JBL SP MK II Surround Processor User's Manual Quick-Start ADVANCED OPERATIONS Press AMBIENCE UP to add more volume to Ambient Speakers. Press AMBIENT DOWN to have less. Press REF to return to pre-set levels Press SOUND STAGE to increase Stereo Separation. Press DOWN to decrease Separation. Press CENTER to return to pre-set levels Press SIBILANCE if dialogue is too loud from Ambient Speakers + Master Volume Ambience Ref. Sound Stage - Press CENTER ON to turn on Center Speaker. Press CENTER BOOST to increase volume from Center Speaker Press MUTE to cut off sound Press HI FREQ EQ if sound appears too bright Center Sib Fil Center On Mute Press DELAY UP to increase Ambient Spaciousness. Press DELAY DOWN to decrease Press BYPASS to turn off Center and Ambient Speakers Delay Bypass Center Boost Hall 1 Hi Freq EQ Hall 2 Rock Pop Jazz Music Surround MODES 70 mm Movie S-VID-1 35 mm Movie S-VID-2 THX Mono Enhance VCR VDP CD Aux Power Cinema Surround MODES: 70mm, 35mm, THX, Dolby Press MONO ENHANCE to add simulated stereo to Monaural Sources SYNTHESIS JBL Consumer Products, Incorporated 240 Crossways Park West Woodbury, NY 11797 8500 Balboa Boulevard Northridge, CA 91329 800-645-7484 A Harman International Company Part #: OMSPMKII M8/93 T H E S I S ® SYNTHESIS SURROUND PROCESSOR Model SP MK II THX ® Controller-- A/V Surround Processor S Y N USER'S MANUAL TABLE OF CONTENTS FOR PEOPLE WHO DON'T READ INSTRUCTION MANUALS ............................................................. 1 A STEP BY STEP "QUICK GUIDE" ....................................................................................................... 2 MOTION PICTURE SOUND: A BRIEF HISTORY ................................................................................... 3 THE GOAL OF LUCASFILM HOME THX® CINEMA .............................................................................. 4 PLANNING AND INSTALLATION GUIDE ............................................................................................. 5 SP MK II OVERVIEW ................................................................................................................ 6 SP MK II OPERATING PARAMETERS ...................................................................................... 7 LUCASFILM HOME THX CINEMA ........................................................................................... 9 PLANNING YOUR HOME SURROUND AUDIO SYSTEM ................................................................... 11 ELECTRONICS PLACEMENT & VIDEO REQUIREMENTS ..................................................... 12 MAIN SPEAKER PLACEMENT ............................................................................................... 13 SUBWOOFER PLACEMENT .................................................................................................. 14 SURROUND SPEAKER PLACEMENT .................................................................................... 15 INSTALLING YOUR SP MK II .............................................................................................................. 16 SP MK II FRONT PANEL DISPLAY ......................................................................................... 17 SETUP & CALIBRATION ..................................................................................................................... 18 SP MK II USER FEATURES ................................................................................................................. 22 FINE TUNING YOUR AUDIO SYSTEM ................................................................................................ 24 SUGGESTED DEMONSTRATION TITLES (MOVIES AND STEREO RECORDINGS) .......................... 33 TROUBLESHOOTING ......................................................................................................................... 34 SERVICE AND LIMITED WARRANTY ................................................................................................. 35 SP MK II SPECIFICATIONS ................................................................................................................. 36 TRADEMARK AND LICENSING INFORMATION ................................................................................ 36 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONAL. The lighting flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit.. WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE. CAUTION: TO PREVENT ELECTRIC SHOCK, DO NOT USE THIS (POLARIZED) PLUG WITH AN EXTENSION CORD RECEPTACLE OR OTHER OUTLET UNLESS THE BLADES CAN BE FULLY INSERTED TO PREVENT BLADE EXPOSURE. ATTENTION: POUR PREVENIR LES CHOCS ELECTRIQUES NE PAS UTILISER AVEC UN PROLONGATEUR. UNE PRISE DE COURANT OUUNE AUTRE SORTIE DE COURANT SAUF SI LES LAMES PEUVENT ETRE INSEREES A FOND SANS EN LAISSER AUCUNE PARTIE A DECOUVERT. This digital apparatus does not exceed the Class B limits for radio noise emissions form digital apparatus as set out in the Radio Interference Regulations of the Canadian Department of Communications. Le présent appareil numérique n'émet pas de Bruits Radioélectriques Déspassant les limites applicable aux appareiles numériques de Classe B prescites dans le règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada. IMPORTANT SAFEGUARDS FOR AUDIO PRODUCTS PLEASE READ CAREFULLY ALL THE FOLLOWING IMPORTANT SAFEGUARDS THAT ARE APPLICABLE TO YOUR EQUIPMENT 1. 2. 3. 4. 5. Read instructions - All the safety and operating instructions should be read before the product is operated. Retain instructions - The safety and operating instructions should be retained for future reference. Heed Warnings - All warnings on the product and in the operating instructions should be adhered to. Follow Instructions - All operating and use instructions should be followed. Water and Moisture - The product should not be used near water - for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, and the like. Carts and Stands - The product should be used only if a cart or stand is recommended by the manufacturer. A product and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the product and cart combination to overturn. Wall or Ceiling Mounting - The product should be mounted on a wall or ceiling only when and as recommended by the manufacturer. Ventilation - The product should be situated so that its location or position does not interfere with its proper ventilation. For example, the product should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings. Heat - The product should be situated away from heat sources such as radiators, heat registers, stoves, or other products that produce heat. If placed near an amplifier, check with the manufacturer for applicability. Power Sources - The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. Grounding or Polarization - Precautions should be taken so that the grounding or polarization means of an product is not defeated. Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the product. Cleaning - The product should be cleaned only as recommended by the manufacturer. Power Lines - An outdoor antenna should be located away from power lines. Nonuse Periods - the power cord of the product should be unplugged from the outlet when left unused for a long period of time. Object and Liquid Entry - Care should be taken so that the objects do not fall and liquids are not spilled into the enclosure through the openings 6. 6a. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. i FIGURE-1 EXAMPLE OF ANTENNA GROUNDING AS PER NATIONAL ELECTRICAL CODE ANTENNA LEAD IN WIRE ANTENNA DISCHARGE UNIT (NEC SECTION 810-20) GROUNDING CONDUCTORS (NEC SECTION 810-21) GROUND CLAMPS POWER SERVICE GROUNDING ELECTRODE SYSTEM (NEC ART 250, PART H) 17. Outdoor Antenna Grounding ­ If an outside antenna is connected to the receiver, be sure the antenna system is grounded so as to provide some protection against voltage surges and built-up static charges. Article 810 of the National Electrical Code, ANSI/NFPA 70, provides information with regard to proper grounding of the mast and supporting structure, grounding of the lead-in wire to an antenna-discharge unit, size of grounding conductors, location of antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode. See Figure 1. Damage Requiring Service - The product should be serviced by a qualified service personnel when: a. The power-supply or the plug has been damaged; or b. Objects have fallen, or liquid has been spilled into the product; or c. The product has been exposed to rain; or d. The product does not appear to operate normally or exhibits a marked change in performance; or e. The product has been dropped, or the enclosure damaged. Servicing - The user should not attempt to service the product beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel. 18. 19. Note to CATV system installer: This reminder is provided to call the CATV system installer's attention to Article 820-22 of the NEC that provides guidelines for proper grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of cable entry as practical. ii JBL SP MK II A/V SURROUND PROCESSOR THX® CONTROLLER FOR PEOPLE WHO DON'T READ MANUALS Please read this one. The time you invest will be worth it. If you feel you absolutely do not have time to read it just now, here is a short list of key information you will need in order to get the most from your SP MK II. Reviewing these points will take only a few minutes. · PLANNING AND INSTALLATION GUIDES: An introduction and overview of surround sound, Home THX Audio, and the SP MK II · Installing your SP MK II · Calibrating and using your SP MK II · Fine Tuning your system The time you can save by having this information at your fingertips will more than pay for itself. IF YOU DON'T HAVE TIME TO READ THIS MANUAL, A STEP-BY-STEP QUICK INSTALLATION GUIDE IS PROVIDED ON THE NEXT PAGE. IN ORDER TO ACHIEVE OPTIMUM SYSTEM PERFORMANCE, IT IS STILL ESSENTIAL THAT YOU READ AND UNDERSTAND THE MATERIALS PRESENTED IN THIS MANUAL. THE LUCASFILM THX DEMONSTRATION VIDEODISC "WOW!" IS REFERRED TO IN THIS MANUAL. WE SUGGEST THAT YOU READ THE INFORMATION PROVIDED ELSEWHERE IN THIS MANUAL DESCRIBING THE MATERIALS PROVIDED ON "WOW!". Always Use 120V AC This unit is designed for operation with 120V AC unless specifically noted on the shipping container or AC power cord. Never connect the unit to an outlet supplying a higher voltage. This may create a fire hazard. Place of Installation Place the unit on a firm and level surface. Avoid installing your unit under the following conditions: · Moist or humid places. · Places exposed to direct sunlight or close to heating equipment. · Extremely cold locations. · Places subject to excessive vibration or dust. · Poorly ventilated places. Do not obstruct the ventilation slots on the top surface of the unit by placing objects over them. Otherwise, the temperature inside the unit may rise, possibly affecting its long term reliability. performance degradation resulting from any modification. If water, a hairpin, wire, or other object enters the unit, immediately extract the plug from the AC outlet to prevent shock and consult your dealer or JBL Synthesis service department. If you use the unit under this condition, it may cause a fire or shock hazard. Handle the AC Power Cord Gently · Do not disconnect the plug from the AC outlet by pulling the cord; always pull the plug itself. Pulling the cord may damage it.. · If you do not intend to use your unit for any considerable length of time, disconnect the plug from the AC outlet. · Do not place furniture or other heavy objects on the cord, and try to avoid dropping heavy objects upon it. Also do not make a knot in the power cord. Not only may the cord be damaged, it can also cause a short circuit with a consequent fire hazard. Moving the Unit Before moving the unit, be sure to pull out the power cord from the AC outlet and disconnect the interconnecting wires with other units. Cleaning When the unit gets dirty, wipe it with a soft dry cloth. If necessary, wipe it with a soft cloth dampened with mild soapy water and then with a dry cloth. Never use benzine, thinner, alcohol or other volatile agent, and avoid spraying an insecticide near the unit. Do Not Open the Cabinet To prevent shock hazard, do not tamper with internal components for inspection or maintenance. JBL Synthesis does not guarantee against 1 A STEP-BY-STEP "QUICK GUIDE" INSTALLATION OF YOUR SP MK II 1. You will require the following items: Left/right front speakers, two surround speakers, necessary audio amplifiers, and an audio-video source plus necessary interconnect cables. Additional options include a center channel speaker, and subwoofer or THX­certified loudspeaker components. 2. Place the speakers and connect them to your amplifiers. Be sure to observe proper polarity. A typical front speaker placement diagram is found on page 14. A dipolar surround speaker placement diagram is found on page 15. 3. Connect the appropriate interconnect cables between the outputs of the SP MK II to the audio amplifier inputs. Be sure to turn off the electronic crossover if you are not using a subwoofer. The push switch is found on the rear panel of the SP MK II. Also note than an electronic crossover is provided for a subwoofer on the surround channels as well. If your surround speakers have woofers of less than eight inches in diameter, we suggest that you leave the surround channel electronic crossover engaged. 4. Connect the output of an audio-video source such as a laser disc player or Hi Fi VCR to the SP MK II. 5. Turn on the SP MK II. 6. Using the handheld remote control, set the following: MODE: Dolby® Pro LogicTM or Home THX Cinema. CENTER: On, if a center speaker is used. AMBIENCE: REF PANORAMA: Center position on. DELAY: Set to 20 mS. 7. Make sure the Bass EQ is turned off (full counterclockwise) and set the Input Level control to the 12 o'clock position. 8. On the front panel of the SP MK II, turn on the Noise Sequencer. The test signal will start at the left front channel and go clockwise around the room. If you are not using side speakers, turn off the side channel output switch on the rear panel. Adjust the Output Trim Level controls so that the volume is the same from each speaker at the listening location. We recommend the use of a sound pressure level meter, if available, set for "C" weighting, "slow." Set each speaker for 85dB sound level using the internal noise sequencer. 9. Turn off the Noise Sequencer. Select a Dolby Surround encoded movie on laser or HI-FI VCR to verify system performance. 10. Read the rest of this manual for additional information regarding the fine tuning of 2 your system! MOTION PICTURE SOUND: A BRIEF HISTORY In the early 40's, the large movie studios owned their own theatres and could enforce quality standards. In those days motion picture theaters provided higher quality sound reproduction than home radios or phonographs. An anti-trust action forced the studios to sell their theatre holdings in the 50's. When the theatres became independently owned, each theatre could choose which films it wanted to show. In turn, the studios eliminated their technical staffs which had been responsible for maintaining sound quality standards. As a result, the quality of sound in the theatres failed to keep pace through the 50's and 60's. The turning point came in the 70's with the introduction of the Dolby Stereo® recording process by Dolby Laboratories. The consumer electronics market tends to think of Dolby exclusively as a noise reduction system used in cassette decks, but a significant portion of Dolby's business is in the professional audio industry. Dolby Stereo allows four channels of sound to be recorded on the two available optical soundtracks of a 35mm movie print, with excellent results. One of the first commercial successes of this new technology was STAR WARS in 1977. The impact of STAR WARS on the movie-watching public is hard to overestimate. The quality of the sound track caught everyone's attention and changed what people expected from film sound. Suddenly, people rushed to see new releases in better-sounding theatres, and the ones which upgraded their sound systems were rewarded with increased revenues. Unfortunately, there was no standard of performance for the sound systems in theatres. Even the best auditoriums sounded different from each other and from the sound the director heard in the film studio because of variations in room acoustics and sound systems. In 1982, George Lucas gave his full support to create a new movie theatre sound system standard: the THX Sound System. The THX Sound System was designed to complement and enhance the playback of Dolby Stereo, which was the established standard for film sound recording. THX picked up where Dolby Stereo left off, encompassing standards and technologies for power amplifiers, speakers, patented Lucasfilm technology and the acoustics of the theatres themselves to ensure the best possible reproduction of movie soundtracks. By 1991, THX systems had been installed in nearly 500 movie theatres and studios worldwide, with many more in various stages of construction. THX has become the industry standard for post-production mixing facilities as well as for theatres and/or studios. 3 In 1986 the sales and rental of home video software equalled theatrical ticket sales. George Lucas found himself back where he started--with no control over how his films would actually sound in the home. For that reason, the Lucasfilm Home THX Audio System was designed to accurately bring the theatre experience home. THE GOAL OF LUCASFILM HOME THX AUDIO SYSTEM The film industry has a clearly-defined standard for the reproduction of film soundtracks. In practice, however, achieving the standard is quite challenging. Perhaps the best method for measuring the success of various systems is by looking at their acceptance by the professionals who use them. The THX Sound System clearly dominates the field, both in theatres and in film studio dubbing stages. If you wish to hear the soundtrack as the director did, you must duplicate the sonic experience of the dubbing stage in your home. And the majority of all standardized dubbing stages now use THX Sound Systems. The objective of Lucasfilm Home THX Cinema is to bring precisely this performance standard to a home environment in order to give the filmmaker a transparent path between his creation and the experience of the viewer. In general terms, this requires solving the problem of transferring sound from a large movie theatre or a dubbing stage to a smaller home environment without compromising its character (a non-trivial task, in view of the radically differing acoustical properties of large and small rooms). In addition, there are many specific design objectives which define the total performance of the system: · · · · a wide frequency range, extending to the limits of audibility smooth, naturally balanced overall sound and excellent dialog intelligibility a wide dynamic range with extremely low distortion well-matched timbre (tonal balance) between front speakers and surround speakers · precise localization of specific sounds · envelopment by ambient soundfield · superb performance with non-film music sources 4 PLANNING AND INSTALLATION GUIDES A CHECKLIST FOR PLANNING AND INSTALLING YOUR HOME THX AUDIO SYSTEM Introduction and Overview The SP MK II is the most advanced surround processor/control center yet produced, incorporating state of the art surround processing circuitry. The SP MK II also features Lucasfilm Home THX Audio processing circuitry which has been specifically designed to provide new levels of enhancement to motion picture soundtracks. In addition to extensive audio capabilities, the SP MK II incorporates a comprehensive audio-video switcher. The entire unit is microprocessor controlled utilizing both liquid crystal and LED display systems to provide visual indication of the operational status. MUSIC SURROUND LISTENING PARAMETERS The SP MK II incorporates a comprehensive menu of pre-programmed modes for playback of music sources. Some settings may be altered to suit listening tastes or environmental requirements. MOTION PICTURE LISTENING PARAMETERS Four parameters for the playback of motion picture soundtracks are provided including: Dolby Pro LogicTM, THX Home Cinema (Pro Logic surround decoding and THX audio processing), 35mm Motion Picture and 70mm Motion Picture. A complete description of SP MK II surround parameters is found on page 7. SP MK II FEATURES In addition to a wide range of listener-selectable surround parameters, the SP MK II provides a number of unique and beneficial operating procedures. These include: automatic input balance calibration, a built-in test noise sequencer, output level trim controls, bi-ampable main and surround channels, A/V input switching, and a separate A/V record output circuit. Descriptions of SP MK II features are found on page 25. 5 SP MK II Surround Processor The SP MK II THX controller incorporates a combination of existing technology and new, proprietary and patented Lucasfilm developments. This enables the system to take advantage of existing standards for film sound for maximum compatibility, while also improving home reproduction quality of film soundtracks (which were, after all, recorded for playback in large auditoriums). The entire controller package is a combination of: · Proprietary surround technology for use with both surround encoded and nonencoded stereo audio sources · Dolby Pro Logic Surround for encoded motion picture, stereo CDs, and television audio soundtracks · THX re-equalization, de-correlation, timbre matching circuitry · A THX electronic crossover for bi-amplification of the main front speakers and a separate electronic crossover for optional bi-amplification of the surround channels · Level Calibration to the original sound pressure levels heard in the theatre 6 SP MK II OPERATING PARAMETERS The SP MK II offers a full array of surround parameters which will accommodate all types of music and movies. Conventional motion picture surround processing technology was never intended for music reproduction, so virtually every other manufacturer of surround processors has chosen to offer digital soundfield processing, or "DSP," for music listening enhancement. While DSP is rather technically ambitious, the results are often artificial. Digitally-generated reverberation or effects are added to the natural or studio-created ambience of the original recording. The result is usually not representative of the original recording or the desired new venue. The SP MK II surround parameters are tailored for specific movie and music applications. We suggest that you experiment with the various modes. A limited amount of audio signal delay is available to enhance some modes. Changes you may make in audio signal delay settings are automatically stored in selected modes. The following descriptions of each mode will help you to select the appropriate one for your specific listening tastes. ROCK This mode was designed to give an exciting presentation of typical multi-track rock recordings. The Rock mode is unique in that it provides full frequency range, stereo surround channels. No other processor is capable of delivering true stereo surround. Any audio signal delay setting may be used (up to 80 ms), and the Panorama control may be adjusted to suit the recording. (An explanation of the Panorama function is found on page 26 in this manual.) The logic steering speed is "fast." In the Rock mode, you can expect to hear a full soundfield which totally surrounds you with a significant amount of back channel information. Music that has a great deal of stereo separation will be reproduced with an excitement and intensity that is similar to listening through headphones but with the visceral impact that only dynamic loudspeaker systems can produce. The Rock mode will also yield exciting results with most New Age and electronic music as well. POPULAR The Popular music mode is intended for a natural presentation of the majority of popular music titles. The perspective is more frontal and not quite as "wrap-around" as the Rock mode. The surround channels are monophonic and are full frequency response. Any audio signal delay setting may be selected (up to 80 ms), as well as Panorama. Logic speed is "fast." The Popular mode is the most universal for a wide variety of music, including rock, light rock, Broadway shows, etc. 7 JAZZ The Jazz mode is particularly well suited to any live recording of popular or jazz music. The soundstage will be primarily frontal with ambience coming from the surround speakers. Separation of instruments will not sound exaggerated, but will sound like an ensemble playing in front of you. The natural room acoustics of the recording environment will be preserved. The Jazz mode delivers full-range mono surround channels with fully-selectable time delay, Panorama and "fast" logic speed. "New" jazz and fusion music also benefit from this mode. Blues fans will find the Jazz mode the most effective, especially on live recordings. HALL 1 This music mode is a "purists" mode suitable for any music where minimum processing is desired. It is a passive circuit (no steering logic) similar to the L-R circuit often erroneously referred to as the "Hafler" circuit. This circuit extracts ambience from a natural stereo recording and places it in the surround channels. Front channels are completely unprocessed. A special equalization curve is applied to the surround channels to emulate the natural decay of high frequencies over distance for more natural hall ambience. Chamber music is natural and enveloping in this mode, as are all small acoustic ensembles. The listener is placed close to the performance. HALL 2 The Orchestra mode, like Chamber, uses no processing on the front channels, and center channel is disengaged. Orchestra mode applies steering logic only to the surround channels only with a narrow matrix providing a "mid-hall" perspective. This setting is ideal for larger symphonic works. You may switch on, at your option, the center channel speaker in the `Orchestra' mode. Steering logic is engaged on the front sound stage when the center speaker is switched on. Audio signal delay settings may be extended to 80 ms. 35MM MOTION PICTURE The decoding matrix is identical to the one used in the Dolby Pro Logic mode, but with higher speed steering logic and a more extended frequency response on the surround channels. Audio signal delay settings may be extended to 50 ms. 70MM MOTION PICTURE This setting is identical to 35mm but delivers controlled blending of left/right front channel information into the surround channels to provide a sense of spaciousness with software which has little or no encoded surround information. Audio signal delay settings may be extended to 50 ms. 8 DOLBY PRO LOGIC This is the consumer version of the system used in theatres to decode four channels of sound from the film's soundtrack and provides performance identical to that of theatrical Dolby decoders. A sophisticated microprocessor control system in the SP MK II re-configures the steering logic time constants to those of Pro Logic. The outstanding circuit topology used within the SP MK II delivers Pro Logic decoding with superb sonic quality. Audio signal delay settings range from 15 to 30 ms in 5 ms increments. MONO ENHANCE: This mode generates a synthesized surround field from a monaural source. A pleasing, spatial effect can be derived from older music recordings, mono TV broadcasts, or movies mixed in mono. The Panorama control is operative in Mono Enhance. BYPASS: The Bypass mode allows the listener to electronically remove the SP MK II surround processing circuits from the audio signal path. Only the left and right front speakers and subwoofers remain functional. A single buffered gain stage with remote control of volume remains in the signal path. LUCASFILM HOME THX CINEMA Lucasfilm Home THX Cinema incorporates Dolby Pro Logic surround decoding along with additional audio enhancements. RE-EQUALIZATION: Re-Equalization is necessary to compensate for the fact that the soundtracks in films sound "bright" in a home environment. This results from a combination of the way we perceive sound in large auditoriums vs. small rooms and the theatre equalization which has become standardized throughout the movie industry. The ReEqualization circuitry compensates precisely for these differences, restoring the sound to its natural balance and minimizing listening fatigue by reducing harshness in the high frequencies. DE-CORRELATION: The SP MK II incorporates a proprietary de-correlation circuit which alters the phase/time relationships between surround channels to diffuse the perceived sound. This eliminates the mono effect in the surround channels and helps to restore the enveloping characteristic that is a system design goal. TIMBRE-MATCHING: The timbre or tonal balance of sound changes depending on whether it comes from in front of you or from the sides. This has to do with the shape of the outer ear. This is especially noticeable when the director pans a sound from the front channels into the surround channel. The character of the sound changes as the effect moves from the front to the surrounds, even when the speakers are perfectly matched. This may reduce the realism of the effect. 9 Elements of the Home THX Audio System: HOME THX CONTROLLER PROPRIETARY LUCASFILM CIRCUITRY Dolby Pro-Logic Surround Circuity L C R LT RT Input Level & Balance Controls Subwoofer Electronic Crossover L C R SUB Re-Equalizer Output Level Controls L C R SUB SUB SUB SUR TimbreMatching SUR Decorrelation © 1990 LucasArts THX Fortunately, this characteristic can be compensated for by use of very specific and proprietary equalization applied to the surround channels only. Timbre-matching circuitry is included in the SP MK II. BI-AMPLIFICATION: This technique of separately powering the main speakers and subwoofer(s) dramatically reduces distortion while expanding the useful dynamic range of the system. System distortion is substantially reduced. In addition, bi-amplification enables the front speakers to be significantly reduced in size without any penalty in performance, allowing them to be more easily placed for the best imaging. The SP MK II includes a specific low frequency, steep-slope electronic crossover specifically designed to match the requirements of Home THX speakers. 10 PLANNING YOUR HOME SURROUND AUDIO SYSTEM Home surround systems are primarily intended for use with video. The SP MK II, however, has been especially designed to work equally well with both non-encoded sources (CDs, cassettes, broadcast television and records) as well as surroundencoded video sources (motion pictures and broadcast television). You can use existing equipment to begin building a complete Home THX Audio System. Although it will not be a full-fledged THX Audio System until it is complete, the incremental improvements will be clearly heard as each step is taken toward the goal. You should start with the SP MK II THX controller and upgrade the system a step at a time by adding either the THX dipolar surround speakers or the main front speakers with a subwoofer. PLEASE NOTE: The THX specification includes an electronic crossover for the front speaker system. If you are using THX speakers without the SP MK II, or other THX controller, some provision must be made for an appropriate crossover between the subwoofer(s) and the front speakers. The list of equipment needed for a complete SP MK II Home THX Audio System installation is fairly straightforward: · A SP MK II THX controller. · At least six channels of amplification for left, center, right front channels plus two surround speakers, and one or more subwoofers. · Identical THX left, center and right front speakers with appropriate stands or mounting brackets to facilitate aiming them directly at the primary listening area. · One or more THX subwoofers (depending on room size) designed for use with the THX front speakers. · A pair of THX dipolar surround speakers with appropriate stands, or attached mounting brackets to position them at least two feet above ear level when seated. · Assorted interconnecting cables and speaker wires. A home theater also requires a large screen television and the best possible video sources. The best A/V sources are laserdisc or home satellite followed by off-the-air television, cable or VHS HiFi. A 31"­35" direct-view television may be appropriate in smaller rooms but cannot impart the theatrical experience of having your field of vision dominated by the size of the image on the screen. Attaining this effect with a 35" television requires sitting uncomfortably close to the screen. 11 Position of components: Electronics · Keep noisy components away. · Hide distracting indicators (LEDs). · Consider IR receiver by the screen. · Provide cooling for power amps. · Aim for short speakers cables (unless in high RF fields where low levels might pick up noise). ELECTRONICS PLACEMENT · Cabinets should be used to conceal equipment which must be placed near the screen. The lights and visual displays on the equipment should not distract the viewer. · Ample ventilation must be provided, preferably through convection, to avoid fan noise. VIDEO VIEWING REQUIREMENTS · The primary seating areas should be centered in front of the picture. · NTSC video looks best at a seating distance from 3­5 times the width of the screen for maximum perceived clarity, however, you may choose to sit as little as 2.5 times the screen width to achieve maximum visual impact and involvement. · Ambient light should be minimized to maximize video contrast performance particularly with projection video display systems. · The main front speakers should flank the screen and be placed with reasonable symmetry with respect to adjacent walls. · The screen should be well away from side walls. The front speakers have broad horizontal dispersion and it is best to minimize side wall reflections. SPEAKER PLACEMENT The SP MK II may be used with conventional, high quality speaker systems or with Home THX­certified loudspeaker systems. There are some general installation guide- 12 lines that apply to both types of systems in terms of achieving optimum performance. · Select speakers designed to meet your system requirements. Don't, for example, flushmount a book shelf speaker designed for different mounting applications. If the room is quite large, you may require two or more subwoofers to achieve optimum performance. Acoustically dead rooms may require higher efficiency speakers to achieve louder sound levels. If you have questions regarding the proper installation of your speakers, consult your dealer or the manufacturer. MAIN LEFT, CENTER, RIGHT SPEAKERS (LCR) · The Left and Right front (L/R) speakers should be placed close to the edges of the screen to eliminate the disorientation which results when sounds appear to occur well away from their visual on-screen location. Some allowance must be made for those installations involving screens smaller than five or six feet measured diagonally. Placing the speakers immediately beside a small screen usually reduces stereo separation to unacceptable levels. Some experimentation may be in order, but as a rule of thumb, try to place the L/R front speakers no more than 18" to 24" from the sides of the screen. · Try to avoid placing the L/R front speakers too close to side walls or room corners. They should usually be placed no closer than 18" to 24" from corners and side walls. Conventional speakers should be toed in slightly towards the seating areas. THX­certified speakers will usually require no toe in, however some toe in will assure even lateral coverage of the seating area and reduced side-wall reflections. · THX LCR speakers are designed to be used vertically only. If they must be either above or below the screen they must be properly aimed towards the listener. Proper aiming is critical because THX speakers are intentionally quite directional in the vertical plane to focus sound energy to improve dialog intelligibility and image localization. Elements of the Home THX Audio System: Home THX Front Loudspeakers Controlled Vertical Dispersion · Reduces reflections from floor and ceiling · Projects more direct energy toward listeners © 1990 LUCASA THX 13 SPEAKER PLACEMENT: Front Speakers SCREEN L C R Less than 2 feet · The Center speaker should be directly above or below the screen. When possible, try to keep the center speaker tweeters as close to the level of the tweeters in the L/R speakers (no more than a two foot difference) so that lateral audio pans do not create noticeable changes in vertical localization. · Placing the LCR speakers below the screen is preferable since aiming them upward maximizes the usable listening area. Placing the Center speaker directly in front of a television is fine as long as it does not obscure any portion of the screen, provided it is magnetically shielded. All THX LCR speakers are magnetically shielded. SUBWOOFER PLACEMENT · Subwoofers do not have to be placed extremely close to the front channel speakers but placement will affect the low bass. · Leave yourself some leeway during final installation for minor movements to minimize room modes. Corner placement will yield the most deep bass, but this excites the maximum number of standing waves resulting in uneven frequency response. Use of multiple subwoofers will increase bass output and allows one subwoofer to smooth irregularities created by room modes. Placement near a video projector is acceptable since all THX subwoofers are magnetically shielded. 14 SURROUND SPEAKER PLACEMENT · THX­certified surround speakers should be located to the sides of the listeners instead of behind them. If the viewing area is more than one row deep, place the surround halfway back within the area. If architectural constraints prevent ideal placement of the surrounds it is generally best to err on the side of being further to the rear of the room. · The surround speakers should be located at least two feet above the listener for the best results. And they should be located at equal heights for uniform frequency response. Placement close to the ceiling will result in slightly more mid-bass performance. Try to place them so the null is aimed towards the seating area. · THX dipolar surround speakers should be placed so the positive polarity side of the speaker faces towards the front of the room. · Conventional surround speakers should be placed behind the listening area and should also be placed mid wall level or higher. A more focused surround sound effect will result by aiming the speakers towards your listening area. If you prefer a more diffuse surround sound effect, then aim the speakers across the back of the listening area. The THX de-correlation circuitry within the SP MK II will help to create the proper effect for motion picture listening but will be automatically defeated in other surround modes designed for listening to non-encoded music sources. FRONT SPEAKER Surround Loudspeakers Null Null Listener 15 INSTALLING YOUR SP MK II For convenience of operation, we suggest that you run all your main audio and video sources through the SP MK II. Four inputs (including the tape monitor input) accept audio and composite video sources while the remaining two accept audio and S-type (Y/C) video from S-VHS, S-Beta, and some laser video players and satellite receivers. The SP MK II does not transcode the video signals. Composite video will only appear on the composite video outputs (monitor and record). Likewise, S-type signals will only appear on the S-type outputs. The SP MK II can become the heart of a home entertainment environment. Every type of consumer audio source can be used with the SP MK II except a turntable. If you wish to use a turntable/cartridge with the SP MK II, you will require a preamplifier or stereo receiver to provide proper pre-amplification and RIAA equalization for the magnetic phono cartridge. The main output or tape record output from the preamp or receiver should be connected to one of the six audio inputs on the SP MK II. The main audio outputs of the SP MK II are designed for use with either THX­certified or conventional speakers. The electronic crossover switch (on the back panel) must be engaged when using THX­certified speakers (separate subwoofer and LCR speakers). If you have a small room and are only using one subwoofer, use the Mono Sub output. If you are using a single pair of conventional surround speakers or another manufacturers' THX dipolar surround speakers, use the LB (left back) and RB (right back) outputs. You will have to reverse the polarity of the surround speakers with that of the front speakers! 16 SP MK II FRONT PANEL DISPLAY display system used on the SP MK II uses a combination of light emitting diodes (LED) and liquid crystal (LCD). The PRIMARY FUNCTIONS: Surround operating modes, volume settings, time delay settings, and panorama settings, are displayed on the liquid crystal panel. The selected surround operating mode is always displayed. Changes in volume (front or back channels), time delay settings, and panorama settings, are momentarily displayed (about ten seconds) on the second line of the liquid crystal display. INPUT LEVEL: The input gain control on the front panel is adjusted to illuminate the Input Calibrate display to 0 dB. Then, the channel output trim controls on the back of the SP MK II are individually adjusted to achieve proper output levels with sufficient headroom and freedom from amplifier or speaker overload. OUTPUT VOLUME: Volume settings have a range from ­85 to +15. These settings do not necessarily relate to dB equivalents. Normally, the output volume level is set to the 0 REF setting when playing reference "0 dB" level signals from videodiscs and VHS HI-FI video cassettes. AUDIO SIGNAL DELAY: Delay settings can be adjusted from 15 to 30 ms in the Pro Logic or THX Cinema modes, up to 50 ms in 35 mm and 70 mm movie surround modes, and up to 80 ms in some music modes. Changes in audio signal delay settings are automatically retained in the memory of the SP MK II. PANORAMA: Panorama settings may be adjusted from ­50 to +50 and will vary to taste depending on the individual recording. Panorama cannot be engaged in the Pro Logic or THX Cinema modes. Panorama settings cannot be stored because they are also program source dependent. SECONDARY FUNCTIONS: Which include: Center Channel On or Off, Sibilant and Re-Equalization (Re-Eq) Filters, Mute, Source, Record Select, and Center Boost, are displayed by LEDs behind the front panel window. The status of functions including Center Front On/Off, Noise Sequencer, Input Balance, are displayed by LEDs directly above the button which turns the function on or off. The Re-Eq and Center Channel On functions may be selected in all music modes. Center channel is Off when Hall 1 or Hall 2 surround modes are selected but it can be engaged, if desired. Re-Eq is only selected automatically in the THX Cinema mode but it may be disengaged in the THX Cinema mode or engaged in other modes. Because the need of Re-Eq in non-THX modes is program source dependent, it cannot be stored in other modes. 17 SET-UP AND CALIBRATION TESTING FOR PROPER SPEAKER POLARITY Proper polarity throughout the system is required before level calibration can be established. Wiring the loudspeakers in proper polarity is essential for precise localization of images and bass response--both important goals of the Home THX Audio system. Achieving proper polarity is made more complicated if amplifiers of different types are used in the system. Some amplifier designs invert the polarity of their output relative to the input signal. Speakers attached to these amplifiers must have their polarity inverted again to get it back where it belongs. The best way to ensure proper polarity in any home audio system is to compare each speaker to a single speaker which is used as the reference for the system. We will use the Left front speaker as the reference in our example. Check the wiring color code on both the amplifier and speaker jacks to verify correct polarity. L-R POLARITY: Check Left-Right polarity by listening to both speakers in the stereo bypass or center speaker off mode. Listen for a solid center image. If in doubt, reverse the leads on the Right speaker only and compare the results. Speakers with mismatched polarity will have a poorly-defined image smeared all over their end of the room. Some listeners will even feel strange pressure sensations in their ears! If you have any doubt, try using the pink noise on Chapter 6 of WOW!--this should make the difference extremely clear. L-C POLARITY: Check Left-Center polarity in the Home THX Cinema mode by feeding mono program material (dialog, or Chapter 6 of WOW!) and setting the input balance to the left so as to get equal sound pressure levels out of both the left and center speakers. Again, listen for a solid image between the left and center speakers. RELATIVE SUBWOOFER POLARITY: If multiple subwoofers are used, it is important to have their polarity with regard to each other correct. Reverse the polarity of one of the two subwoofers while program material with deep bass is playing (being careful not to momentarily short the two speaker leads to one another). The pink noise on Chapter 6 of WOW! can be used as a constant source of bass energy by shutting off all speakers except the subwoofers. You will immediately notice either a loss or an increase in bass. The correct polarity is the one which exhibits the most bass. ABSOLUTE SUBWOOFER POLARITY: It is also important for both subwoofers to have the correct polarity with regard to the rest of the system. Now that the LCR speakers are all matched, play some program material (or Chapter 6 of WOW!) with significant energy around 80 Hz. Reverse the polarity of all subwoofers in the system and listen again. The polarity with the greatest bass output in this vital region is correct. (A third-octave warble tone centered on 80 Hz is ideal for this test and is available on some test compact discs.) 18 SURROUND POLARITY: Using the Pro Logic mode (not the THX mode) stand by the screen and face the surround speakers. With strong surround program materials (such as Chapter 11 on WOW!), you should hear a solid center image between the surround speakers and your standing position. ADDITIONAL HINT: After system polarity checks are completed, use the internal noise generator in the SP MK II to verify proper hookup. The burst of noise should start at left front and move clockwise around the room. The Noise Sequence switch on the rear panel of the SP MK II should be set to turn off the L and R Side outputs. INPUT LEVEL CALIBRATION It is necessary to adjust the input level of sources in order to get the best results from your SP MK II. This adjustment yields the best dynamic range from the surround decoder circuitry, preventing overload distortion or excessive background hiss. Correct calibration also ensures accurate tracking of the steering logic and the modified Dolby B noise reduction system in the Dolby Pro Logic circuitry. A test tone (Chapter 5 on WOW!) can be used in conjunction with the front panel LED level display to calibrate the system. Feed in the test tone and adjust the input level so that the 0 dB LED just reaches full intensity. Under normal operating conditions, the red LED should never do more than flicker occasionally (which indicates input overload). If no test tone is available, you can still calibrate the system with reasonable accuracy by turning up the input level control until the 0 dB LED glows brightly during medium level passages in movies, but not high enough to illuminate the red LED. Movies are duplicated at slightly different audio levels, so you may need to touch up this adjustment occasionally. You may expect a 1 to 3 dB variation among various film transfers. AUTO BALANCE/INPUT BALANCE The Automatic Input Balance circuit corrects improperly balanced software, which tends to pull the dialog off center. These channel errors occur in the multiple copying stages between the original master and your source. In most cases the autobalance circuitry within your SP MK II will provide extremely accurate correction. Occasionally, some software may have errors beyond the correction ability of the internal circuitry. To manually correct for such imbalances, press the left or right button located on the right side of the front panel of the SP MK II to turn off the autobalance circuit. With the Center output on but with the the Center Speaker amplifier turned off, push the left or right channel button to minimize leakage of center channel dialog to left or right speakers. The liquid crystal display will indicate the amount of level change. Turn the center 19 channel amplifier back on to restore normal system operation. When you wish to restore Autobalance operation, push the AUTO button (located between the left and right buttons) to disengage manual balance. OUTPUT LEVEL CALIBRATION The SP MK II provides individual channel output level controls. These allow you to compensate for differences in amplifier and speaker sensitivities and for placement variations from installation to installation. These set-and-forget adjustments are essential for reproducing proper soundstaging and image localization. These controls are located on the rear panel of the SP MK II just above the audio output jacks. Adjusting the output levels is done after completing the input level adjustments. Once this is completed, system volume changes are made using the up/down buttons on the infrared remote control. The best way to adjust the output level controls is by using a dB Sound Pressure Level (SPL) meter in conjunction with the internal bandwidth-limited pink noise generator in the SP MK II. The goal is to set the volume at the primary listening position to read 75 dB SPL (C-weighted, slow mode) from each speaker in sequence, using the individual output level controls. You should use the meter pointing straight up towards the ceiling. The "average" setting of the individual output level controls should be ideally near the midrange of their rotation. The simplest way to achieve this is to set the Master Volume at 0 REF on the liquid crystal display and then adjust each individual channel output trim control (located on the rear panel) until a 75 dB SPL is achieved. The Master 0 REF setting becomes the calibrated playback setting for any software which has been dubbed carefully, with proper attention to soundtrack levels. Some adjustments to the input level and input balance controls may be required to compensate for soundtracks with different levels and channel balance. In the absence of a dB SPL meter, it is possible to set the output level controls by ear. Use the built-in test noise generator in the SP MK II to adjust all volumes to sound the same as they cycle around the various speakers. The test signal is bandwidth-limited pink noise to minimize the problem of timbre shifts influencing the setting of levels. Even so, using non-THX-certified loudspeakers may make this more difficult to judge, due to variations in spectral balance between the various speakers--especially mismatched left/right front and center speakers. Simply get as close as you can! The system should then be reasonably well balanced, although of course it is not actually calibrated for precise playback levels. 20 ADJUSTING THE DOLBY TIME LINKTM DIGITAL AUDIO SIGNAL DELAY SYSTEM All Dolby Pro Logic decoders incorporate an audio signal delay to the rear speakers. The SP MK II incorporates two high-performance, discrete-circuit channels of Dolby Laboratories' advanced new digital audio signal delay system: Time Link. The Dolby Pro Logic process occasionally yields erroneous leakage of front channel sounds to the rear. TIme Link, a digital signal delay circuit, is used to reduce the perceived level of leakage because of the "Hass" or precedence effect. When the front channel information leaks into the surround speakers, we end up hearing this leakage out of the surround speakers following the arrival (at our ears) of the front channel information. Time Link allows the sound coming from the front speakers to reach the viewer before the arrival of sound from the surround speakers. The optimum Time Link setting depends on the distance between the main seating area and the front speakers, and the distance between the main seat area and surround speakers Refer to the graph for choosing the best setting in any given situationmeasure the two distances and look to where they meet on the graph. The shaded areas will indicate the best setting for the delay. If in doubt, simply set Time Link for 20 ms of delay. The setting will be stored in the memory of the SP MK II until you change it. You may also use Time Link to enhance and align arrival times of certain music surround modes available in the SP MK II. The audio signal-delay settings can be stored for each applicable music or movie mode independently of the Pro Logic or Home THX Cinema modes. PREFERRED ACCEPTABLE 25 ms NOT RECOMMENDED 20 ms 15 ms 15 ms 15 ms 40 DISTANCE FROM REAR SPEAKERS (FEET) 35 30 15 s 25 20 15 10 5 0 0 5 10 m s 15 ms m s 15 m 15 20 m s 10 ms m s 25 30 m 5 ms m s s HAAS EFFECT DIFFERENTIAL ARRIVAL TIME 30 15 20 25 30 30 m s 35 40 DISTANCE FROM FRONT SPEAKERS (FEET) USABLE SPEAKER PLACEMENT RANGE WITH XX MS DELAY TIME 21 SP MK II FEATURES The SP MK II incorporates a number of operational features which have been designed to enhance the performance and versatility of your home surround audio system. An explanation of the features and their uses follows each feature listing. VARIABLE BASS EQUALIZATION: This rotary control located to the left of the input gain control, allows boost of bass frequencies to compensate for the bass rolloff of most full range loudspeakers in the 30 to 70 Hz range. The total amount of boost available is +17 dB over a relatively narrow range to avoid adding "chestiness" to the sound of male voices. Normally, only a small amount of boost should be used to avoid overloading both the power amplifier and the speaker. Bass EQ is only available on the front subwoofer outputs and the main left and right front channels (when the THX electronic crossover is disengaged). The full counterclockwise setting is off. Clockwise rotation introduces boost. As boost is turned up, the center point of the boost range is moved up. As an example, a setting between an 8 and 9 o'clock setting on the control may deliver maximum boost about 35­40 Hz while a 12 o'clock setting will move the area of maximum boost up to about 50­60 Hz. If you are using THX­certified subwoofers, or other high quality subwoofer systems, little, if any, boost will be required once proper output levels are established. SIBILANT FILTER: This function accessible via the remote control, engages special circuitry which minimizes crosstalk in the surround channels caused by speech sibilants but without causing loss of high frequency detail. An indicator light on the front panel indicates when the sibilant filter is engaged. Use the sibilant filter whenever you hear sibilant sounds from dialog present in the surround channel. RE-EQUALIZATION CURVE: This circuit is a part of the SP MK II Home THX control system but is sometimes useful with other program sources. It can be manually switched in when using other surround parameters besides Home THX Cinema. When Home THX Cinema is selected the Re-Equalization filter is automatically engaged. An indicator light on the front panel indicates when the Re-Equalization filter is engaged. A motion picture sound track will sound "bright" in the home because the original equalization curve was designed for far-field listening and for special equalization that is standardized in the film industry. The Re-Equalization circuitry compensates for those differences and restores normal spectral balance for the near-field listening environment of the home. THX ELECTRONIC CROSSOVER: The SP MK II has a built-in electronic crossover especially designed for use with Home THX­certified loudspeaker systems. It may also offer excellent results with other subwoofer/satellite speaker systems. Consult with the manufacturer of the speaker system. The crossover frequency of the electronic 22 crossover is centered at 80 Hz. A switch on the rear panel of the SP MK II engages the crossover. When disengaged, the left and right front channel audio outputs operate full range but the subwoofer outputs still remain active. SURROUND ELECTRONIC CROSSOVER: Some listeners may prefer some bass extension in the surround channel particularly with some music surround settings. The main surround outputs have a rolloff below 80 Hz at 12 dB/octave. A mono subwoofer surround output is provided. A small woofer (8" to 10") with a response to 40­50 Hz may be desirable for use in some environments. A switch on the rear panel of SP MK II (adjacent to the front channel crossover) switches in the surround electronic crossover. When using Home THX­certified dipolar surround speakers, be sure the electronic crossover is engaged, even if you aren't using a subwoofer. This will prevent overload of the dipolar surround speakers by audio frequencies below 80 Hz. An output level trim control for the surround subwoofer is located on the rear panel of the SP MK II. TEST NOISE GENERATOR: The built-in noise generator sequences bandwidth-limited pink noise around the room to each speaker location. The duration of the noise burst is limited to two seconds in the Dolby Pro Logic and Home THX Cinema modes. The duration is extended to approximately four seconds in the other surround modes. The trim controls, which can be adjusted by hand without the need for special tools, are located on the rear panel of the SP MK II. A switch on the rear panel (next to the electronic crossover switches) eliminates the noise burst to the side channel/front dipole driver outputs for use with a single pair of point source-type surround speakers, or when using conventional THX dipolar speakers. PANORAMA: This feature, accessible via the remote, adjusts the width of the stereo stage. Some recordings may not have enough stereo separation, and may sound monophonic. Other recordings may have too much separation and sound exaggerated. Adjusting the panorama circuit to widen or narrow the stereo stage will correct most recordings. When the panorama button on the remote control is engaged the liquid crystal display will provide an indication of the amount of correction. MUTE: This function totally mutes the output of the SP MK II. CENTER BOOST: This function, accessible via the remote, increases the output level of the center front channel by 3 dB. Pushing the Center Boost button a second time restores center front level to normal. Center boost may be required when listening to some film tracks with non-THX speakers. SOURCE SELECT: This function, available via the remote and the front panel of the SP MK II, selects the desired A/V input. RECORD SELECT: This function, available only from the front panel of the SP MK II, selects the A/V source for recording purposes or to be viewed at a secondary location. 23 The record output stereo audio is unprocessed. Composite video is not transcoded to S-type video or vice-versa. REMOTE INFRARED SENSOR JACK: This miniature input jack, located on the rear panel, accepts input from a remote infrared transmitter/sensor or remote key pad. It is provided for custom installation applications. Consult your dealer or JBL for additional application information. ACCESSORY CONTROL OUTPUT: This five-pin standard DIN jack located on the right bottom corner of the SP MK II can provide trigger signals for an outboard control box to turn on the system electronics, lower or raise a projection screen, dim or raise room lighting, etc. Consult your dealer or JBL for additional application information. DISPLAY CONTRAST CONTROL: This manual rotary control is located on the underside of the left side of the front panel. The relative contrast of the liquid crystal display can be changed with this control. FINE TUNING YOUR AUDIO SYSTEM The procedures outlined in the previous sections should allow proper performance of the system. There are several things you can do to "tweak" the installation even further. In many cases, the concepts contained in this section are not necessary to achieve the kind of impact the SP MK II and a Home THX Audio System can provide. The following ideas and suggestions are for the most demanding installations, or when the room itself presents a special challenge. ACOUSTICAL PROBLEMS IN LISTENING ROOMS The Home THX Audio System addresses many of the problems common to high quality reproduction of music or soundtracks in a home environment. For example, the dispersion pattern of the front LCR speakers minimizes the effects of floor and ceiling reflections. Still, there are many variables which are beyond the control of a manufacturer. Room reflections create spurious false images and "comb filter" interference effects which alter the tonality of the system while degrading the localization of specific sounds. Larger rooms sustain echoes which degrade dialog intelligibility and detail. All rooms have standing waves which emphasize certain frequencies at the expense of others, based on the dimensions of the room. Other concerns include environmental noise, which is often greater than people realize. Although they might become accustomed to its presence and "tune it out," it still reduces the perceived low-level resolution of the system. In addition, the profound bass capabilities of a Home THX Audio System can create distracting rattles which 24 lesser systems might never evoke. It can be tempting to try to solve all of these problems with the indiscriminate use of sound-absorbing products, but even this technique has its pitfalls. All of these common acoustical problems will be addressed in this section. Once again, these techniques are not necessary for a successful Home THX Audio System installation. Rather, they are provided to solve occasional problems and to provide further enhancement possibilities. ROOM REFLECTIONS The most troublesome room reflections are usually the early reflections of the LCR speakers off the floor, ceiling and side walls. These reflections reach the listener's ears delayed with respect to direct sounds and blur the perceived image. They can also degrade dialog intelligibility, through the same mechanisms. The design of the THX LCR speakers minimizes the floor and ceiling reflections. As an extra enhancement, it is often a good idea to place a thick, absorptive carpet between the front speakers and the listening position, just to further reduce this primary reflection from floors with hard surfaces. A rug made from wool will have more uniform absorption characteristics than one made from synthetic fibers. The THX LCR speakers have broad dispersion in the horizontal plane in order to ensure a wide usable listening area. This design choice can induce reflections off of the side walls, especially in installations where they are relatively close to the front speakers. These reflections can be reduced simply by angling the left and right speakers inward somewhat. If giving the speakers some "toe-in" is not enough, the next step is the strategic placement of absorptive materials on the side walls. These range from commercially available fiberglass and dense foam to heavy draperies and even large, overstuffed furniture. The optimal position for these materials can be found with a small hand mirror and an assistant. Sit at the primary listening position and have the assistant slowly slide the mirror along the wall. When you can see any of the front speakers reflected in the mirror, mark the wall at the mirror for later placement of absorptive material. A variation of this method is especially helpful in rooms which are already fairly "dead" acoustically. Rather than using absorptive material in rooms like these, try using diffusion instead. Commercially built diffusers are available but large bookcases and irregularly shaped furniture will also serve the same purpose. They reflect sounds in a highly randomized way which effectively "scatters" the sound in all directions. Place the diffuser where you would otherwise place the absorptive material (using the "mirror trick"), to break up the first early reflections and scatter them randomly throughout the room. 25 Commercially available fiberglass, foam and diffusion panels may not be aesthetically acceptable in many installations, particularly when the home theatre room serves multiple purposes. All of these materials can be covered with acoustically-transparent cloth for design considerations. It is important that the cloth be acoustically transparent, however, or else the effectiveness of the absorptive material will be greatly reduced. The simplest test for this is to hold a large sample of the cloth in front of a speaker playing the pink noise found in Chapter 6 of the WOW! laserdisc. If you can move the cloth in front of the speaker without hearing a difference, you are all set. Large expanses of glass can be challenging. They reflect mids and highs but often pass bass through almost as though they didn't exist. The result is a characteristically bright, rough sound which can be difficult to correct electronically. The best treatment is generally the heaviest insulated drapes which can be found. (Incidentally, these serve double duty, controlling light which might otherwise fall on the screen.) The materials just discussed are ineffective at lower frequencies. See the discussion on Standing Waves for more information about treating environments with low frequency response problems. 26 EXCESSIVE USE OF ABSORPTIVE MATERIALS People are sometimes tempted to go overboard with absorptive material once they discover how powerful its use can be. While the ideal home theatre should be considerably "deader" acoustically than a typical living room, it still needs some reflectivity and diffusion. In particular, the surround speakers depend on non-absorptive surfaces for their operation, since they radiate virtually no sound directly at the listeners. The best arrangement of the absorptive and non-absorptive surfaces in the room can be seen in the diagram below. Most of the room surfaces are relatively absorptive, with the notable exception of the rear wall and the highest portions of the other walls, which should be diffusive. "SLAP" ECHOES "Slap" echoes are common in rooms which have parallel walls with little or no absorption or diffusion. Sounds tend to bounce back and forth between the parallel wall many times before they die out, causing a characteristic bright, "zingy" sound and interfering with the intended tonal balance and acoustic nature of the soundtrack. Walk slowly through the room, clapping your hands. No clear reflections should be heard at any point in the room--especially not near the primary seating area. Listen for ROOM ABSORPTION FOR HOME THEATRE SYSTEMS Surround speaker Screen speaker · "Dead" zone absorbs front speaker reflection. · "Live" zone provides surround propagation Reflective "live" zone Absorptive "dead" zone 27 a "flutter echo" of the hand clap (a rapidly-repeating percussive sound, indicative of the sound bouncing between two parallel walls). Again, the best home theatres are fairly "dead" acoustically. This allows the program material and the playback system to create the environment, rather than having the room's native acoustic signature color everything. You can also use the hand claps in chapters 17 and 18 of WOW! The solution for slap echoes is usually a combination of absorption and diffusion. Specifically, placing absorptive material behind the front speakers (heavy drapes, fiberglass, dense foam) and diffusion in the rear of the room (bookcases, irregularlyshaped furniture, etc.) will deliver the greatest benefits. This will effectively suppress the slap echoes while at the same time providing a diffusive surface in the rear for the surround speakers. This enhances the enveloping characteristic of the surrounds even further. In those relatively rare cases where you have the luxury of building the home theatre room from scratch, consider using non-parallel surfaces in the construction of the room. A difference of as little as 6° will break up the slap echoes very effectively. For example, "flaring" the side walls out from the front by approximately 6° and having the ceiling rise toward the rear of the room at a comparable rate will do wonders for the room's acoustics, if the wall design is solid and the angles are clearly intentional from the outset. RATTLES Rattles in the room are structural resonances (as opposed to standing waves, which are airborne resonances) which the system may stimulate due to its broad frequency response and wide dynamic range. They are particularly prominent for sounds in the lower frequencies, and can sound like distortion. Sources of rattles include: furniture, loose window frames, walls, lighting, fixtures, ventilation systems, and even knickknacks on various shelves around the room. The simplest way of identifying these rattles is by using the Rattle Test found on WOW! (Chapter 16). This is an extremely slow low frequency sweep from 20 Hz to 500 Hz, recorded at reference level. 10dB of output level increase over standard level might be necessary to allow hearing all the room rattles. Be careful with this test, as it is also a severe test of associated amplifiers and speakers. As the sweep makes its way up the frequency range, you will probably find a surprising number of rattles in your room. All of these rattles will occur at one time or another during music or movies, but are usually perceived as background noise or distortion in the system. Once identified, eliminating the rattles is usually straightforward. As an example, small 28 pieces of felt can be affixed to the back of a painting (in the bottom corners) to prevent audible rattles against the wall. Likewise, strips of felt can be wedged into a loose window rattling in its frame. Recessed lighting fixtures can be tightened up. A piece of cloth can be placed under offending knick-knacks. Every Home THX Audio System should be subjected to the rattle test at least once-- the difference in low level resolution and in freedom from pseudo-distortion is sometimes large, and the effort involved is quite small. BACKGROUND NOISE The effects of background noise on system performance is dramatic, yet often overlooked. Most people might think of it merely as a minor inconvenience, yet it has a profound effect on the way we perceive sound. The presence of more-or-less constant background noise alters the way we perceive volume, since subjective loudness is a relative measure. In a quiet room, even a 70 dB SPL sound can seem fairly loud. In a noisy convention center, the same volume would be barely audible. Since there is a practical upper limit to both the volume to which we should expose ourselves and to the volume a given system can reproduce, having a relatively noisy environment effectively limits the perceived dynamic range of the program material. This, in turn, limits the dramatic effect which might have been intended by the director (or the performer, if listening to music). Constant background noise also obscures, or masks, low-level signals which are frequently important in films. Many scenes use subtle ambient noises to set the mood prior to an important event--without the full perception of the whispered secret or the barely-heard creaking of a door, the impact of the following scene is diminished. It has been demonstrated that even a relatively narrow-bandwidth noise can effectively reduce our hearing acuity over a broad range of frequencies, far greater than the noise itself. When you add up all the various sources of noise from electric motors, noisy heating/cooling systems, outside noises, plus noises that even audio and video components can introduce such as noisy transformers, motors in laser players, or projector fan noise, our ability to discern the low-level information in the soundtrack is greatly compromised--and the director's intention along with it. BACKGROUND NOISE SOLUTIONS Many sources of noise in a home environment can be addressed simply. Locating the home theater in the basement often removes it from many household noises as well as isolating it from the other family members. Taking care to completely seal windows and 29 doors can also make a significant difference in reducing outside noise. Heating and cooling systems are more challenging. Sometimes, the answer may be as simple as using a "whistle-free" diffusion grille rather than one which creates undue noise from turbulence. In cases of new construction, using larger-diameter air ducts for lower air velocity is very beneficial. You can go further by using ductwork which is lined with acoustically-absorptive material. Where possible, longer ducts which have several turns further reduce the sound of the airflow, by eliminating the straight path from the heating/cooling system to the room. Some of the construction techniques used to minimize the transmission of external sounds into the listening environment include: · Double or triple layers of sheet rock (gypsum board) · Double wall construction, meaning two complete sets of studs (preferably stuffed with fiberglass insulation) · Double wall construction with staggered studs (minimizes transmission of vibrations from one set of studs to the next) · Floating floor construction (again, preferably stuffed with fiberglass; this also can enhance the perceived bass, since the subwoofers may cause structural vibrations through the false floor which then get transmitted up through furniture) · Seal all windows, doors, vents · Seal and caulk all apertures in the wall (electrical outlets, through-wall plumbing, etc.) Finally, transient noises (traffic on the street, dripping faucets, etc.) distract your attention away from the program material, and remind you that you are in your home theatre/living room rather than a participant in the action of a movie. STANDING WAVES A "standing wave" is what causes a pipe of a particular length in a large pipe organ to have its characteristic pitch. The pipe literally amplifies certain frequencies, based on its length and the wavelength of the frequency. A typical rectangular room has three characteristic "lengths," and thus three fundamental standing wave frequencies. In addition, multiples of these frequencies are also amplified. These frequencies are often referred to as "room resonances" or "room modes"--that is, the frequencies at which the room tends to vibrate of its own accord. These resonances lead to uneven frequency response, the greatest problems being in the 60­150 Hz range for a typical domestic living room. (At lower frequencies in larger rooms.) 30 Unfortunately, there is no way to eliminate the effects of standing waves completely. The best that can be done is to minimize their effect through a variety of strategies. STANDING WAVE SOLUTIONS: ROOM RATIOS In new construction, the best way to minimize the audibility of standing waves is to plan for an even distribution of them, so that their effects do not "pile up" on top of each other. In this regard, the ratios of room dimensions are the critical factor. Rooms having equal dimensions are the worst, since the standing waves in all directions reinforce one another. Room dimensions which are even multiples of one another are also to be avoided where possible. STANDING WAVE SOLUTIONS: SPEAKER PLACEMENT Speaker placement also has an effect on standing waves and their audibility. In particular, placement of any speaker (including subwoofers) where two walls and the floor meet will tend to stimulate all of the available standing waves, causing the most irregular response. The displacement required to minimize a particular standing wave depends on its frequency, with lower frequencies requiring more movement owing to their longer wavelengths. As a result, minimizing colorations due to standing waves often requires significant adjustment of subwoofer placement. Leave yourself some latitude with regard to subwoofer placement when planning your system--the final adjustment will probably have to be done on something of a trial-and-error basis. STANDING WAVE SOLUTIONS: ABSORPTION In theory, it is possible to damp standing waves with absorptive material. The difficulty is that the thickness of the absorptive material would have to be approximately one-half the wavelength of the lowest frequency requiring damping. This means a five-foot thickness of fiberglass would be required in order to damp everything down to 100 Hz--not very practical. Standing wave energy tends to be concentrated in the corners of rooms, which is why these are the worst places for subwoofers. Because of this fact, it may be possible to break them up somewhat by "breaking up" the corner. This can be accomplished by placing a column of thick, absorptive materials in the corners (covered by acoustically transparent cloth, of course). The column ought to be at least a foot on a side, and run from floor to ceiling. A variation on this theme is to run an absorptive panel diagonally across the corner, leaving open air space behind it. Neither of these techniques is more than a partial solution, at best, but they are easily tried and sometimes quite effective. 31 STANDING WAVE SOLUTIONS: ROOM EQUALIZATION If a room exhibits severe standing wave problems, the best solution is to know your own limitations: hire a trained acoustician. These professionals have the necessary background to analyze the various room modes and recommend appropriate action. This will sometimes take the form of a custom-designed bass trap, which may be easily constructed. But it takes specific skills to determine its optimal design. On other occasions, careful third-octave analysis and equalization may be appropriate. Optimize everything else that you can, then use EQ, if necessary, to "touch up" the room. This is its best use. If everyone used EQ this way, it wouldn't have the bad reputation that it has in some consumer electronics circles. Professional use it all the time, with excellent results--because they know its limitations and how to apply it. Never equalize a room by ear. Room analysis is not as straightforward as it may seem. The analysis should be done using equipment with at least one-third octave resolution, using both spatial and temporal averaging. The final electronic equalization should be applied by means of a one-third octave graphic equalizer at a minimum. In any event, rooms requiring this level of treatment are relatively rare, and the skills necessary to handle them properly are highly specialized. Do not hesitate to use the professional services of an acoustician when you need them. 32 SUGGESTED DEMONSTRATION TITLES The THX disc, WOW!, features a number of sections with exciting and entertaining demonstrations of the various aspects of motion picture sound tracks including low frequency response, dynamics, and surround effects. There are also many other discs which will provide outstanding demonstrations of surround for both music and movies. A large number of compact discs have been released encoded with Dolby Surround over the last year. These encoded titles, along with the tens of thousands of wellrecorded stereo recordings available, provide a vast library of recorded music material for use with your SP MK II processor. A short list of film titles is provided below which provide exceptional audio mixes. ALL STAR WARS ALL STAR TREK ALL INDIANA JONES THE ABYSS AIR AMERICA ALIENS AMADEUS APOCALYPSE NOW (REISSUE WIDESCREEN) BACKDRAFT BACK TO THE FUTURE BACK TO THE FUTURE II BATMAN BEETLEJUICE BLACKRAIN BLADERUNNER (REISSUE WIDE SCREEN) BRAINSTORM DANCES WITH WOLVES DICK TRACY* GHOST HAMBURGER HILL HOME ALONE THE HUNT FOR RED OCTOBER IMAX: THE CREAM IS ALIVE* JACOB'S LADDER LADYHAWKE THE MISSION MEMPHIS BELLE OUT OF AFRICA PREDATOR PREDATOR 2 ROBIN HOOD RUSTLERS RHAPSODY THE ROCKETEER THE RIGHT STUFF TEENAGE MUTUANT NINJA TURTLES TOTAL RECALL WITCH OF EASTWICK * EXERCISE CAUTION! The bass energy and recorded levels on this disc can damage or destroy ordinary speakers and subwoofers. 33 TROUBLESHOOTING Symptom No output from one or more channels Probable Cause · Defective cables · Defective amplifier Solution · Check/replace cables or fuses · Verify that the signal source is operating and providing proper signal output to the power amplifiers · Verify proper operation of remote control · Check amplifier · Check SP MK II · Use absorptive material to minimize early reflections · Check another program source; program is synthesize stereo from mono source (broadcast stereo TV) · Aim speakers at listening area; check polarity · Add absorption or diffusion materials check levels using WOW! disc or internal test noise sequencer · Recalibrate input level controls · Use larger amplifiers · Adjust subwoofer level of crossover · Remove absorption selectively · Try alternative program source · Restore normal playback levels · Adjust level by using built-in test signals ·Move subwoofers to improve performance · Place surrounds according to THX spec ·Add absorption and/or diffusion materials ·Remove absorptive material to provide surround No center channel output Poor or smeared imaging · Amplifier not turned on · CTR button not engaged · Poor room acoustics · Poor program source · Improper polarity Indistinct dialog · Slap echoes · Miscalibration of center channel output level · Input level miscalibration · Inadequate power amps · Subwoofer level too high · Excessive room absorption · Poorly recorded program source · Excessively high playback levels · Misadjusted subwoofer level · Severe room modes or bass loss due to room construction · Poor speaker placement, strong reflections ·Excessive absorption near surrounds Clipping distortion Too little or Too much bass Uneven surround coverage 34 JBL SYNTHESIS LIMITED WARRANTY The Synthesis products listed below are warranted for the period stated from the date of original purchase. Amplifiers, Equalizers, Signal Processing Package and Surround Sound Processor--2 Year Warranty. This warranty applies to non-commercial, residential use only. WHO IS PROTECTED BY THIS WARRANTY? Your JBL warranty protects the original owner and all subsequent owners, so long as the original bill of sale is presented when warranty service is required. WHAT IS COVERED BY THE JBL WARRANTY? Your JBL warranty covers all defects in material and workmanship with the following specified exceptions. These are (1) damage caused by accident, unreasonable use or neglect (including the lack of reasonable and necessary maintenance); (2) damage caused by improper installation or adjustment; (3) damage occurring during shipment (claims must be presented to the carrier); (4) damage to or deterioration of any accessory or decorative surface; (5) damage resulting from failure to follow instructions contained in your owner's manual; (6) damage resulting from the performance of repairs by someone other than an authorized JBL warranty station; (7) any JBL unit on which the serial number has been effaced, modified, or removed; (8) units which have been altered or modified in design, appearance or construction; (9) products sold on an "as-is" or final sale basis. This warranty covers only the actual defects within the product itself, and does not cover the costs of installation or removal from a fixed installation, normal set-up or adjustments, claims based on any misrepresentation by the seller, or performance variations resulting from installation related circumstances such as program source quality or AC power. HOW TO OBTAIN WARRANTY SERVICE. If your JBL product ever needs service, we may direct you to an Authorized JBL Warranty Station, or ask you to send your unit to the factory for repair in which case we'll also supply a Service Return Authorization and complete shipping instructions. If the product was purchased in a country other than the USA, it is necessary to return the product to the distributor or selling location in the same country. Either way, you'll need to present the original bill of sale to establish the date of purchase. Please do not ship your JBL product to the factory without our prior authorization. In the United States, please call 1-800-336-4JBL for the location of the authorized warranty station nearest you. If service under this warranty is not necessary, but you have questions regarding the installation or operation of this unit, please contact your authorized JBL retailer or call 1-800-336-4JBL for further assistance. WHO PAYS FOR WHAT? JBL will be happy to pay all labor and material expenses for all repairs covered by this warranty. If necessary repairs are not covered by this warranty, or if a unit is examined which is not in need of repair, you will be charged for the repairs or the examination. Although you must pay any shipping charges incurred in getting your JBL product to an Authorized Warranty Station or to the factory, we will pay return shipping charges within the United States if the repairs are covered by the warranty. Please be sure to save the original shipping cartons because a nominal charge will be made for additional cartons. LIMITATION ON IMPLIED WARRANTIES IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR PARTICULAR PURPOSE ARE LIMITED IN DURATION TO THE LENGTH OF THIS WARRANTY, UNLESS OTHERWISE PROVIDED BY STATE LAW. EXCLUSION OF CERTAIN DAMAGES JBL'S LIABILITY IS LIMITED TO THE REPAIR OR REPLACEMENT AT OUR OPTION, OF ANY DEFECTIVE PRODUCT AND SHALL IN NO EVENT INCLUDE INCIDENTAL OR CONSEQUENTIAL COMMERCIAL DAMAGES OF ANY KIND. SOME STATES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS AND/OR DO NOT ALLOW THE EXCLUSION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATIONS AND EXCLUSIONS MAY NOT APPLY TO YOU. This warranty gives you specific legal rights, and you may also have other rights which vary from state to state. We sincerely thank you for your expression of confidence in JBL products. This equipment has been painstakingly assembled by highly trained craftspeople. It should give you many years of musical enjoyment. 35 SYNTHESIS SP MK II SPECIFICATIONS Output Channels: Three main channels, three front subwoofer outputs (left, mono, right), four surround (left side, left back, right side, right back), and mono surround subwoofer output Frequency Response: 1Hz­50kHz +/­3dB main channels (crossover bypassed) Frequency response of surround channels is dependent on surround parameter selected Subwoofer Response: THX Electronic Crossover: Maximum Output: 1Hz-80 Hz; 12 dB/octave rolloff above 80 Hz 80Hz @ 12 dB/octave high pass; 24 dB/octave low pass as per Lucasfilm THX requirements (crossover is defeatable) 7 volts rms front channels; 3.5 to 7 volts rms surround channels depending on surround mode selected. Rated output: ­1.5 volts rms all channels THD/IMD: Autobalance Range: is Bass EQ: Input Sen./Impedance: Output Impedance: Signal to Noise: Static Interchannel Separation: Main channels ­less than 0.05% at rated output Surround channels ­less than .1% at rated output +/­5.5 dB imbalance error; defeatable when manual correction necessary 0 to + 18 dB boost @ 40Hz. Bypassed in full counter clockwise setting 70mV to 3.4 V @ 100K ohms 300 ohms unbalanced All outputs, better than ­95 dB "A" weighted referenced to rated output 35 dB minimum; typically better than 40 dB in Motion Picture, Dolby Pro Logic and Home THX Cinema surround modes with center channel and crossover engaged Dimensions/Weight: 17.1" wide x 15" deep x 3.8" high (3.5" high with support feet removed); 15 pounds net; 6.8 kilos THX is a registered trademark of LucasArts Entertainment Company. Synthesis is a registered trademark of JBL, Incorporated. This product is licensed under one or more of the following US patents: 3,632,886; 3,746,792; 3,959,590; 3,883,832 and the patents issued and pending to Jim Fosgate including 4,932,059. `PRO · PLUS and DIGITAL SERVO LOGIC' are trademarks of FOSGATE · AUDIONICS, a HARMAN INTERNATIONAL COMPANY. `DOLBY, DOLBY STEREO, PRO LOGIC, TIME LINK and the double-D symbol' are trademarks of DOLBY LABORATORIES LICENSING CORPORATION. Manufactured under license from LUCASARTS ENTERTAINMENT COMPANY. Additionally licensed under the following patent: U.S. number 5,043,970. Foreign patents pending. `LUCASFILM THX AUDIO and HOME THX CINEMA' are trademarks of LUCASARTS ENTERTAINMENT COMPANY. 36 JBL SP SP MK II Surround Processor User's Manual Quick-Start BASIC OPERATIONS + Master Volume Ambience Ref. Sound Stage - Press VOLUME (up or down) to make system louder / softer Center Sib Fil Center On Mute Delay Bypass Center Boost Hall 1 Hi Freq EQ Hall 2 Rock Pop Jazz Engage one of these for music listening Engage one of these for movie listening 70 mm Movie S-VID-1 35 mm Movie S-VID-2 THX Mono Enhance VCR Engage one to select a source VDP CD Aux Power Press POWER to turn system ON / OFF SYNTHESIS