure the Zone 2 audio settings, see page 38. The diagram on page 20 illustrates how a Zone B amplifier should be connected to the Reference 50 Series2. Zone B Video Connection To connect a video monitor for second zone (Zone B) video, connect RCA type or S-video type video cable between the Zone B composite or S-Video output to the second zone video monitor. The Zone B video output will not display the On Screen Menu. Zone B video is not transcoded. The diagram on page 20 illustrates how a Zone B Video monitor should be connected to the Reference 50 Series2. 20 HARDWARE CONNECTIONS REFERENCE 50 Series2 ZONE B CONNECTION DIAGRAM HARDWARE CONNECTIONS 21 KEYPAD CONNECTION DESCRIPTION To connect a CK1.2 Keypad to the Reference 50 Series2, run a straight through Category 5 (CAT5) cable from the keypad location to the RS-232 jack on the preamplifier back panel. Terminate both ends of the CAT5 cable into RJ-45 using the T568B standard. Plug one RJ45 end into the main RJ-45 jack on the back panel of the preamplifier. Plug the other end into the RJ-45 jack labeled Master IN on the back of the keypad. The main RJ-45 jack on the preamplifier will supply connections for +12VDC power @ 200mA, IR data and +12V control @ 50mA. See page 36 for the main RJ45 pin out description. A keypad can be configured to control connected sources with IR by setting the control outputs to REMOTE. See the control output configuration page 34. A CK1.2 keypad can be programmed to control either the main theater zone, Zone B or both. Theater Zone status can be displayed on the keypad by pressing the backlight button. ZONE A & ZONE B IR INPUTS Two IR inputs are located on the back panel of the preamplifier. They are labeled IR IN, Zone A & Zone B. The IR inputs use a 3.5mm mono mini jack. Internally, both the Zone A and Zone B IR signals are summed before they are sent to the processor. Your processor can be controlled by a directly connected IR repeater system in combination with or in place of the supplied remote control. Connect the IR input cable to the processor using a mono 3.5 mm plug. The plug must be wired as tip (+) and the sleeve (-). The inputs are standard 38kHz modulated IR type with a voltage range of +5 to +12 VDC. AM / FM ANTENNA CONNECTION The B & K preamplifier contains one internal AM/FM tuner. To connect the AM antenna, use the AM antenna connection block and the AM antenna supplied. The AM is a push type. Strip ¼ inch of insulation off your AM antenna wires and insert one wire end into each hole while holding the tabs down. Release the tabs to lock in the AM antenna wires. The FM jack is a standard screw on F-type connector. To connect the FM antenna use the dipole antenna supplied. 22 MENU SYSTEM SETUP SETTING UP THE SYSTEM The setup of the preamplifier will require navigation through the menu system. T he system menu will display on the front panel as well as an On-Screen Menu format. The OSD menu is available on all three video format types. B & K recommends that a video monitor, connected to a Zone A video output, be used in conjunction with the SR10.1 remote to setup the system using the OSD menu. It is possible to set up your preamplifier directly from the front panel. The descriptions below are general instructions for using and navigating the menu system. A complete navigational menu system flow chart is located on page 58. B & K supports setup software (BKcSuite) that can be used to assist in the setup of the preamplifier. BKcSuite setup software is available on our website at www.bkcomp.com. BKcSuite provides a fast and easy way to configure the system parameters of the preamplifier using a personal computer or laptop equipped with a serial port. You can save the configuration files for later use or as a backup. Directions for installing the BKcSuite are available on page 54 or on our website. BKcSuite is compatible with any B & K audio processor and can be used in conjunction with the SR10.1 Remote or CK1.2 Keypad programming software. THE MENU SYSTEM MENU Button - Pressing the MENU button either on the remote or on the front panel will activate the menu system. Once you are in the menu system, the MENU button will step back to the next higher-level menu or, if you are already at the highest level, it will exit from the menu system. EXIT (remote only) - From the remote control you may instantly exit the menu system by pressing the EXIT button. From the front panel press Menu repeatedly until you leave the menu system UP/DOWN ARROWS - Once you are in the menu system, use the UP/DOWN ARROWS to move to the desired menu selection. With the supplied SR10.1 remote, rocking the thumb pad forward and backwards act as the up and down arrows.The current active menu line is highlighted in a contrasting color in the On-screen display and also shown on the front panel display. SELECT / ENTER - Some menu selections select another menu level to be activated. Use the UP/DOWN ARROWS to move to the desired menu line. Pressing SEL or ENTER will activate the next menu. With the supplied SR10.1 remote, pressing on the center of the thumb pad also acts as the ENTER key. NUMERIC KEY DIRECT ENTRY (remote only) - From the remote control you may also go directly to a menu line by typing the corresponding line number. If there is another menu level below that line it will be activated immediately (no ENTER required). LEFT / RIGHT ARROWS (remote) or Volume Knob (front panel) - To change menu parameters, press the LEFT or RIGHT arrows to change the setting. There are no LEFT or RIGHT arrows on the front panel. The volume knob acts as the LEFT or RIGHT arrows. With the supplied SR10.1 remote, rocking the thumb pad left and right act as the left and right arrows. TEXT EDITING - Some menu selections will allow you to edit text. Use the UP/DOWN ARROWS to change the current (blinking) character. Use the LEFT/RIGHT ARROWS (or VOLUME KNOB) to move to another character position. Additionally, while in the edit text mode, a successive press of a numeric key allows direct recall of the alphanumeric character map. It will allow a step through selecting between numbers, letters and/or symbols. The selection options for each of the numeric keys are as follows: 0 1 2 3 = = = = [-, +, /, ?, space, 0] [A, B, C, a, b, c, 1] [D, E, F, d, e, f, 2] [G, H, I, g, h, i, 3] 4 5 6 7 = = = = [J, K, L, j, k, l, 4] [M, N, O, m, n, o, 5] [P, Q, R, p, q, r, 6] [S, T, U, s, t, u, 7] 8 = [V, W, X, v, w, x, 8] 9 = [Y, Z, y, z, 9] MENU SYSTEM SETUP 23 MAIN MENU SELECTIONS The main menu descriptions are accompanied by the On Screen Menu layout below. In some cases, the front panel will display a slightly abbreviated version of what the On Screen Menu shows due to character space limitations. The On Screen Menu is accessible from the component video output, the Zone A S-video output and the Zone A composite video output. B & K recommends using the On Screen Menu for adjusting unit parameters. The On Screen Menu is not available in Zone B. On Screen Menu Format MAIN MENU 1 2 3 4 System Setup Unit Information Z1eration ion T-eater ter Op O p e r a t - h T h a Z2 Operation - 2nd Zone next item ENT select MENU exit menu system Front Panel Menu Format 1 System Setup - System setup should be used when initially setting up the preamplifier, or if system parameters need to be adjusted. Page 24. 2 Unit Information - Contains information about the unit make, model, serial number, software version, BKC-DIP version, phase locked loop chip version. This information may be needed when contacting customer service. Page 32. 3 Z1 Operation-Theater - Allows viewing and changing the entire state of Zone A. See Unit Operation page 41. 4 Z2 Operation-2nd Zone - Allows viewing and changing the entire state of Zone B. See Unit Operation page 41. 24 MENU SYSTEM SETUP SYSTEM SETUP 1 2 3 4 5 6 7 S Y S T EM S E T UP Speakers Inputs Presets Displays Music Modes Memory Backup/Restore Advanced next item ENT select MENU main menu 1. Setup Speakers This menu configures the preamplifier for the number of speakers, speaker size, and location of the speakers in the room. It also contains room equalization options that can optimize the sound for a particular room. The overall sound quality of your system will depend upon how the parameters of this menu are setup. It is very important that the speaker setup is performed when the preamplifier is initially installed or if any speakers are moved or changed. Page 25. 2. Setup Inputs This menu configures the preamplifier for the audio/video source devices that are connected to the system. This setup should be performed when the system is initially installed and whenever source components are added or removed. Setup inputs also describes the various audio modes and how each input is configured when it is selected. See page 29. 3. Setup Presets This menu configures the preamplifier for how the presets will operate and be recalled. Presets allow virtual "snapshots" of the current settings to be saved. The presets can then be recalled at a later time. See page 30. 4. Setup Displays This configures the preamplifier for preferences relating to the front panel and on-screen displays. To setup the display menu, see Page 31. 5. Music Modes This menu configures the preamplifier for user preferred settings pertaining to the surround decoders. The preamplifier includes Dolby Pro Logic IIx and DTS NEO:6 processing which expands 2 channel stereo information into 6 or7 channels. To setup music modes see Page 31. 6. Memory Backup/Restore This menu allows a backup to be made of all system settings for restore at a later date. Once the setup of your preamplifier is complete it is recommended that you perform a memory backup. In case that an undesired change is made, the memory restore will allow you to restore your original settings. See Page 31. MENU SYSTEM SETUP 25 SETUP SPEAKERS 1. Speaker Size The speaker setup menu defines how many speakers are installed in the system, the relative size of the speakers, and their location in the room. This is the most important setup procedure that will be performed. The preamplifier comes from the factory setup for 7 small speakers and a subwoofer. If this does not match your speakers then audio information may be lost. 1 2 3 4 5 6 SETUP SPEAKERS Speaker Size Speaker Location Speaker Levels Crossover + LFE Room Equalization Room Resonance next item ENT select Speaker size refers to the frequency range the speaker(s) can handle. MENU main menu Audio material, particularly Dolby Digital and DTS movies, often contain large amounts of bass. If this bass information is sent to small speakers that are incapable of reproducing bass, then this information will be lost or distorted. TOO MUCH BASS MAY DAMAGE MANY SMALL SPEAKERS. By configuring the preamplifier for the correct type of speakers, it will appropriately route the bass information to the speakers that can reproduce it correctly. Typically, all bookshelf or satellite speakers are considered small. Smaller floor standing speakers with single woofers 8" or less should also be considered small. Floor standing speakers with 10" or larger woofers, or multiple smaller woofers may be considered large. These are general guidelines only - if you are unsure consult your speaker manufacturer or dealer. If there are all small speakers we strongly recommend the use of a subwoofer. If the speakers are large then the system may not require a subwoofer, but better results may be obtained with the use of a subwoofer, especially with Dolby Digital and DTS movies. Even if the speakers are capable of reproducing deep bass, better overall bass response may be obtained by setting these speakers to small. This allows bass to be reproduced from a single point (the subwoofer) and avoids the possibility of phase cancellation which can occur when bass is reproduced from multiple speakers. Front Speakers - There must be at lease 2 front speakers in order to use your preamplifier. Set them to small or large based on the guidelines above. Center Speaker - It is not necessary to have a center speaker. Set it to small or large based on the guidelines above. Or, if there is no center speaker, set it to none. The center information will be reproduced in the front left and right speakers. No audio information is lost however the sense of voices coming from the screen may be lost. 1 2 3 4 5 SETUP SPEAKER SIZE Front Large Center Small Surround Small Surround Back 2 Small Subwoofer Yes Surround Speakers - It is not necessary to have surround speakers. Set them to small or large based on the guidelines above. Or, next item adjust if there are no surround speakers, set them to none. The surround inforMENU setup speakers mation will be reproduced in the front left and right speakers. No information is lost but the sense of spaciousness provided by discrete 5.1 channel soundtracks or 2 channel tracks enhanced by Dolby Pro Logic IIx or DTS NEO:6 may be lost. Back Speakers - It is not necessary to have back speakers, however back speakers cannot be used unless the surrounds are used. If surround speakers are set to none, no options will appear for back speakers. There is the option to use 1 or 2 back speakers in either large or small varieties. If set to none, the back information will be reproduced in the surround speakers and although no information is lost, the sense of sounds coming from directly behind you may be lost. Subwoofer - There are three choices for subwoofer. If set to none, all bass information, including LFE (.1 channel) will be routed to any large speakers in the setup above. If there are no large speakers and no sub, the bass information will be lost. The most common setting for subwoofer is Yes. The LFE channel and bass information from any small speakers is reproduced in the sub. Bass information from large speakers is reproduced only in the large speakers - it is not sent to the sub. B & K provides a third setting called Ultra. Ultra is identical to Yes as far as LFE and small speakers, but bass from large speakers is reproduced in the large speakers AND the sub therefore allowing bass to be reproduced from multiple locations in the room. The ultra setting also allows bass to be sent to the subwoofer when listening in Direct mode. 26 MENU SYSTEM SETUP 2. Setup Speaker Location Ideally the speakers should be positioned at an equal distance from the listening position. However, physical limitations usually require placing the speakers in other than optimum locations. The surround processor contains a means to electronically move each speaker's location. This allows for superior reproduction of the directional cues available during movie or music playback. Measure the distance in feet from your listening position to each speaker. Enter this information into the menu. The units can be changed to meters if preferred. SPEAKER LOCATION feet Left Center Right Front 10.0 10.0 10.0 Surround 10.0 10.0 Back 10.0 10.0 Subwoofer 10.0 next item adjust MENU setup speakers 3. Setup Speaker Levels Speaker level calibration will generate pink noise to allow the equalization of the volume levels of each speaker to make up for differences in speaker characteristics and distances from the listener to the speakers. Best results will be achieved using a Sound Pressure Level (SPL) meter. Set it to C Weighting and Slow Response. Place the meter at your listening position and adjust each speaker for an equal response. (SPL of 75dB recommended). If you don't have an SPL meter, adjust the levels by ear. Step through each speaker and adjust for approximately equal volume levels. SETUP SPEAKER LEVELS dB Left Center Right Front 0.0 0.0 0.0 Surround 0.0 0.0 Back 0.0 0.0 Subwoofer 0.0 next item adjust MENU setup speakers 4. Setup Crossover + LFE High / Low pass crossover frequency - This sets the frequency at which bass tones are filtered from the small speaker channels and sent to the subwoofer. Set this according to the capabilities of the speakers. For very small bookshelf speakers the frequency may need to be raised to 100 or even 150 Hz. For speakers with larger woofers, the crossover frequency can then be lowered so only the lowest tones are sent to the subwoofer. 1 2 3 4 SETUP CROSSOVER + LFE Crossover Freq 80.0 High Pass Slope 12.0 Low Pass Slope 24.0 LFE Level 0.0 Hz dB dB dB High / Low pass slope - A crossover doesn't simply send all content MENU setup speakers above 81 Hz to the main speakers and all content below 79 Hz to the sub. Instead there is a gradual transition. The crossover point is the frequency at which the amount of information in the subwoofer and main speaker(s) is equal. The crossover slope determines how gradual or abrupt this transition occurs (6, 12 or 24dB). More gradual slopes generally result in a smoother transition from main speakers to subwoofer. However, gradual transitions can cause distortion in small main speakers because too much bass is sent to them. Gradual transitions with higher crossover settings can also cause the perceived location of a sound to move from the correct main speaker location. Normally, you will want to use identical slopes for high pass and low pass. However, many small speakers include a 12dB high pass slope in the speaker itself. If this is the case, you will want to choose a 24dB low pass slope and 12dB high pass slope so that the end result is 24dB in both the subwoofer and main speakers. The crossover frequency should be set to match that built into the speakers (typically 80Hz). The low pass slope can be set to EXTERNAL, 6, 12, or 24dB. The EXTERNAL setting will send full range to the subwoofer output allowing an external crossover to handle the low pass slope. If the subwoofer has an off or bypass selection for it's internal crossover, we recommend setting it to off and using the preamplifier's crossover. If the subwoofer's crossover cannot be bypassed, but can be set to a high frequency, then the preamplifier's crossover can be used. If the subwoofer's crossover can't be defeated or raised to a high frequency we recommend that you set the preamplifier's low pass slope to external and adjust the preamplifier's crossover frequency to match that of the subwoofer. next item adjust MENU SYSTEM SETUP LFE (0.1) channel level - Usually this will be set to 0.0 dB (default). However, if there is no subwoofer you may wish to reduce the Low Frequency Effects (LFE) channel to lessen its contribution to the bass going to the remaining large speakers. Or, even with a subwoofer, you may just wish to reduce the overall LFE level, especially in a smaller situation such as an apartment. Note that this effects only the separate LFE (.1) channel available on Dolby Digital and DTS material it has no effect on the reproduction of normal bass from the front, center, or surround channels. 27 5. Setup Room Equalization Sometimes it may be desirable to boost or reduce the levels above or SETUP ROOM EQUALIZATION Low High below a certain frequency. This might be used to make up for small 100.0 Hz 10.0kHz deficiencies in the listening room or speakers. The equalization can Frequency 0.0 dB +1.0dB be applied only to certain speakers. This might be used to obtain a Gain Front Off On more consistent timbre between unmatched speakers. For example, Center Off Off if only the front speakers need to have frequencies above 10kHz Surround Off Off boosted 1dB, then room equalization setup menu will be adjusted as Back Off Off shown right. Subwoofer Off In some home theaters the center speaker is installed behind a next item adjust projection screen. The screen will tend to cut the high frequencies. MENU setup speakers Applying a high boost only to the center channel can compensate for the losses introduced by the screen. Or possibly center and front left/right speakers are behind the screen. A high boost can be applied to all three of these speakers with no effect on the surround or back speakers. Shelving equalization helps to adjust level and frequency to aid in adjusting your room for a flat frequency response. Room Equalization parameters are applied globally regardless of the selected user EQ (The Variable EQ, the Loudness EQ, or the Vocal EQ). The graphs on the next page help describe how shelving equalization can affect the frequency response for a room. Room equalization is applied in all listening modes except DVD-Audio, Direct, and LtRt. 6. Room Resonance (Notch Filters) No speaker has perfectly flat frequency response. These deviations in frequency response contribute to each speaker's characteristic sound. This is why one speaker might be preferred over another. When a speaker is put into a room with walls, floor and a ceiling, reflected sounds can cancel or reinforce one another which further alters the frequency response. SETUP ROOM RESONANCE Test Tone 100.0 Hz 30.0 dB Notch 1 150.0 Hz 0.0 dB Notch 1 Width 146.4-153.6 Hz Notch 2 100.0 Hz 0.0 dB Notch 2 Width 146.4-153.6 Hz Notch 3 50.0 Hz 0.0 dB Notch 3 Width 146.3-153.6 Hz Subwoofer Phase Invert next item adjust MENU setup speakers At higher frequencies, hundreds of small peaks and dips can be measured in the frequency response. Attempts to remove all these small deviations would result in colorations to the sound that may not be desirable. The characteristic sound that made the particular speaker(s) attractive could be completely lost. Even if the hundreds of small peaks and dips would be adjusted, it would only be correct for a single position in the room. Moving your head just a few inches would require a completely different set of corrections. At low frequencies, the picture is different. There are fewer peaks and dips, but they are much more dramatic. The peaks and dips persist over a much larger portion of the listening area. Dips can't be corrected electronically. Putting out more power at the dip frequency won't help. If the original and reflected waves cancel each other, they will cancel at 1 watt or 1000 watts. If you have major dips in the frequency response you can try repositioning your speakers, particularly the subwoofer. Fortunately, dips in the bass response are typically not that noticeable. When an instrument plays that particular frequency, the bass is lost, but the higher harmonics of the instruments tone are still there. To some degree, your ear and brain will fill in the missing information. Continued on next page... 28 MENU SYSTEM SETUP The situation is different for large low-frequency peaks. These peaks are what tend to shake the knick-knacks off the shelves and result in an overall tubby sound to the bass. Fortunately, this CAN be remedied electronically...and without drastically altering the characteristic sound of your speakers. Typically a room will have 3 large peaks due to the distance between the front/back walls, left/right walls, and the floor/ceiling. B & K provides 3 notch filters to address each of these peaks. A test tone generator is provided to assist in the process of identifying the resonant peaks. The test tone generator will generate an adjustable frequency tone between 20-300Hz. The test tone generator can generate the test tone at -42dB, -36dB and -30dB. The -30dB setting matches the levels you set up in the speaker level menu assuming 75dB speaker calibration. Normally you would use this setting. Two lower level settings are provided if you wish to perform these tests at lower volumes. Initially, all filters are set to 0dB from the factory. Turn on the test tone generator at -30dB. Sweep the frequency range to locate the 3 highest peaks. Using an SPL meter, note the frequency and the level of these peaks. Also note the frequencies above and below the peak where the level is 3dB less than the peak. Adjust notch 1 frequency to the frequency of the first peak. Adjust the notch level to the difference between the peak level and the 75dB reference Room Response Example level. Adjust the notch width to the setting nearest those where the peak or peaks is 3dB lower. Repeat for notches 2 and 3. This Room Response Example illustrates the frequency spectrum and how notch filters and shelf equalization can be effective. Note the "problem" spikes in the room response curve in the diagram at right. By applying the notch filters and the shelving equalization, a flatter room response can be obtained. Once the notch filters are adjusted, they are applied to all inputs in all music modes. Notch Width - Some resonating frequencies span a greater width in the frequency spectrum than others. Each notch width can be adjusted between 4.8 - 33.4Hz depending on how wide or narrow each spike is. Subwoofer Inversion - The subwoofer phase can be inverted 180 degrees. Set the test tone to the crossover frequency and adjust for the loudest sound. MENU SYSTEM SETUP 29 SETUP INPUTS This menu allows you to tell your preamplifier how you would like each input to operate. You may repeat the following steps for each input by changing inputs on the top line of the menu or with the supplied remote control. 1. Default Audio Modes - There are two major categories of audio, 2-channel and 5.1 multi-channel. Two channel audio might come from an analog VCR, a PCM CD or a Dolby Digital 2.0 DVD. The first three selections in this menu for Default Mode, Default Speakers and 2-chan Decoder apply only to 2-channel audio. The Default Mode defines the listening mode the preamplifier will select when the input is first chosen. This default audio mode defines how you usually prefer to listen to a particular input. Do I usually listen to my satellite preamplifier with some sort of surround processing (Pro Logic IIx or NEO:6)? Do I like my CDs in pure stereo mode? Here is where you can set this up. The audio mode can be manually changed to a different listening mode for a particular movie or CD, but the preamplifier will always remember your favorite (default) mode that is set here. There are five audio modes in total; Mono, Stereo, Surround, Cinema or DVDAudio. Each audio mode can be configured for each input for the number of speakers and 2-channel decoder used. See page 45 for a description of how to use each audio mode. 2. Default speaker Selections - A speaker selection setting can be made for each audio mode. Do I like 2 channel material played back in 1 a five speaker configuration, or expanded to include the surround back 2 speakers? Do I like stereo in pure 2-channel or spread out to the center 3 4 and/or surround speakers? Set mono to 1, stereo to 2, surround to 7 5 and the system will remember each setting independently per each input. The default speaker selection will be chosen each time the input 6 7 is selected. The speaker selection can be manually changed to a 8 different speaker selection for a particular movie or CD at any time. The preamplifier will always remember the favorite selections that are set here. See page 47 for a detailed description of speaker selections. SETUP DVD INPUT Default Mode Surround Default Speakers 6 2-chan decoder DPLIIx Movie Multi-chan type Surr Movie Level +2.5 dB Name DVD Component Video 1 DVD Audio Input Yes next item adjust MENU setup system If a speaker selection is chosen that is not possible based on the information you entered in the Speaker Setup Menu, the preamplifier will automatically correct for this with no loss of audio information. 3. 2-Channel Matrix Decoders - Your preamplifier includes the latest 2-channel surround decoders from Dolby and DTS. Do you usually like your CDs in DTS NEO:6 Music?; Your 2-channel DVDs in Dolby Pro Logic IIx Movie? You can choose your favorite (default) decoder here for each input. If you don't like that mode for some particular CD, you can manually change to a different mode using the SR10.1 remote supplied. The preamplifier will always remember your favorite settings for each input. 4. Multi-Channel Filter Types - When the preamplifier detects multi-channel Dolby Digital or DTS material it will automatically choose to use all of the available speakers in the system. (It is important to configure the preamplifier for how many speakers there are in the speaker setup menus). There are some choices for multi-channel audio. Do I like my DTS CDs in Surround Music? Do I like my 5.1 movies in Surround Movie? The preference can be set here. The multi-channel listening mode can be manually changed for a particular movie or CD. The preamplifier will always remember the favorite multichannel mode that is set here. See page 8 for descriptions of multi-channel modes. 5. Level - Each input gain can be adjusted +/- 6dB. Occasionally certain source devices, particularly analog sources, will have higher or lower than normal output levels. This setting allows the level to be adjusted so that there are no drastic volume changes when you switch inputs. Try a few different discs or channels before adjusting the level. It might be that a particular station has high or low output level rather than the entire satellite receiver.