JVC xpa1010tn

- XP-A1010TN WP-A1Q10 DIGITAL ACOUSTICS PROCESSOR sre OHS WE Contents Safety Precautions ..........cscceeseceeeeseeeeeeeaenecees Page 1- 2 Adjustment Procedures .......csccsessseeeseneenneeneees Page 1-39 Troubleshooting ..........::sccceveeseeeseceenseeeseeeeeees Page 1-40 Lithium Battery Cautions ..........:ccseeeeesseeeeeeees Page 1- 3 Remote Control Unit (RM-SXA1010U)............0+ Page 1-45 Service Precautions ...........c.cceesneceeeeeeeeeneneenes Page 1- 3 Precautions for Connecting Your JVC Amplifier .. Page 1-46 Connection Diagram. ........ccccccecseeeeeeeeneneeeeeneee Insertion Instruction Book Block Diagram............cceeceeeeeeeeeeceneeneeneeeeeneeeee Insertion Description of New Technology .............:.eeseee- Page 1-18 Schematic Diagram ............606+ Description of Major LSI ..........eecececeeeeenceoenee Page 1-23 Printed Circuit Board Ass‘y Outline of Other IC... eee cece eet eeeee ere eenens Page 1-32 Parts List ........cccccceeeenseeeeeneeees FL Display Tube .............0ccecenesneceneeseeeeeeeeenens Page 1-37 Removal Procedures .........cecscceeeeeeseeeeeneeeeener Page 1-38 No. 20120 Jun. 1989

XP-A1010TN | Safety Precautions 1. The design of this product contains special hardware and many circuits and components specially for safety pur- poses. For continued protection, no changes should be made to the original design unless authorized in writing by the manufacturer. Replacement parts must be identical to those used in the original circuits. Service should be per- formed by qualified personnel only. . Alterations of the design or circuitry of the product should not be made. Any design alterations of the product should not be made. Any design alterations or additions will void the manufacturer’s warranty and will further relieve the manufacturer of responsibility for personal injury or property damage resulting therefrom. . Many electrical and mechanical parts in the product have special safety-related characteristics. These characteristics are often not evident from visual inspection nor can the protection afforded by them necessarily be obtained by using replacement components rated for higher voltage, wattage, etc. Replacement parts which have these special safety characteristics aré identified in the Parts List of Service Manual. Electrical components having such features are identified by shading on the schematics and by ( A\\) on the Parts List in the Service Manual. The use of a sub- stitute replacement which does not have the same safety characteristics as the recommended replacement part shown in the Parts List of Service Manual may create shock, fire, or other hazards. . The leads in the products are routed and dressed with ties, clamps, tubings, barriers and the like to be separated from live parts, high temperature parts, moving parts and/or sharp edges for the prevention of electric shock and fire hazard. When service is required, the original lead routing and dress should be observed, and it should be confirmed that they have been returned to normal, after re-assembling. . Leakage current check (Electrical shock hazard testing) After re-assembling the product, always perform an isolation check on the exposed metal parts of the product (antenna terminals, knobs, metal cabinet, screw heads, headphone jack, control shafts, etc.) to be sure the product is safe to operate without danger of electrical shock. Do not use a line isolation transformer during this check. e Plug the AC line cord directly into the AC outlet. Using a ‘Leakage Current Tester’, measure the leakage current from each exposed meta! part of the cabinet, particularly any exposed metal part having a return path to the chassis, to a known good earth ground. Any leakage current must not exceed 0.5 mA AC (r.m.s.). e Alternate check method Plug the AC line cord directly into the AC outlet. Use an AC voltmeter having 1,000 ohms per volt or more sensi- tivity in the following manner. Connect a 1,500 2 10W resistor paralleled by a 0.15 uF AC-type capacitor be- tween an exposed metal part and a known good earth ground. Measure the AC voltage across the resistor with the AC VOLTMETER AC voltmeter. (Having 1000 ohms/volt, Move the resistor connection to each exposed metal or more sensitivity.) Part, particularly any exposed meta! part having a return path to the chassis, and measure the AC volt- OO 0.15 pF AC TYPE age across the resistor. Now, reverse the plug in the 15002 10W Place this probe AC outlet and repeat each measurement. Any voltage > on each exposed measured must not exceed 0.75 V AC (r.m.s.). This metal part. corresponds to 0.5 mA AC (r.m.s.). Good earth ground Warning . This equipment has been designed and manufactured to meet international safety standards. . It is the legal responsibility of the repairer to ensure that these safety standards are maintained. . Repairs must be made in accordance with the relevant safety standards. . Itis essential that safety critical components are replaced by approved parts . If mains voltage selector is provided, check setting for local voltage. 1-2 (No. 20120)

Lithium Battery Cautions XP-A1010TN Varning ADVARSEL! Lithiumbatteri. Explosionsfara vid Lithiumbatteri. Eksplosionsfare. felaktig hantering. Byte far endast ske Udskiftning ma kun foretages af en sagkynding og som beskrevet i av sakkunnig personal enligt servicedokumentationens anvisningar. servicemanualen. Udskiftning ma kun ske med batteri af Byte far endast ske mot batteri av samma fabrikat och typ. samme fabrikat og type. ADVARSEL! Varoitus : Lithiumbatteri — Eksplosionsfare. Litiumparisto — rajahdysvaara. Utskiftes kun av sakkyndig personell Vaihda paristo laitevalmistajan og som beskrevet i servicemanualen. suosittelemaan tyyppiin. _ Batteriet ma kun erstattes med et batteri av samme fabrikat og type. Warning Lithium battery. Danger of fire or explosion if handled careless. May be replaced trained personnel only according to the service manual. For battery replacement 1. Replace battery, BT601, with JVC Part No. CR2032-FT6, nominal voltage 3V, only. Use of another battery may present risk of fire or explosion. 2. Solder within 5 seconds when the temperature of the soldering iron tip is 350°C, within 10 seconds when the temperature is 250°C. 3. Always use a terminal to solder. Never solder directly to the battery body. Cautions on Battery Handling 1. Do not pile batteries one on the other or heap them together so that the + and — terminals come into contact, and do not touch them to metals. 2. Do not expose the batteries to heat. 3. Do not take the batteries apart or subject them to shock. 4. . Do not charge the batteries. Service Precautions 2. When removing the flat cable of the FL display tube (CN1, J605), turn the power off and discharge C102, C103 1. When repairing the DSP board, remove the black wire and C104 using a resistance of about 1K ohm 1/4W to pre- (J606) of the backup circuit and discharge C616 using a resistance of about 1K ohm 1/4W to prevent damage to vent damage to the microcomputer in the FL. the microcomputer (IC601). (No. 20120) 1-3

DIGITAL ACOUSTICS PROCESSOR (DAP) Music from your sterec is more enjoyable when it faithfully The JVC DAP reproduces the sound-field patterns of a live performance (the reflected sound that a listener hears from reproduces the original performance and creates the feeling various directions) using the most recent digital technology. of a live performance (sound-field creation). The JVC Digital It allows you to enjoy the effect of a live performance by Acoustics Processor (DAP) makes that performance possible. reproducing, in your listening room, the sound field of a jazz (‘bO-NZL)1OZ The sound patterns comprising a sound fietd is classified in- to three types of sound: club, concert hall or church. * Direct sound from the sound source © Reflected sound from wall and ceiting The DAP is programmed with 20 patterns of sound fields © Reverberating sound, repetition of reflected sound from such places as a concert hall, recital hall, church, cathedral, jazz club and a stadium. The sound field data pat- pone tern was collected using the new ‘‘Symmetrical 6-point rOmect Soune sound-field analyzing method’’. From these 20 patterns you Eaty Retectens can select the optimum sound field for the playback pro- gram according to the style of music you listen to. pan eR era ‘Sym6-mPoinet SotundrFieild AcnalyasialPattern $010 130s tm These three types of sound vary depending upon the size Alt Mah and shape of the performance place, the wall and ceiling ae material, the positions of musicians and the audience. The characteristic sound of a famous concert hall is produc- ed by the balance of these three elements created in the structure of the concert hall. Music playedback from your audio device can be enjdyed with the feeling of a live performance by adding two or four dedicated speakers (other than two front speakers) to reproduce the reflected and reverberating sound of a con- cert halt. THE OPTIMUM POSITION OF DEDICATED SPEAKERS RQ R/DAP speaker (left) F/DAP speaker (left) Listing point Main speaker (left) Main speaker (right) [Xj R/DAP speaker [right) F/DAP speaker (right) TORII: When using this equipment in a four-channel system {with Also, when loading a programmed pattern, temporary main speakers and rear speakers alone), allow a little wider changes can be made in the parameters” of these programs. separation between the main speakers. {It is recommended You can create your own sound-field patterns by changing that angle a be about 20°.) the parameters and then saving the new sound-field pat- tern in one of the 20 manual-program memory locations. Speaker Placement [SIDE VIEW} * Refer to page 6.

PARAMETERS The 20 programs contain the sound field parameters of each performance site. This sound-field data was collected using the NLOLOLW symmetrical 6-point sound-field analyzing method. You can create your own original sound field by changing one or more of these sound field parameters: 1. ROOM SIZE As the value of the parameter increases, the performance The data on the size of a performance site is programm- site is given more reverberations. ed as a Standard value of 1.0. You can change this parameter from 0.5 (1/2) to 2 (double- NN D.S. Rev size room). oo As the value of the parameter increases, the apparent size © y ER of the performance site gets larger. 3 Direct Sound {0..) DS. time > time > Ny ER t Y Early Reflections (E.R.) &@ ———-s 5. HF REVERB a} p}— Controls the reverberation time characteristics at high 2 frequencies. The vatue of 1.0 is the same rate as the 2 Min Max middle frequency reverberation time characteristic. You can change this parameter between 0.1 and 1.0 —_——_—_—_ (double). The standard value varies depending upon the perfor- time —> time —> mance site. As the value of the parameter increases, the apparent 2. LIVENESS quality of the walls, ceiling and other parts of the perfor- The reflection rate measured in a performance site is pro- mance site becomes harder. grammed as a standard value of 1.0. You can change this parameter between 0.5 (1/2) and 2 tlos Nos (double). As the value of the parameter increases, the performance aS|lPyE.R ae}llyeere site is given greater reflections. = High frequency “TIP D s. o m ge Min Max sa High. ' “E_R. <a za reverb x Medium, (>ano Medium Low frequency reverb Low frequency reverb [>aaa] time > time -» time > time > 6. REAR DELAY (Preset 16 — 20 only) 3. LPF Sets the delay time of the R/DAP output signals (the rear Indicates the frequency characteristics of the total reflected speakers) delayed from the main signals. You can change sound. The programmed standard value varies depending this parameter from the standard vatue of 20 msec to bet- upon the performance site. You can change this parameter between flat and a cut- ween 15 and 30 msec. off frequency of 1 kHz. As the value of the parameter increases, the reflections 7. OFFS DELAY of the high frequency region are further emphasized for the performance site. Sets the output delay time of the F/DAP (front speakers) and R/DAP (rear speakers) signals delayed from the main signais in order to compensate the time delay between digital input signal and analog output signal of an amplifier with D/A converter. You can change this parameter from the standard value of 0, up to 200 msec. Set the maximum value only when using the DAP in digital direct mode. THRU os DS. Ca Reflection l>ana] ava First Reflection Y t>ena] (>eaa7 > REVERB LEVEL 1 2 18 16kHz Frequency> time —> Off set Delay time time —» Controls the reverberating sound evel. The data of each Off set Delay: ZERO pertormance site is programmed as a standard vatue of Note: 1.0. i. When you select analog input signals, you do not need to use this parameter. You can change this parameter between 0 (none) and 2 ii. R/DAP output of preset No. 16—19 cannot be compen- (double) sated by this parameter.

CONNECTION AND PREPARATIONS Connect the cables; set and adjust the switches according to the connected audio equipment and the speaker arrangement (four channels or six crannels). Use the following tables to guide your setup: When Using an Analog Amplifier for the Main Signal (Source Playback): Turn the DIGITAL DIRECT switch OFF (analog). Saat Amelie an Separate amplifgiser Pre-Main Amplifier arreaankegrement i] . Fig. A With PREOUT-MAIN IN With TAPE MONITOR 6 CH (.m) terminal and switch operation ™..| terminal Fig. A 6 CHANNEL 4CH (=) Fig. B | Fig. C DAP MODE switch® = 6 CH(m) 6 CH(m) 4 CHANNEL Fig. B Fig. C T 4.CH (=) 4CH (=) DAP MODE switch@ When Using a Digital Amplifier (with D/A Converter) for the Main Signal (Source Playback): Turn the DIGITAL DIRECT switch ON (digital). When connecting a digital amplifier with a larger delay time between input and output, set the OFFSET DELAY TIME of this unit to match the delay time of the digital amplifier in order to create a proper sound field. Amplifier and Pre-Main Amplifier input terminal with TAPE MONITOR With PREOUT-MAIN IN Separate amplifier Speaker terminal 4. terminal | OPTICAL | COAXIAL and switchoperation —~ | OPTICAL | COAXIAL | OPTICAL | COAXIAL 6 CHANNEL Fig. D Fig. E Fig. F DAP MODE switch @ 6 CH (m) 6 CH(m) T 6 CH (m) (OPTICAEL)ee/ [COAXIAL M1 |: COM |) | Cm | mm | Co Selection switch @ Fig. D Fig. E Fig. F 4 CHANNEL DAP MODE switch ® 4CH (=) 4CH (=) 4CH (=) S[eOlPeTcItCiAoLn] s/wi(tCcOhAX@IAL M39) OM Ms, OW | mo |lLC=lo TOGZN-)L(OZ

USING ANALOG SEPARATE TYPE AMPLIFIER ANALOG MAIN amplifier tor \"MAIN' Turn tabie tN OUT Cassette deck Listener (REC) (PLAY) RiDAP Sound field speakers ANALOG LR PRE-MAIN amplitier for ““A/DAP’ Fig. A 4 channel mode [rotueesAmplifier for 'F/DAP’’ ote“FIDAP’ speakers 6 channel mode Connect to F/DAP out Connect to the amplifier for '‘F/DAP’’ USING PRE-MAIN AMPLIFIER WITH PREOUT MAIN IN TERMINAL FOR “MAIN” ANALOG PRE MAIN amplifier tor “F/DAP\" AUX = F/OAP : Sound field speakers ANALOG PRE MAIN amplifier with uR PREOUT MAIN IN terminal for MAIN’ PRE MAIN me Main W speakers Turn table Listener AIDAP Sound field speakers PARNEALMOAGIN amplifier tor “R/DAP™ (REC) (PLAY) Cassette deck Fig. B 4 channel mode Amplifier for ‘‘F/DAP*' | ““FIDAP\" speakers 6 channel mode not used not used Connect to F/DAP out Connect to the amplifier for ““F/DAP’’ —B8- NLOLOL

USING PRE-MAIN AMPLIFIER WITH TAPE MONITER TERMINAL, PAL MAIN amplifier for “FOAP™ FOR “MAIN” $i fo Oo +=WrENSEE . s| Sour hFeAldPspeblers AAMNPALOfGor “PMREAIMNAIN REC PLAY -@©: (\"9O-NLZ)LOZ TAPE MONITOR SWITCH shouid Turn table Listener RIDAP Sound field speakers APRNEALMOAGIN amplifier for “R/DAP* Fig. C 4 shannel mode | Amplifier for ““F/DAP’’ “FIDAP’’ speakers not used 6 channel mode | not used Connect to the amplifier for ’F/DAP’’ | Connect to F/DAP out USING AMPLIFIER WITH D/A CONVERTER AND TAPE MONITOR, FOR “MAIN? snaisc PRE MAIN amplifier for 'F/DAP™ F/DAP ad Sound field speakers PRE MAIN AMP with D/A DAT MONITOR switch converter for MAIN should be ON COAXIAL cable OPTICAL Listener a ADAP Sound field speakers PARNEALMOAGIN ampliter tor “R/DAP* COAXIAL DAT deck IN Qut AREC) (PLAY? 4 channel mode Amplifier for “F/DAP”’ Fig. 0 6 channet mode not used NOTE: Main level cannot be controtied by master volume. Connect to F/DAP out “FIDAP\" speakers —~9-— not used Connect to the amplifier for ““F/DAP”’

USING AMPLIFIER WITH D/A CONVERTER AND PREOUT-MAIN IN TERMINAL FOR “MAIN” ANALOG PRE MAIN amphtier for ““F/QAP* Sound fFiAelDdAPspeakers NLOLOLW- CO player 1 irra Main a's PRE-MAIN amplitier with speakers CO player 2 D/A converter for“MAIN\"| <== eee E Listener RIDAP DseAeP pMaOgDeE7switch Sound field speakers L COAXIAL 'N OUT ANALOG (RECIIPLAY) PRE MAIN amplifier for “R'DAP™ wweeee.«| Fig. E 4 channel mode Amplifier for ““F/DAP*’ NOTE. Main level cannot de controlled by master volume not used | ““FIDAP\" speakers 6 channel mode | Connect to F/DAP out not used Connect to the amplifier for ‘‘F/DAP’’ USING SEPARATE TYPE AMPLIFIER WITH D/A CONVERTER, FOR “MAIN” PRE MAIN amplify for “F/DAP\" OPTICAL cable OOPIToGIuICTrAALL ODPI«\"TGeiI\"SlTcJAlaLt Sound FfirelOdAPspeakers ~¢D player 1 DIGITAL DfoIrGITMAALIN’MAIN amplifier i”COAXIAL ae,\" ‘6/ COAXIAL cable crea ee A ad Listener COAXIAL cable {OPTICAL} /[EQaxtal selection switch RIDAP Sound field speakers see page 7 R ANALOG PRE MAIN CINL. AXOIUATL DAT deck amplifier for “A/DAP (RECHPL AY: Fig. F 4 channel mode | Amplifier for ‘‘F/DAP” NOTE: Main level cannot be controlled by master volume 6 channel mode not used “FIDAP* speakers Connect to F/DAP out not used 25°10. Connect to the amplifier for ‘‘F/DAP'’

USING A JVC AMPLIFIER WITH D/A CONVERTER AND TAPE MONITOR, FOR “MAIN” ANALOG PRE MAIN amplifier for “F/DAP™ AUX ANALOG FIDAP Sound tield speakers * pRE-MAIN AMP with D/A converter for \"MAIN\" me CY Select DAT MONITOR of ont Tare digital input and turn the rhe TAPE MONITOR switch mc orzvmre (GeTICAT] COAXIAL] selection switch see page 7 ZoAwaL & tatene! a Ww OUT LINE (XC©) DS soune fet reanars (REC) (PLAY) t8 (REC) IPLAY) anaroe DAY: deck: PRE MAIN amplifier for “R/DAP\"’ | 4 channel mode ee TRIDAP” ajaokers L 6 channel mode d | ot used | Connect to the amplifier for “F/DAP”’ not use’ Connect to F/DAP out Attention ; ee : i) When the digital signal is selected as an input signal, the output signal to MAIN OUT of LINE is still an analog input from IN terminal of LINE. F ii) When you select analog source by “main” amplifier, be sure to turn the DIGITAL DIRECT switch J off. iii) When connecting DAT via coaxial cable, please connect the analog REC/PLAY cabie to “TAPE” terminal of XP-A1010TN at the same time. Among JVC digital amplifier, there are some models which have time delay between digital signal in and speaker out. When you use this type of amplifier, please consult your JVC dealer. Moreover, there is some types of JVC amplifier on which the main signal is not output when the DAT MONITOR switch and the TAPE MONITOR switch are turned on at the same time. In such a case, please turn off the TAPE MONITOR switch and control main the amplifier. The main level cannot be controlled by the master volume level by the volume on on XP-A1010TN. “OLO£ZN-)\\(0Z ite

DESCRIPTION AND FUNCTIONS Front Panel \\ | DIGIT, ACOUSTICS PROCESSOR] @ REMOTE SENSOR @ DAP RECORDING Receives signals from the remote control unit. The in- Mixes front DAP output with main output, and outputs the dicator is {it while receiving a signal. mixed signal to TAPE REC terminal. DAP RECORDING @ POWER indicator @ is lit during operation. Push this button to turn the power on. Push it again to @ SPREAD/POINT turn the power off. Select SPREAD or POINT to match the source. By first © DIGITAL DIRECT a ped agate condition is displayed, and next press Cspheacnifgieesd, itnhpiust itnodidciagtiotarl iosr laitn. alog. When digital input is .SPRaEnAgDe: iSSelpeacrtamfeotreprl:ayback ofa large organi“zed group, such as an orchestra. @ SAMPLING FREQUENCY Indicator POINT: — Select for playback of a small group, such as Indicates sampling frequency ofdigital input; indicates the 48 kHz sampling frequency of DAP during analog input. a piano solo. ® SOURCE REVERB © TAPE MONITOR indicator Push this button to set the source reverb time using the TAPE MONITOR indicator is lit during operation. DOWN v ® and UP A @ buttons. Use this button when © DAP RECORDING Indicator the source contains a substantial reverb components. DAP RECORDING indicator is lit during operation. @® LISTENING ROOM ’j Each time this button is pushed, : first, L. ROOM RB EVERB, @ Multi-mode display then L. ROOM SIZE are displayed and, finally, the previous Displays the operation modes. display is shown. © MASTER VOLUME L. ROOM REVERB: Set the degree of sound reverbera- Adjusts volume of the main output, and the front and rear tion time of the listening room using the DOWN v @ and UP A @® but- DAP output. : ; ; L. ROOM SIZE: tSoents.the listening room size using the 8 MUTE Indicator This indicator is fitwhile MASTER VOLUME is muted. It DOWN v @ and UPA @® buttons. flickers while main output, and front or rear DAP output @® INPUT LEVEL Indicator are muted. Indicates the level of the analog signal input to the DAP. @ TAPE MO: NITO: R | at When the 15 bit indicator sometimes lights, the DAP ecu ual ene tee reall oe operating characteristics are the best. Push INPUT LEVEL DAT Input. Push Itpore to set he:BREAK vit ene bDuOttWoNn @v @to aadnjdustUPthea in@p®ut bluetvteolnst.o 15 Bit by using the — 12— NLOLOLV

(O80-NZL)LOZ @® INPUT LEVEL OFFS DELAY: Use this parameter to conpensate time delay using the DOWN v @® and UP A Push this button to adjust the level and balance of the @® button when the amplifier with D/A analog signal input to the DAP: first, INPUT LEVEL, then converter which is connected to the digitat INPUT BALANCE are displayed and, finally, the previous THRU OUT terminal has time delay bet- ween digital signal in and speaker out. display is shown. Each time this button is pushed, the pro- @® F/DAP LEVEL gram parameters are sequentially displayed. Push this button to adjust the front DAP output signal level INPUT LEVEL: Push the DOWN v button @ to by using the DOWN v @ and UP A @® buttons. reduce the signal level. Push the UP A button ® to increase it. @ R/DAP LEVEL INPUT BALANCE: Push the DOWN v button ® to shift Push this button to adjust the rear DAP output signal level the input balance (between the left and right channels) to the L-channel. by using the DOWN v @ and UP A @® buttons. Push the UP A button @® to shift the input balance to the R-channel. (See @ PROGRAMED PRESET page 21 for further detail.) Push this button to load any of the 20 types of @® CHARACTER preprogrammed sound-field data by using the DOWN v Push this button to specify a title for each sound-field data @® and UP ~ ® buttons. The data are not to be lost. program created in manual preset mode by using the DOWN v @ and UP A @® buttons. The title can be @ MANUAL PRESET displayed on the multi-mode display. Push this button to load any. of the 20 manually created and memorized sound-field data programs by using the @ PARAMETER ; DOWN v ® and UP A @ buttons to scan the list. The user can change the same 20-types of sound-field data, sav- Each time this bution is pushed, the parameters cor- ed when shipped from the factory, as are loaded by pushing responding to a program are sequentially displayed, and the button PROGRAMED PRESET @ finally, the previous display is shown. (Refer to P.28) @ DOWN v ROOM SIZE: Push the DOWN v @ or UP A @ , but- Use this button for level adjustment, balance adjustment, ton to set the desired sound-field size (e.g., timing adjustment, character setting and memory loading. hail, jazz club). @® uP a LIVENESS: Push the DOWN v ® or UP A @ but- Use this button for tevel adjustment, balance adjustment, timing adjustment, character setting and memory loading. ton to set the reflecting sound level and @ MEMORY damping characteristics of the desired sound-field. Push this button to save sound-field data and characters in MANUAL PRESET mode. LPF: Push the DOWN v @ or UP a @ but- @ Contro! Pane! Cover ton to set the frequency characterisitcs of Push the indicator “PUSH OPEN” to open the control panel the reflecting sound and reverberating cover. Push the cover again to close it. sound, REVERB LEVEL: Push the DOWN v ® or UPa @ button to set the reverberation sound level. HF REVERB: Push the DOWN v @ or UP a @ but- ton to set the reverberation time at high fre- REAR DELAY: quency to middle frequency. Push the DOWN v @® or UPA @ button to set the delay time of the R/DAP playback signals. (Preset number 16-20 only) = 43

Rear Panel PrLeine ae Pe NLOLOLW- 4 i. ee @ LINE (Analog) @ [OPTICALIICOAXIAL} Changes the digital signal input to IN: Connect the output from the source. Selection switch: match the connected optical cable or coaxial cable. MAIN OUT: Connect the main amplifier (analog input). @ LINE (Digital) COAXIAL Connect the coaxial digital-signal F/DAP OUT: Connect the front sound field amplifier output from the source. iN: Outputs the input to the IN ter- {analog input). THRU OUT: minal. Connect the digital coaxial input terminal of the main RIDAP OUT: Connect the rear sound field amplifier ® DAT: amplifier. {analog input). ® Power Cord Connect the DAT deck (digital in- @® TAPE: Connect the analog tape deck. put/output terminal). @ DAP MODE: Changes mode to 4-channel DAP or 6-channel DAP. @ LINE (Digital) OPTICAL Connect the optical digital-signal output from the source. Use the supplied optical IN: fiber cable. Outputs the input to the IN terminal. Con- THRU OUT: nect the optical digital input terminal of the main amplifier. = 44

REMOTE CONTROL UNIT (RM-SXA1010U) BEFORE USE How to install the batteries . Slide the cover of the battery case in the direction of the arrow to remove it. . Install the provided batteries (‘‘AAA’’: UM-4, R03, 1.5 V), with their polarities properly placed. 3. Re-install the cover of the battery case. * Battery replacement time When the distance at which the remote control unit functions begins to decrease, replace both batteries (““AAA™: UM-4, RO3, 1.5 V). ° Batteries Incorrect use of batteries can cause corrosion or damage. Note the following points to lengthen battery life. 5 Install batteries observing the correct polarity, (+) and (—). 2. Do not use new and old batteries simultaneously. 3. Batteries with similar shapes may have different voltage ratings, be sure to use the correct batteries. 4, Remove batteries from the remote control unit if it will not be used for a long period ot time. Note: * The lower the temperature, the shorter the battery life. How to operate the remote control unit a? 4010 QIOTIN. ACOUSTICS PROCKSOR WrSeHEWE (ON6ONZA) When the remote control unit is directly in line with the remote sensor of this unit, the remote control unit may be used from as far away as 7 meters (23 feet). But, when it is being used from a position one side or the other, this distance will be shortened. — 15 —

® MEMORY Preset Number Push the Memory Preset Number, buttons 1 to 20, to load sound-field data in program preset mode or manual preset mode. This button specifies the preset number to save the sound-field data created in manual preset mode. CHARACTER Push this button to name a title for each sound-field data program created in manual preset mode. Each press- ing moves the cursor and changes the character using the “-\"’ button (6) and “+” button 6°. The title can be displayed on the multi-mode display. © PARAMETER Each time this button is pushed, the parameters corresponding to a program are sequentially displayed. (Refer to P.28) ROOM SIZE: Push the “'--\" button 6° or’ +\"\" button (6) to set the desired sound-field size LIVENESS: (e.g., hall, jazz club) Push the \"'~ \"' button (6) or\" +\" button (> to set the reflecting sound level and damping characteristics of the desired sound-field. LPF: Push the \"~\"\" button (6) or \"+\" button © to set the frequency characterisitcs of on sound and reverberating REVERB LEVEL: 2 Push the \"—\" button (6) or +\" button (6) to set the reverberation sound level. HF REVERB: Push the ‘’- \"’ button (6) or \"+ '’ button ©) to set the reverberation time at high @) PROGRAM frequency to middie frequency. Push this button to load any of the 20 types of REAR DELAY:Push the ‘'- \"’ button (6) or +\" but- ton (6) to set the delay time of the R/DAP preprogrammed sound-field data by using Memory playback signals. (Preset number 16-20 Preset Number, button (5). only) MANU . OFFS DELAY:Use this parameter to conpensate time Push this button to foad any of the 20 types of manually delay using the ““—\" button (6 and created sound-field data by using Memory Preset SOURCE ““+\" button (6) when the amplifier with Number, button () D/A converter which is connected to the MEMORY Push this button to save any of the 20 types of manually digital THRU OUT terminal has time created sound-field data by using Memory Preset delay between digital signal in and Number, button G) speaker out. DISPLAY: Push this button to turn on and off the following REVERB indicators: Push this button to set the source reverb time using the Input level indicator @ is turned off. “—\" button (6) and \"+\" button (6). Use this button Input level indicator @ and multi-mode display when the source contains a substantial reverb @ are turned off. components. Input level indicator @ and multi-mode display LISTENING ROOM @ are turned on. Each time this button is pushed, : first, L. ROOM REVERB, then L ROOM SIZE are displayed and, finally, the previous display is shown. L. ROOM REVERB: Set the degree of sound reverberation in the listening room using the \"—\"\" button (6) and \"+\" button (6) L. ROOM SIZE: Set the listening room size using the “ ”’ button 6 and ‘'+\" button ). — 16— NLOLOLV

©— Use this button for level adjustment, Cc) balance adjustment, timing adjustment, character setting, sound-field data creation and memory loading. Select adjustment in (“OOLZN-L)LOZ? 6) + \"\".°7 direction and specify characters in CJ reverse order. Use this button for level adjustment, balance adjustment, timing adjustment, character setting, sound-field data creation and memory loading. Select adjustment in “+” direction and specify characters in forward order. @) SPREAD/POINT Select SPREAD or POINT to match the source. By first press the present condition is displayed, and next press changes this parameter. SPREAD: _ Select for playback of a large organized group, such as an orchestra. POINT: Select for playback of a small group, such as a piano solo. MAIN MUTE Push this button tc: mute the main system signals. The Mute indicator flickers while this mode is activated. Push it again to cancel muting. @ F/DAP LEVEL MUTE: Push this button to mute the front DAP out- put signal level. The Mute indicator flickers. Push it again to cancel muting. DOWN: Each time this button is pushed, the front DAP output signal level is reduced. Keep pushing it to continuously reduce the level. UP: Each time this button is pushed, the front DAP output signal level is increased. Keep pushing it to continuously increase the level. @@ R/DAP LEVEL MUTE: Push this button to mute the rear DAP out- put signal level. The Mute indicator flickers while this mode is activated. Push it again to cancel muting. DOWN: Each time this button is pushed, the rear DAP output signal level is reduced. Keep pushing it to continuously reduce the level. UP: Each time this button is pushed, the rear DAP output signal level is increased. Keep pushing it to continuously increase the level ia) ( MASTER VOLUME MUTE: Push this button to mute the total volume of the main, front DAP and rear DAP out- put. The mute indicator on the main set is fit. Push it again to release muting. DOWN: Pressing this button rotates the Master Volume Knob CCW to reduce the total level UP: Pressing this button rotates the Master Volume Knob CW to increase the total level aoe ys

OPERATION [LISTENING ROOM] NLOLOLW * Refer to the relevant instruction manuals for the operation 1. Push the LISTENING ROOM button @ to show of the amplifiers. “L.ROOM REVERB” on the display. «Adjust the volume {levels of the amplifiers to the same Foltfvarhony Hell ft setting. L.ROOM REVERE = 8.4 *Turn down MASTER VOLUME @ (display} Confirm ‘Connection and Preparations” prior to turning on 2, Push the [—] or [+] button (6. on the remote contral unit, the power to the devices. (the DOWN v @ or UP A @ button on the main set), to set the reverberation time of the listening room. How to use PROGRAMED PRESET| The DAP has 20 sound-field programs containing sound- fiefd data of famous concert halls, churches, etc. Select a favorite sound-field pattern. 1. Playback the source. 2. Setting source and listening room parameters You can find the approximate reverberation time of your listening room by clapping hands. [SPREAD/POINT] Push the SPREAD/POINT button L. ROOM REVERB Reverb time of hand clapping| ® or @ to specify SPREAD or 0.6 seconds Longer SPREAD POINT according to the music 0.4 seconds Middle POINT selected for playback. 0.2 seconds Shorter : Specified for a large performance 3. Push the LISTENING ROOM button @ to show such as an orchestra. “L.ROOM SIZE\" on the display. : Specified for a small performance such as a piano solo. FoLtSymephoane Hall 1 L.ROOM ST2E =1a~Lame [SOURCE REVERB] _: Specify the optimum reverberation time according to the source's [display} reverberation time. 4. Push the ''~\"' or ‘‘+\"\" button (6) on the remote control 1. Push the SOURCE REVERB button ® or @) to unit, (the DOWN v @® or UP a ® button on the main show the reverberation time on the display. set), to set the listening room size. Rs 31 mehony Hall t 10 ~ 16m? SOURCE REVERB = @, 4s: {display} *2. Push the “-\"' or''+\" button ©) on the remote con- trol unit, (the DOWN v @ or UP” @ button on the main set), to set the source reverberation time. Time setting guideline (second) | 3~ 4 Note: Once these paramet-rs are set, they are fixed until other Church music | 1~2 values are newly set. Performance in a large-size hall | 0.5 ~1 Performance in a smail-size hall [ 03 ~ 05 Live house — 18—

3. Load the program. 1 [On the main set] PRoghaven [On the remote controi unit] Push the PROGRAMED PRESET 1 button @ PROGRAM Push the PROGRAM button @). 2 2 DOWN uP 4 an 3 Co Push the Memory Preset Number or button ©) to specify the program. \\ Push the DOWN v @® or UPA @ buttons to specify the program. Program name and type name are shown on the display. Program No. display: |P 3:Symrhony Hall 3 Shoebox Tyre ©4, Adjust the volume. Adjust the volume MASTER VOLUME MUTED. using MASTER VOLUME (@ or (@ ). Music is playedback with surrounding sound field effects. Use the ‘Adjustment’ procedure to adjust the volume. (Refer to P.21) O(LNLO-)L07 — 19—

PROGRAM CHARACTERISTICS 20 programs are provided for sound-fieid reproduction based on the sound-field data of famous musical performance facilities all over the world. Select the programmed sound-field according to the music source that you want reproduced for playback. Pt: Symphony Hal! 1 Shoebox Type P10: Church High-ceilinged Space Reproduces the sound field of a Dutch shoe-box type hall, Reproduces the sound field of a church with a high ceiling. built in 1888, with about 2200 seats. This is an arena type This program is suitable for playback of pipe organ music hall with a comparatively short depth and greater width. It and church music. This church in West Germany is middle- is famous for its good sound effects. sized among European churches and has natural reverbera- tion characteristics. P2: Symphony Hall 2 Shoebox Type Reproduces the sound field of a West German shoe-box type P11: Live Club 1 Jazz Club hall, rebuilt in 1981, accommodating about 2500 persons. Reproduces the sound field of a jazz club. It is a live house This hall provides shorter reverberation timing than the newer with a low ceiling and an intimate atmosphere where musi- halls, strong reflected sound in the direction of the stage and cians plays very near the audience. powerful sound where direct sound is amplified. P12: Live Club 2 Discotheque P3: Symphony Hall 3 Shoebox Type Reproduces the sound field of a discoteque. Reproduces the sound field of a Japanese hall, built in 1983, accommodating about 1000 persons. This hall is a typical P13: Pavilion Live Concert shoe-box type with a fiat ceiling. Reproduces the sound field of an octagonal pavilion with a P4: Symphony Hall 4 Vineyard Type high ceiling. Reproduces the sound field of a modern hall, opened in West P14: Gymnasium Hard-floored Hail Germany in 1985, having 2500 seats. This hail has a mostly Reproduces the sound field of a board-floor gymnasium which wooden interior and complicated reflecting plates to diffuse generates much reflected sound. reflected sound. P15: Stadium Outdoor Live Concert P5: Symphony Hall 5 Vineyard Type Reproduces the sound field of a Japanese hall for classical Reproduces the sound field for a music performance in a music, completed in 1986, having about 2000 seats. 10 transparent reflecting plates are installed in the upper sec- baseball or football stadium with about 30,000 seats. tion of the stage. P16: Movie Theater 1 Small Space Reproduces the sound field of a movie theater, of rectangular P6: Symphony Hall 6 Vineyard Type shape, with about 100 seats. (R/DAP OUT outputs the delayed L—R signals.) Reproduces the sound field of a multi-purpose concert hall, P17: Movie Theater 2 Medium-sized Space constructed in West Germany in 1959, accommodating about Reproduces the sound field of a movie theater with 400 to 1500 persons. The ceiling has a complicated structure for 500 seats. sound diffusion. The reverberation characteristics are com- (R/DAP QUT outputs the delayed L—R signals.) paratively dead. P7: Recital Hatl Small Musical Space P18: Movie Theater 3 Large Space Reproduces the sound field of a hall used for classical music Reproduces the sound field of a movie theater with about recitals. This hall with an elfiptic shape is located in Holland 1,000 seats. and produces an at-home atmosphere. {R/DAP OUT outputs the delayed L—R signals.) P8: Opera House with Tiered Seating P19: Movie Theater 4 Extra Large Space Reproduces the sound field of an opera house where the Reproduces the sound field of a movie theater with about seats are tiered. This opera house with a high ceiling and 1,500 seats. short depth is located in Austria. (R/DAP OUT outputs the delayed L—R signats.} P9: Cathedral Gothic Style P20: Movie Theater 5 Standard Outputs no signals to F/DAP OUT. Reproduces the sound field of a church built in the Middle (R/DAP OUT outputs the delayed L—R signals.) Ages. This huge West German cathedral is made of stone; it has a ceiling height of 40m. —~ 20 — N.LOLOLW

ADJUSTMENT 1. Operating Level Adjustment For optimum operation, adjust the analog input signal Each time the button is pushed, the level is reduced or level. increased. Keep pushing it to continuously change the level (OZOLNZ-)LOZ 4.1 Connect the source equipment to LINE IN and play some music which is recorded in relatively high level. INPUT LEVEL Indicator 1.2 INPUT LEVEL Display L aly (eo) oO cas Push the INPUT LEVEL button {5bit 16bit OVER @ to show the input level on the display. BGSvy 10-0 INPUT LEVEL IMPUT LEVEL 2. INPUT Balance Adjustment -24 90Oee When you select either mode of program 16 — 20 (MOVIE display] THEATER), adjust the right-left balance of the input signal. Refer to the following procedure. 2.1 Input “monaural” signal Connect the ‘'monaural”’ signal to LINE iN terminals. 1.3 Level Adjustment {On the remote control unit] - + 2.2 Program Number specification (ex. Program Number 20) “ ey [On the remote contro} unit) \\ or PeltPROGRAM 20 \\ \\ Push ihe ‘'—\" or ''+\"” button (6) to light the “15 bit\" [On the main set] at times in the Input Level indicator ® PROGRAMED ‘DOWN uP [On the main set} csPRESET tke o4o or ox wTWN up a~ Push the DOWN v ® or UP A @ button to light the “15 bit” at times in the Input Level indicator ® {1

2.3 Output R/DAP signals only 3. F/DAP-R/DAP balance adjustment NLOLOLW and FIDAP LEVEL No level adjustment is required if the amplifiers and speakers have the similar specification. 3.1 Mute the sound-fieid signal. MUTE: Push the F/DAP MUTE button } F/DAP LEVEL 9 and R/DAP MUTE button 16 Push the MAIN MUTE button (8) and F/DAP MUTE to mute the sound of the sound- field signal. button @) to mute the main and F/DAP signals and output only the R/DAP signals. 2.4 INPUT BALANCE display Push the INPUT LEVEL button MUTE @ twice to show the input balance on the display. (7 RpaP LEVEL INPUT LEVEL X2 3.2 Set the MASTER VOLUME display : INFUT BALANCE MASTER VOLUME ; boson | eee FE MUTED Rotate the MASTER VOLUME knob @ to set the normal level of the main signal. 2.5 Balance adjustment (INPUT BALANCE display) [On the remote control unit] + MIN MAX 3.3 Release muting or ] ( ] FroaP Lever Push the F/DAP MUTE button (8) again to release muting. Push the ‘'~”’ or '' +” button ©) to set the R/DAP level 3.4 F/DAP adjustment to a minimum. Adjust the F/DAP level to be balanced with the main signal. [On the main set] [On the remote contro! unit] ‘0KN up Vv |area | co F/DAP LEVEL OWN qor uP Push the DOWN v @® or UP ~ ® button to set the [On the main set] up R/DAP level to a minimum. F/0AP cown NN Each time the button is pushed, the balance is varied LEVEL wy by one increment. Keep pushing it to continuously or [are | change the balance. then ce Each time the button is pushed, the level is reduced or increased. Keep pushing it to continuously change the level. — 22—

3.5 FIDAP-R/DAP balance Push the MAIN MUTE but- 3.6 Release muting Push the MAIN MUTE. button 3.5.a @® to release muting. ton (8) to mute the main waver siseitlone signal. 3.5.b pvpap Level Push the R/DAP MUTE but- 3.7 Adjust the total level Rotate the MASTER VOLUME Save ton 49 again to release Cod [On the main set] @ to adjiust the total fevel. muting. ‘ (- MUTEDo 3.5.c Adjust the R/DAP level to be balanced with the FIDAP level. O+, MIN MAX [On the remote control unit] Down or or RIDAP LEVEL [ [On the remote control unit] Down or MASTER VOLUME {On the main set} R/OAP. own LEVEL a then aw or Each time the button is pushed, the level is reduced or increased. Keep pushing it to continuously change the tevel. “(EOLLN-)LOS —23—

PARAMETER CHANGE The programs contain the various data for sound-field reproduction based on the data collected in the performance places using the symmetrical 6-point sound-field analyzing method. You can create your own original sound-field reproduction pattern by changing the parameters and then saving the new sound-field pattern in a manual-memory location. 1. Selecting a program Mo iSymehony Hall & Select a program according to the “How To use PROGRAMED PRESET”. (P. 18)(ex. program 3) LFF = GkHz Symphony Hall 3 Each time the button is pushed, the value is reduced or Shoebox Tyre increased by one unit. Keep pushing it to continuously change the value. 2. Selecting parameters [On the main set] 4, Change each parameter by repeating Steps 2 and 3 See P.6 for definitions of the parameter values. [On the remote control unit] PARAMETER x3 Changed parameters return to the programed value when PARAMETER another program is loaded if it is not stored in manual x3 memory. Using the manual memory procedure, store the changed parameters in manual memory to save your new original sound: field program. LPF: 7 kHz Push the PARAMETER buttons @ or ©) to select the parameters to be changed. ¥ymphony Hall & P 3. Changing parameters [On the remote control unit} + - [° [ ; : or Push the '—\" or “+\" button ©) to set the parameter’s vatue. [On the main set] up DOWN as yw Ave \\ Push the DOWN v @ or UP A @ button to set the parameter’s value. — 24— N.LOLOLW

MANUAL MEMORY — Saving in Manual Preset You can save a maximum of 20 of your own sound-field programs. -~#Symehony Hall i Shoebox Tyre 1. Select and change the parameters using the procedures described above. 2. Push the MEMORY buttons G) or @ , and the MEMORY No. position mark on the main set blinks. (“HOLNZ-)LLOZ {On the remote control unit] [On the main set} MEMORY MEMORY 3. Specify the memory channel number. [On the remote control unit} {On the main set] M 7tSymFhony Hall t Shoebox Tree omcs OouN w = we Vv IN aw or ay Keep pushing the button to continuously change the channel No. When the desired channel is displayed, release the button. Your own sound-field program has been saved in the specified manual preset memory. OR oe

CHARACTERS [On the main set) Push the CHARACTER button NLOLOLW- CHARACTER Titles and messages can be saved for programs created in ® to display the cursor. manual mode. Procedure: Change the title of program number 3 into “JVC\" and save it in manual preset number 7. 1. Load a manually-created program. {On the remote controi unit) Y1. ©.Push the MANUAL button display : M 3:Symehony Hall 3 AW Shoebox Tyre mas Blinks 2; [On the remote control unit] Push the CHARACTER button © again to move the cursor to the character position. Each time the button is push- Y Push the Program No. but- 9 ed, the cursor moves one posi- ton G). tion to the right. Keep pushing it to continuously move the cursor. {On the main set] {On the main set} Push the CHARACTER button %1. CHARACTER @ again to move the cursor PMRANESUEALT Bw to the character position. Push the MANUAL PRESET button @ ymehony Hall 3 oebox Trre 3. Specify a character Bs2. Push the DOWN v ® or co [cOonntrtohle urneimt]ote [On the main set} D4OWN UP A @® button to specify the program No. Push the ~ or Push the DOWN + button to Vv @ or UPA specify a ® button to character, specify a character. Display : M 3:Symehony Hall 3 Shoebox Tyre Each time the button is MootSymphony Hall pushed, the characters and dhoebox Tyre numbers shown below are displayed. Keep pushing it 2. Specify a character position using the cursor. to continuously change the 1. display. + DOWN UP = alelc[o[7fr]otlyl[«e[ecl[m[rn [ole [On the remote control unit] Lfoyr[s]t[ulv|w[x]y[z[alb[e[ale[t} Push the CHARACTER but- ton ©) to display the cursor. “foTh [ifilk]'[m[n]ofeJa[r]s[tlulv Siw] x[v[z]o]1[2[3[4]s[6{]s7la — 26—

4. Create a title or message by repeating Step 2 and 3 * Delete unnecessary M tSymrphony Hall 3 parts using ‘‘(space}\" JUC 5. Save the title or message. nyMEMORY Push the MEMORY button @ or @ to save the character. tM FSymehony Hall 3 “rts 6. Specify the memory channel No. [On the remote control unit) M 7:Symehony Hall 3 Tuc Keep pushing the button to continuously change the channel number. When the desired channel is displayed, release the button. Your title or message has been saved in the specified manual Preset memory. OS‘OZLN-L)LOZ —27—

ACOUSTICS PROCESSING MODE PATTERNS ACOUSTICS PROCESSING MODE PATTERNS rere | type | PARAMETER joy. feed -wich —jfNo |PROGRAM | ype PAM iLow. |PRESET) ces 1 ROOM SIZE os 1 2 ea ROOM SIZE t Os sT 2 LIVENESS os | 1 2 UIVENESS os Ta 2 SHOEBOX TpF LPF Vite |7kHe [16 kHz, THAU |}11 |TIVE CLUB |4627, T kez |t6kHz| THRU REVERB LEVEL ° 1 2 REVERB LEVEL 0 1 2 2 SHOEBOX HF REVERB 01 07 1 HF REVERB. Ot 1 - ROOM SIZE os | 0 2 [ROOM Size os | t 2 LIVENESS LIVENESS os ft 2 Tipe a 2 Tate |7iez [We kHe, THRU ||12 |VE CLUB |DISCO, T kHz [16 kHz] THRU PPE REVERB LEVEL Lt} | i z REVERB LEVEL oO 1 2 HF REVERB 0.1 07 1 ml 7 HF REVERB 01 1 _ ROOM SIZE os [a 2 ROOM SIZE os {1 2 LIVENESS Os 1- 2 LIVENESS os + 2 3 |AAMPHONY |SHOEBOX Tipr Tate |7kHe |Ye kHe, THRU ||13 |raviuion |LIVE [ope TkHz [6 Hz [16 kHz, THAU REVERB LEVEL 0T 1 2 REVERB LEVEL 1 ct HF REVERS or | 07 t HF REVERB 01 | 06 1 ROOM SIZE os | 1 2 ROOM SIZE os | 4 2 LIVENESS os {1 f 2 HARD- UIVENESS [os |? ae Wee7? [PE TkH2 |7 kHz |16 kHz, THRU ||14 Sin FLOORED |LPF TkHz |B kHz |16 kHz, THRU REVERB LEVEL | 0 1 2 HF REVERS HALL REVERS LEVEL | 0 i 2 01 | 07 Hi HF REVERS ROOM SIZE Tests 2 | or | 68 1 vivevaro |LMENESS os | T ROOM SIZE 2 08 a ouTpoor |LIVENESS we PF TkHz [7 kHz |16kHz, THRU ||15 |STADIUM | CLiOvNeCERT 2 iPr REVERB LEVEL 16 kHz, THAU REVERB LEVEL HF REVERB 5E ROOM SIZE 05 | 1 2 T6kHe THRU ||yg [MOVIE guate LVENESS os {4 [THRU [LPF 2 1 THz [16 kHz = REVERB LeveL [0 1 RRSOOMM SSI[RZEE O.eo 22 e) HF REVERB or | 4 REAR DELAY ‘SMALL LIVENESS 0.5 + 2 MUSICAL [LPF 1 kHz |6 kHz |16 kHz, THRU MEDINA LUVENESS [0 1 LPF SPACE |REVERS LEVEL 2 17 |Mowe SSPIZAECDE REVERB LEVEL 16 kHz, THRU THEATER HF REVERB 2 HF REVERB 01 08 1 2 oO ROOM SIZE 2 LPF 2 REAR DELAY 30 ms SEATING [REVERS LEVEL | oO T6kHz, THRU || | ROOM SIZE 2| 12 UVvENESS | 05 | 1 2 HF REVERB 01 | O08 1 1g |MOVIE LARGE LPF 1 kHz |7 kHz |16 kHz, THRU | 0 [7 2 | ROOM SIZE os | 2 THEATER 9 |SPACE — pevERB LEVEL LIVENESS SOIRC PF os [1 extra HF REVERB at | oF 71 TkHz |SkAz |16 kHz, THRU tance _[REAR DELAY [15s [20ms | __30 ms REVERB LeveL | 0 | 7 2 space ROOM size [os | 14 2 HF REVERB 01 | os |LWENESS os | 2 ~ [ROOM SIZE 7 os [7 HIGH. LVENESS 2} 19 |MOME [LPF T kHz |8 kHz |16 kHz, THRU os [+] 2 THEATER 4 CEILINGED [LPF 1 khiz |6 kHz |16 kHz, THRU [REVERB LEVEL | 0 [7 [2 HF REVERB o1 | 08 SPACE | REVERS LEVEL | 6 7 2 i REAR DELAY | ims iE ms} __30ms Te DEVERS) oe ' 20 |MOVIE as |STANDARD|REAR DELAY |15ms|20ms| 30ms Le NOTE: Each mode pattern (except preset No. 20) has a parameter of Offset Delay (OFFS DELAY). See page 6 for use. TABLE OF PARAMETERS PARAMETER [ADJUSTABLE RANGE| STEP |YUTIAL| REMARKS PARAMETER ADJUSTABLE RANGE] STEP |‘WIT'AL |REMARKS ft ROOM SIZE 05—2 ot Can be 8 |SPREADIPOINT | SPREAD/POINT SPREAD | Last 7 LIVENESS nes7ea oA- Mstaonreudalin » SEVTEENRIRNG rT) 0.2 — 0.6 ms 01ms|0.4ms | sheetltdinign [a LOW PASS FILTER | t — 16 kHz, THRU | 1 kHz Preset Memory REVERB LEVEL Oms 0-2 01 Memory 10 | LISTENING ROOM | 10 m? or less, 0— 20ms 16 m2 HIGHFREG. ed ay SIZE 1160 m—2 1or6 mmo2r,e 17 |SOURCE REVERB |0— 5 sec cat ‘OaFFdSET DELAY | 0 — 200 ms tims] sOetc [0sec il REAR DELAY 15 ~ 30 ms ims} a — 28 — WLOLOLW-

yma TERMINAL OUTPUT AND RECORDING ao S Terminal output signais are changed by switch settings. (s) Music can be recorded after connecting a cassette deck and DAT deck to the TAPE terminal and DAT terminal, respectively. 5 Notes: 8 * F/DAP is mixed with source sound during recording in this mode. por4 Adjust the recording level on the deck. For details on the tape deck operation, refer to the tape deck instruction manual. 5 ** Do notuse this switch-combination mode, because analog and digital signais are mixed and output to the MAIN OUT terminal. [ Switch Operation TAPE REC DATREC | MAIN @ DIGITAL ] @ par! @ DAP @ TAPE Output Signai Output Signal Output Signal DIRECT REC MODE MONITOR (Analog) (Digital) (Analog) 4 Channel aa ON * Analog LINE IN | Digital LINE IN Analog LINE IN (=) OFF + FIDAP + F/DAP ON 6 Channel Analog LINE IN (m) OFF * Analog LINE IN | Digital LINE N + FIDAP OFF ON Analog LINE IN Digital LINE IN TAPE PLAY 4 Channel + F/DAP (=) OFF Anatog LINE IN Digital LINE IN Analog LINE IN + FIDAP OFF 1 Analog LINE IN Digital LINE IN TAPE PLAY ON 6 Channel —- Analog LINE IN (m) OFF Analog LINE IN Digital LINE IN 4 Channel ON (=) ON Analog LINE IN Digital LINE IN TAPE PLAY =ON 6 Channel +DAT PLAY on FIDAP OFF 4 Channel (—) OFF Analog LINE IN Digital LINE IN ** Analog LINE IN + Digital LINE IN FIDAP & Channel ON Analog LINE IN | Digital LINE IN| TAPE PLAY (m2) OFF Analog LINE IN Digital LINE IN | Analog LINE IN . — 29—

BLOCK DIAGRAM dNx.LOLO a = Py N a| < ald tiaww >2168 || dleff) Lar} - a So & a «a) W in rca) re Ae 2 ee 4 D/IAGNA oO z z be E £2 im cae ae 3 aie rc) = Pe - tp r |e <Ea x \\/ s 3 st [Layscif « 54° R Ss: oF S55 a fat2 g ON > Ns, aq § mPIDME)2 3n - frih FRE #2 ° 22 2 == = 3 4d 4 z5 9a = Oo 82 5 a 7 = i's) 2 = za 5 a Ww i-y) w2 ou (COAX)LOIUNT(EOPT) (COAXRTEA)CPE PTALPAEY a= & a a e 4 (OPT) w ed F b3= =_ 3= = = = = ic} <z (=) — 30-

TROUBLESHOOTING Symptom Possible Causes Remedy * No power although power * Power cord is disconnected. Connect the power cord. switch is turned on. | © MAIN MUTE button @of the remote Push the MAIN MUTE button to No ‘sound from the main speakers. controller is pushed, and MUTE indicator cancel muting. © is flickering. . No sound from either front or * DIGITAL DIRECT switch @ is not turn- Push the DIGITAL DIRECT switch to turn rear DAP speakers. ed on although a digital amplifier is the indicator light on. connected. © DIGITAL. DIRECT switch @ is turned Push the DIGITAL DIRECT switch again on although an analog amplifier is to turn the indicator light off. connected. No sound from any speakers. ¢ MASTER VOLUME MUTE button (7) Push the MUTE button @) to cancet No sound from front DAP of the remote controller is pushed, and muting. speakers, the MUTE indicator @ is tit. Turn the volume up. «No sound from rear DAP * The volume of each connected amplifier Push the MUTE button @) to cancel muting. speakers. is lowered. + Turn the volume up. Sound from the main speakers * FIDAP LEVEL MUTE button (9) of the mismatches the sound from the remote controller is pushed, and the DAP speakers (wien the DIGITAL DIRECT switch @ is MUTE indicator @ is flickering. © The volume of each connected amplifier ON). is lowered. * R/DAP LEVEL MUTE button (9 of the ° Push the MUTE button (9 to cancel remote controller is pushed, and the muting. MUTE indicator @ is flickering. * The volume of each connected amplifier Turn the volume up. is lowered. * Main signal amplifier is a digital amplififeirer| Adjust the offset delay to compensate with a larger delay time. the delay time between digital in and speaker out. No control by remote controller. * Distance and angle between remote sen- Use the remote controller within a range sor @ and remote controller are not * Less feeling of a live perform- proper. of 7 m (23 ft) and 30 deg. ance. * Battery may need replacement. Replace the battery with new ones. ¢ DAP MODE switch @ on the rear Set the DAP MODE switch @ on the panel is set to 4-channel in spite of 6-channei reproducing system. rear panel to 6 Channel. ¢ Unbalanced. Push the INPUT LEVEL button @ twice to set INPUT BALANCE mode, and * Volume of F/DAP and R/DAP amplifiers adjust the balance using the DOWN @® is lowered. and UP ® buttons or the —/+ button ©) of the remote controller. Turn the volume up. ¢ The indicator light does not * The remote controller DISPLAY key has Press the remote controller DISPLAY been pressed. move. key twice. (See page 16.) (‘LOOLN-Z)LLO@ — 31—

SPECIFICATIONS ¢ input Terminals 2 (32 kHz/44.1 kHz/48 kHz) ¢ Signal-to-Noise Ratio : Automatic sampling frequency MAIN OUT 110 dB (ANALOG) selection DAP OUT 100 dB (DIGITAL) DIGITAL OPTICAL LINE IN 94 dB (ANALOG) COAXIAL LINE IN ¢ D/A Converter : 16 bit linear, with 4 times over- COAXIAL DAT PLAY sampling digital filter : 64 times oversampling 16 bit ANALOG LINE IN e A/D Converter A/D converter (L/R Independent) TAPE PLAY * Number of Sound Field Patterns * Output terminals OPTICAL THRU OUT Programed + 20 COAXIAL THRU OUT Manual : 20 DIGITAL * Dimensions : 435x 101 x 360 mm ANALOG COAXIAL DAT REC (W x H x D) MAIN-OUT FRONT DAP OUT © Weight 17-3/16 x 4 x 14-3/16 inches REAR DAP OUT : 5.8 kg TAPE REC 15 tbs. * input Sensitivity/Impedance © Power Consumption 125W * Line Voltage & 550 mV/47 kQ (LINE IN, TAPE Frequency > AC 120V \\, 60 Hz PLAY) * Maximum Output Level/Impedance * Accessories : Optical Fiber Cable 5 V/660 2 (FRONT OAP OUT, 1m (3.28 ft) x 1 REAR DAP OUT) Audio Signal Cable * Total Harmonic Distortion: 1 m (3.28 ft) x 4 MAIN OUT 0.002% (ANALOG, 1 kHz) Remote control unit x 1 DAP OUT 0.004% (DIGITAL, 1 kHz) Batteries x 2 0.005% (ANALOG, 1 kHz) * Frequency Response: Design and specifications subject to change without notice. MAIN OUT 5 Hz ~ 100 kHz +0, -3dB (ANALOG) DAP OUT 5 Hz ~ 20kHz, +0.5, -1dB (DIGITAL) 5 Hz ~ 20 kHz, +0.5, ~3dB (ANALOG) * Dynamic Range DAP OUT 94 dB (DIGITAL) 94 dB (ANALOG) POWER SPECIFICATIONS Line Voltage & Frequency Power Consumption | Canada AC 120 V~,60Hz 25 watts Continental Europe AC 220 V~ , 50 Hz ILOLOLW-d U.K. AC 240 V~ , 50 Hz Australia AC 110/120 / 220 / 240 Vv selectable, 50/60 Hz Other areas —32—

<P-A1010TN Description of New Technology Patterns of Sound reaching the listener. Each early reflection has its own direction and sound intensity and is the most important The acoustic patterns in the live performance space can factor in determining the acoustic characteristics of the be classified into three types: direct sound, early reflec- tions, and reverberations. Early reflections are created performance space. (See Fig. 1 & Fig. 2) when the sound is reflected off walls a few times before Fig.1 THE PATTERNS OF EARLY Fig. 2 PATTERNS OF SOUND REFLECTIONS [ Pulsive Sound t=O DS: Direct Sound ER: Early Reflections Lana — LLL LL LL ee ityDS REV: Reverberations 4 ER1 prmeerree: SReRhExVkieee |—9>Aa7 ieER ERE2R3 Wi ; 50 to Time ——* 150mS Early reflections reach the listener from Typical Patterns of Sound various directions Acoustic Characteristics of a Concert Hall sound intensity. These figures show that the distribution The reflected sound heard in a concert hall varies in changes as the measuring position (represented by the character depending on direction and intensity. Their dis- cross section of the horizontal and vertical lines) changes. tribution canbe plotted as shown in the Distribution Pat- (Figs. 2a and b.) The same is true when the position of tern for Virtual Image Source Locations (Figs. 2a through the sound source is moved across the stage of the hall. 2e.). The centre of the many circles represents the virtual image source locations; the size of the circle indicates (See Figs. 2c, 2d and 2e.) DISTRIBUTION PATTERN OF VIRTUAL IMAGE SOURCE LOCATIONS ° Rear o ° R™ight © o «(CfOe) Fig. 2a Location of Sound Source: Centre on the Stage Fig. 2b Location of Sound Source: Centre on the Stage Location of Measurement: Centre-Front Location of Measurement: Centre-Rear 1-18 (No. 20120)

XP-A1010TR 0 0 io) gp : O OO. %° Right AA je) Fig. 2c Location of Sound Source: Centre on the Stage Fig. 2d Location of Sound Source: Left on the Stage Location of Measurement: Centre-Front on the 2nd Floor Location of Measurement: Centre-Front on the 2nd Floor Fig. 2e Location of Sound Source Right on the Stage Location of Measurement: Centre-Front on the 2nd Floor Acoustic Characteristics of the Listening Room the number of circles representing the reflected sound differs in a “live” room (Fig. 3b) and a “dead” room (Fig. As can be seen in Fig. 3a, the pattern of early reflections 3c), but the basic distribution patterns remain the same. in atypical listening room varies according to the size of the room and how its walls and ceiling reflect sound. As for the distribution pattern of the virtual image source, Fig. 3a EARLY REFLECTION PATTERNS AND ROOM ACOUSTICS DS DS (a) Large “live” room {b) Large “dead” room DS | ly i Witty tr | (c) Small “live” room i (d) Smatl “dead” room (No. 20120 1-19

<P-A1010TN DISTRIBUTION PATTERN OF VIRTUAL IMAGE SOURCE LOCATIONS Left (e) INA “LIVE” LISTENING ROOM p 0 e) @) O Front Front Rear Rear fo) 0 0 O: oO OO O oO OO fe) Fig. 3b Right Fig. 3c iRai, ght The Sound Field in the Recording Source orchestras, and chorus to measure the early reflections and reverberations that would emerge between the in order to measure acoustic parameters contained in a speakers in a conventional stereo system. (See Fig. 4.) given recording, JVC went to actual halls and made recordings using microphone setups for solo instruments, Left O& o oe | DISTRIBUTION PATTERN OF VIRTUAL IMAGE SOURCE LOCATIONS USING A 2-CHANNEL Hrcn® STEREO SOUND SOURCE aw.ONwNae EomaK!Xok Total Sound Field Reproduction of the DAP System pattern of Fig. 5b, the result is an excessive reflections Let's see how sound degradation can occur if the acous- shown in Fig. 5c. This is how simulation is done with con- tics of the listening room and the recording site are not ventional simulation systems. With the JVC DAP (Digital considered in the signal processing for a sound field simu- lation. Suppose an acoustic processor is to simulate a hall Audio Processor) system, this problem is avoided be- having the distribution pattern shown on Fig. 5a. The processor simply takes a few reflections of the highest in- cause reflection parameters are handled one at a time; tensity from the distribution pattern of the hall and adds the acoustic parameters to the original sound creating the the next parameter is only processed when the preceding distribution pattern in Fig. 4. When these sound signals one is calculated and compared with the actual distribu- are reproduced in a listening room having the distribution tion pattern of the hall. A significant improvement can be seen in Fig. 5d (compare it with Fig. 5c) where the JVC DAP simulates the sound field of the hall in the Fig. 5a. 1-20 (No. 20120)

XP-A1010T| Fig. 5a VIRTUAL IMAGE SOURCE PATTERN OF AN ACTUAL HALL Fig.5b VIRTUAL IMAGE SOURCE PATTERN OF A (SIMULATION TARGET) LISTENING ROOM Left Right Right Fig.5c VIRTUAL IMAGE SOURCE PATTERN REPRODUCED BY Fig.5d VIRTUAL IMAGE SOURCE PATTERNS REPRODUCED BY CONVENTIONAL SIMULATION THE DAP SYSTEM Left © Y 0°? Rear JVC's Original Sound Field Analysis Using Stereo Sound Source Studying Figs. 2c, 2d, and 2e reveals that there is a sig- and the left of the stage, respectively. This difference in nificant change in the distribution pattern even if the po- distance illustrates that the sound field in a hall changes sition of the sound source is changed only slightly. This is as the sound source changes from solo instruments to due to the change of the reflection patterns as shown in large orchestra, even if the listening position remains the Fig. 6a. In the figure, different reflection patterns occur same. JVC’s DAP system makes it possible to analyze when the sound source is placed at the centre, right, and left of the stage. Technically, this difference is indicated in the sound field more accurately, no matter what the size Fig. 6b as drpR and d_pR for the sound source on the right of the sound source may be. Fig. 6a EARLY REFLECTION PATTERNS AND LOCATION OF Fig.6b ANALYSIS OF THE SOUND FIELD OF AHALL USING THE SOUND SOURCE TWO SOUND SOURCES UNSSN N wQ CX os TIF Sp: The real sound source in the ha i Tye IR: The virtual image source d = (zn = x sing)? + (xX cos A)\" fe) 2 fan + x sing)? + (X Cos 4)\" (No. 20120) 1-21

-P-A1010TN DAP Block Diagram processing to provide high-quality reproduction of sound fields. Fig. 7 shows the tentative block diagram of our digital acoustics processor. A total of three VLSI (Very Large- Scale Integrated) circuits (see Fig. 8) are used for digital Fig.7 TENTATIVE BLOCK DIAGRAM OF THE DIGITAL ACOUSTICS PROCESSOR Analogue O Main Out AnalogueIn DAP LSI 1'94Wo FrontAnalogue for ER DAP Out Digital In DAP LSI x4 —o Analogue for ER Rear Reac Master DAP LSI DAP Volume DAP Out for REV Level Remote: Digital Main Out Fig.8 |BLOCK DIAGRAM OF THE CUSTOMIZED VLSI CIRCUIT (Through) CONTROL DATA COEFFICIENT CONTROL DRAM DRAM I/O MULTIPLIER INPUT REG AL CRYSTAL O osc 0 ae IN ACC SHIFT ry eewyis]a orPROG ROM OUTPUT REG 1 SIGNAL DATA OUT DETECTOR eeOUTPUT REG 2 1-22 (No. 20120)

XP-A1010T Description of Major LSI MVC4097-003 (IC606, 607), VC4097-002 (IC605)------DIGITAL SIGNAL PROCESSOR (DSP) (1) General: various audio-visual (AV) digital surround effects with high-grade thruput simultaneously executing arith- The VC4097 is a single chip digital acoustic signal processor for sound-field control. It provides many metic operations, and simulation of the natural rever- advantages, such as, highly-precise digital delay with beration of a hall, stage, stadium, etc., by folding the high quality that cannot be performed by an analog initial reflected sound and calculating reverberation. delay system, read/write of digital sound field data, (2) Internal Block Diagram SCKS1CK2 eae PERIOO 2LRECSKIECSKOWCoKw OIDATA O xX! Timing generation x0O circuit oscsO Creognitsrtoelr SDINO Data input circuit Coefficient Delay shift RAM register Multiplier Adder-subtracter External RAM address signal generation circuit Overflow TX/TY register detecting ciurcuit Data output circuit O O O-O TMNnNTrM eNe oamgqgoaodgtdaa€qed ooo 000 CO CO (No. 20120) 1-23

:P-A1010TN (3) Sketch drawing fie) oNEne Pa t+ = t be RWIoRwd °© P<e FadE n Vob tWw RESEBeTxoOiKwEeR|ZeI§ S2 s2 r2s aOo7t2 a©q +aqmddqda0 Al AS]1404A)}210A1 55) S08]21 4V6s]s (|v1ss xt XO [o4s]csSDINoa>F-O.aro>enDo¥*oo¥onXoY r7O=) B3K5s3TaX3&Co€%¥YrF¥oOwx@OFYLnAfFCrT5ewOwuAnowvOxprwws@seeHexsAa9asexDeOXvaMSee*RtkHCeeexeaXoezeHoXO2OaoXOIeeTK2eOM nw Ww Ww Ww WW Ww WwW EXROM2 (4) Functions of terminals Summary of Functions Remarks Ground terminal Connects to crystal oscillator or provides an external clock signal to XI terminal. Equipped with a built-in feedback resistance. SDOUT1 Oscillator/external clock frequency switching terminal. Schmidt input. SDOUT2 L-ch and R-ch serial data input terminal. 4 SCK1 L-ch and R-ch serial data output terminal. Internal generation SCK2 Un-connected terminal. mode OSCS=L: XI clock buffer output terminal. Same as above SIOCK OSCS=H: XI clock half-frequency output terminal. Same as above OSCS=L: XI clock half-frequency output terminal. T LRCK OSCS=H: Xt clock quarter-frequency output terminal. External input mode, + 2LRCK Data shift clock output terminal for A/D and D/A converters. Schmidt input. | Same as above ESICK Channel clock output terminal for A/D and D/A converters. Double LRCK frequency clock output terminal. External input mode, ESOCK Shift clock input terminal for fetching of L-ch and R-ch serial data. Schmidt input Vss ELRI Shift clock input terminal for output of L-ch and R-ch serial data. +. t Ground terminal ELRO Channel clock input terminal for the Lch and R-ch serial input data. Same as above EXST } Used in external Channel clock input terminal for the L-ch and R-ch serial output data. ROM mode EXCLR Program sequence ROM start pulse output terminal. Same as above EXROMY EXROM8 System clear signal output terminal. Same as above EXROM7 External ROM data input terminal. Equipped with a built-in pull-up resistance. a EXROMO External ROM data input terminal (output terminal during test). Equipped with a built-in Used in external pull-up resistance. ROM mode. 1-24 (No. 20120)

XP-A1010T? Summary of Functions Remarks NC Unconnected terminal. | Power source terminal. AO t Ground terminal. Unconnected terminal. LA? Ground terminal. 10A1 External DRAM address output terminal. t External DRAM data 1/O terminal. IOA4 Only IOA1 to 1OA4 are used in four-bit access mode. |0B1 Ground terminal. Schmidt input t External DRAM column address strobe output terminal. Same as above External DRAM low address strobe output terminal. Schmidt input 1OB4 External DRAM read/write pulse output terminal. External DRAM enable pulse output terminal. | Vss Interface period pulse input terminal. CAS Interface clock input terminal. Interface period pulse input termianl. RAS Reset signal input terminal. Equipped with a built-in pull-up resistance. WRITE Test terminal. Usually used at H or open. Equipped with a built-in pull-up resistance. OE fo IDATA Power source terminal. ICK PERIOD (No. 20120) 1-25

{P-A1010TN @ MN188321JSR3 (IC601) ........ MICROCOMPUTER MHz and 32 kHz). The machine cycle is a minimum of 0.5us (8 MHz) and is indicated by pin 64 SDIP/OFP. (1) General: MN188321 is a single-chip dual CPU microcomputer. The microcomputer receives signals from the opera- These two CPUs can execute programs in a time tion keys and the remote controller, sends data to the sharing mode. It has a built-in 32K-byte ROM, a 448 indicators, sends the DSP LSls control data and ad- byte RAM and the following peripheral functions: one dresses for the SRAM, and processes input/output 8-bit synchronous serial system, one 8-bit asyn- data to save manual programs and contro! muting and chronous serial communication system (Universal volume. Asynchronous Receiver Transmitter: UART), five 16-bit timer counters and two external interrupt in- puts. The MN188321 has a switchable two-speed system clock using two built-in oscillation circuits (8 (2) Sketch drawing x. 2° o& =% ~o -aaVgmaato 2ES ng Wie -a a c. Meote See See eeee eee FSo-nsme anong0SQo2o8or536SgeSsZ2aEbSPPo-U~H>Y>aErOMEoEOkreeFeeEFIosIroe Ha eor > Sy 3 lo1) PLS] islis lsL{SLI fs)PS)fs) A3 A2 RST Vss OIND CcS2/cs1 osciosce2 MUTMEU2TKE1EYKOESYKOE2YOK!4EYKOEOYI3 (3) Functions of terminals AO Summary of Functions RESET cs2/cs1 +5V WR/WE To display AO RD/OE To Display RESET (Level ‘’H” when the character display is OFF) A10 To Display CS2, SRAM CS1 AQ A8 To Display WR, SRAM WE AT To Display RD, SRAM OE AG A5 SRAM address 10 A4 | SRAM address A3 A2 SRAM address Al SRAM address SRAM address SRAM address SRAM address SRAM address SRAM address O;LOSDR;A/MO/aAdDdrIeOssJAO[OJ/O!lO/O}/O;O}O;0/;o0 1-26 (No. 20120)

Signal ie) Summary of Functions XP-A1010TR Name (No. 20120)1-27 17 AO SRAM address O 18 GND Connected to the ground 19 NC [ 20 RST I Power-on reset for microcomputer 21 IND ON fe) Outputs Level “H” when the input indicator is ON. 22 SURROUND O | Outputs Level “H” in SURROUND mode. 23 MUTE2 ie) | MUTE output 2 24 | MUTE1 QO | MUTE output 1 25 KEY 03 ie) 26 KEY 02 ie) 27 KEY 01 | ie) Rerun 28 KEY 00 oO 29 KEY 13 Key input 30 Osc! | Terminal of oscillator for master clock 31 | OSC2 ie) | Terminal of oscillator for master clock - Ground terminal 32 Vss 33 KEY 12 Key input _ r 34 NC 35 TEST | | Test mode input 36 RMIN |nee controller input 37 VOL DOWN oO Volume down output 38 | VOL UP ie) Volume up output 39 PERIOD 3 To DSP PERIOD 40 PERIOD 2 41 PERIOD 1 42 STB 3 43 STB 2 ie) To TC9176 STROBE Terminal 44 STB 1 4s |KEY It ie) 46 KEY 10 t }. Key input | 47 FS 1 I FS 32 44.1 48 48 FS 0 besinput 49 | VOL/DAP 1D FS 1 H L H pe FSO H L L O | To DSP, TC9176 DATA 50 INH inhibit input (power souce detection) 51 VOL/DAP ICK | ie) TO DSP, TC9176 CLK 52 | MUTE IND ie) Outputs Level “‘H’’ when MASTER MUTE is ON. 53 RMO 3 oO Outputs Level “H” when receiving signats from the remote controller. 54 DIG/ANA Outputs Level “H” during digital DIRECT 55 | DAP REC ie) Outputs Level “H” during REC. oO 56 | T.MON Oo Outputs Level “H” during TAPE MONITOR 57 | D7 0 | fo Display, SRAM data 7 58 | 06 VO | ‘To Display, SRAM data 6 59 DS 4 1/0 |: To Display, SRAM data 5 60 | 04 61 D3 VO | To Display, SRAM data 4 62 5 D2 l/O | To Display, SRAM data 3 I1/0 | To Display, SRAM data 2 63 D1 1/0 | To Display, SRAM data 1 64 ; DO i 1/0 | To Display, SRAM data O

(P-A1010TN @ YM36238 (IC701) LS! FOR RECEIVING AND REPRODUCING THE DIGITAL AUDIO INTERFACE FORMAT SIGNAL (1) General: (2). Sketch drawing YM3623B performs the following functions: 1. Internal PLL circuit and synchronization with the external digital audio format signal. Thus, the sam- pling frequency automatically follows the signal. . Outputs the audio signal with MSB first, and out- puts, synchronously with the audio signal, the sig- nals which indicate the D/A output sample hold timing clock, left channel and right channel. . The terminal for output of subcodes, and can fetch subcode data. . Outputs the sampling frequency, copy enable, presence of emphasis and presence of errors of transferred audio signals. . Re-outputs the previous audio data if a digital au- dio interface format signal error is detected. (3) Internal block diagram 4.Vvss2 6.X1 5.x0 7.KMODE 6.2A (J oO Crystal oscillating circuit Clock Timing pulse selection clock generation Phase difference detecting circuit i Latch timing generation 28.D1N || Data error detection | | 17.00 a 21.ERR LVODI {4NSS$1 22.SEL 24.52 23.81 16.0EF 26.SSYNC 25.SCK 27.500 1-28 (No. 20120)

XP-A1010TP (4) Functions of terminals Terminal Functions Name System power source (+5V) Vpp1 | VCO oscillation frequency adjusting terminal, unconnected. 2 | ADJ (/O | External capacitor terminal for the VCO circuit. 3 | VCO 4 | Vss2 VCO circuit ground. Connect this terminal in the same way as VSS1. It is not connected in the same way in the T LS. 5 | XO ie) | Crystal oscillator terminal (16.9344 MHz) 6 | Xl I Crystal oscillator terminal 7 | KMODE 8 | oA 1 (PU); H: Operates the PLL circuit if the DIN terminal receives the input signal, otherwise, operates it using the crystal oscillator. 9 | oB | L: Uses the crystal oscillator regardless of the DIN terminal. 12°] BGO oO 16.9344 MHz when the crystal oscillator is used, and varies depending upon the DIN terminal input data speed a when the PLL circuit is operated. (about 16.9344 MHz when fs=44.1 kHz) 13 |SYNC 19] 1/3 of the frequency of Terminal ¢A when the crystal oscillator is used, and varies depending upon the DIN terminal 14 ; Vssi input data speed when the PLL circuit is operated. (about 5.6448 MHz when fs=44.1 kHz) 15 | L/R 16 | DEF Internal circuit check terminal. DIGL L Internal circuit check terminal. 19) Timing clock of the signal output from the DO terminal. Synchronizing singal. System ground (+0V) Indicates that L-ch and R-ch data is output from the DO terminal at Level H and L, respectively. H: Indicates that input data has been emphasized. L: Indicates that input data has not been emphasized. 16-bit data output Indicates that data is output to the DO terminal. R-ch deglitch signal L-ch deglitch signal 26 |ssywe H: Parity error, or operating with a crystal L: No error See the following table. ie) See the following table. O | See the following table. 10) Subcode output clock. [e) | Subcode signal. SDO ie) Subcode data output terminal. Data input terminal. Terminals marked with (PU) have been pulled up inside the chip. Terminals $1, $2 and SEL switching the SEL terminal input. Terminals $1 and S2 have the multiplier output func- tions. The S1/S2 terminal output is switched by Output Output = Function Function CD (other than DAT) Inhibits copying. DAT Enables copying. DIN input signal sampling frequency of 44.1 kHz 48 kHz 32 kHz As shown in the above table, the SEL terminal ex- face format signal input, and outputs it to terni nals tracts the necessary data from the digital audio inter- $1 and S2. (No. 20120 1-29

XP-A1010TN @ MN86081 (IC407, 408) A/D CONVERTER (MASH-SYSTEM) (1) General: equipment for dynamic address translation (DAT) to MN86081 is a 16-bit A/D converter with a built in dig- achieve large-scale economization and small size. ital filter which has been developed for PCM digital audio equipment. It converts an analog signal to a Note: The MASH is an over-sampling A/D conversion 16-bit digital signal using the Multi-Stage Noise Shap- technique to enable high S/N ratio by connecting 1-bit ing (MASH) system (see Note). The built-in digital quantizers in multiple stages over three stages without a filter has allowed the front-end analog filter of the trimming process. *MASH was designed by Nippon Telephone and Telegraph A/D converter to be more simplified than a conven- Co. (NTT). tional standard one, consequently, it can reduce the total power consumption of the entire A/D conversion *MASH: Registered trademark has been applied for. system. The MN86081.can be used in digital AV (2) Internal block diagram DSQ ° Ibit Delta Sigma Quontizer Ist DSQ(+) (+) 2nd DSO 3rd DSQ soieyist DSQ(-) SUMMING LOGIC A/D converter a EXCLK (8) CLOCK GENERATOR FIR = FIR2 COMB-FILTER OW-PASS FILTER j ()CLR Digital filter OFFSET LR-POL I-E LR-CLK B-CLX CANCELLOR OFCLR 1-30 (No. 20120)

XP-A1010TN (3) Sketch drawing w5 >656> NSUBNC e ke Oa AMPBIDAASVSS AIN AG VREF 28p]vss 24vTo]p 21] igav]s1sA8v]o 8(=) !-E cir[6] ExcL9ck](v8s|sCv[oD|[|1p]10a]vssDAVDADVSS|1A4v]o0 LPROL LRCK(B4C|LK OFCLR (4) Functions of Terminals TeNrammineal Summary of Functions D Vpp Digital power source terminal (+5V) LRPOL i-E L-ch/R-ch switching terminal in stereo mode LRCK EiAj format at L, I?S format at H. A VoD LRCK input terminal in stereo mode: A Vss DA Vss H: R-ch data output, L: High impedance when LRPOL at H. AMPBIAS L: L-ch data output, L: High impedance when LRPOL at L. NC Bit transfer instruction input (bit transfer is even at trailing edge) Clear terminal. Offset clear circuit operation at L 512FS input terminal Digital ground terminal Digital power source terminal (+5V) Digital ground terminal. Digital power source terminal (+5V) Analog ground terminal Analog power source terminal (+5V) mn| Analog section reference voltage input terminal (+1.5V} Analog ground input terminal (+2.5V) Analog input terminal Analog power source terminal (+5V) Analog ground terminal Digital ground terminal Operation amplifier bias voltage adjusting terrminal (adjust the bias voltage between 1.0 and 4.0V to set a minimum value of THD) 23 | NsuB Connected to A VDD terminal 24 | T Vpb | Digital power source terminal {+5V) 25 DouT 26 | TVss Seria! output terminal, 2’s complement, MSB first 27 =| Test Digital ground terminal 28 | OVss Usually connected to D Vop terminal Digital ground terminal (No. 2012Q 1-31

<P-A1010TN Outline of Other IC W@ TC74HC74P (IC602) ........ DUAL D FLIP FLOP WITH PRESET AND CLEAR Truth value table OUTPUTS INPUTS Q Qa FUNCTION CLEAR PRESET NO CHANGE *: Don’t care W@ LC3517BSL-15 (IC603) ........ 2048WORD BY 8-Bit STATIC RAM 8o oO ju im) 2 Ww ins © wo t ty) > 4 a ES ° 4 oO {2 fa) a a a gf [a] [>] [2] ci Gi AOQ~A10_ Address input terminal WE Read/write control input terminal &©0 T ro) nN 3 ° o5 Qa OE Output enable input terminal CE Chip enable input terminal eC tS OF ie DO~D7 Data 1/O Vcc/GND Power source terminal M@ VC4096 (IC604) ........ GATE ARRAY FOR 16-Bit ADDER Hiei enteteentateeltahatelaets iG Sle 2 BIBIEIE SDIA1+SDIB1+SDO1 SDIA2+SDIB2+SD02 g 2 8 Pee age ee ee ete ee 2 FSLR; FS (sampling frequency) input BCKI1; BCKI2, BCKO; 32fs input 1-32 (No. 20120)

XP-A1010TN Mi M5M4464P-12 (IC608 ~ IC613)------65536 WORD BY 4-Bit DYNAMIC RAM a Clock generation circuit vec(5V) VsstOV) W ;i =2= 8 3 Oa: g o 2 Sense retresh amplifier and 9 ad §b oa: ff() pez 3 Ao 3B WO contro! circuit BG 2 Bs ia Omale3 : 3 :S a siicest8) as 03 3 ee8 Memory cell (262,144 bits) 2 zB 8 ‘J (-) Ar 5 OE Reference + voltage | Comparator source 1 Level Output OUT PIN NO. PIN NAME FUNCTIONS conversion circuit Power source voltage terminal circuit i Reference + voltage Comparator aay fae Reset signal output terminal, outputs OUT the low level during reset and the high level while reset is released. @ TC74HC138P (IC801) ........ 3-TO-8 LINE DECORDER Truth value table ENABLE SELECTED QUTPUT me G2A x<\\°|o xl <|N <|w x! el <|a <|N NONE NONE * NONE * Yo Yr H Y2 Y3 H Ya Ys H Ye Y7 H H H H ns |xrl|oj[ejcicl[er H Pr[lj|eoeirrlliieee icClleelelX|Llc/lL[yzeU=Lrl[yeLTr|Xrilleyl|lee|reer}rrirTXTilie]C{eejjT|cpel|U||r«o«ylTx/LLycpccoiULPlcoiLeylLszyr;yeisyyT=eizXTecrrilrrpyiylcLzelCrr/;pcryaOBaBBeLkieaosele~ odOow0DBeoaasdkeaeoeede apOD2woboe>eisaeklsowel BOeoaoegoedaees ODaSaDaeaE0eedoskes8e *; Don't care (No. 20120 1-33

XP-A1010TN @ IR2E27A (IC802) ........ 5 DotxX2-Channel LED DISPLAY DRIVER Vee Ours Ne. OUTSA OUT4aa OUT3A OUTZAOUT1a (CHI) ouT sal! | 16] Vee Constant Current Source OuT4al 2| is} AMP OUTA ouT3aL3| i4]AMP INA a SioiAl eMeal’anoSiceaanSALD|\\ (8)GND ouT 2a[4| '3]}AMP OUTB 2]AMP INB V aoueT1ma[e5) four se Constant Current Source GNDJ 8| fe]OUT 38 AMP OOO-M-O ouTB AMP OUTS8 OUT48 OUT3B8 OUT28 OUT18 (CH2) INB CONNECTION GND LED current limit resistance Vcc PIN NO. | CONNECTION Output GND Vcc GND Case Case @ TC74HC157P (IC708) ........ QUAD 2-CHANNEL MULTIPLEXER Truth value table OUTPUT | y.0s7) INPUTS STROBE SELECT | L bd L H | :L L L H H *; Don’t care 1-34 (No. 20120)

XP-A1010TN M TC74HC393P (IC707) ......-- DUAL BINARY COUNTER yEcocKalT| fa]vce Truth value table INPUTS OUTPUTS | aD 1CLEAR([2| |3}2CLOCKA 0 CLOCK | CLEAR | QA | aaB | ac roa[3| fa}eccear i [H ; ee oe reels pJeon COUNT UP vacfs] foj208 : NO CHANGE 4 1 oof] [9 j2ac a65 8 GND [a}200 9 Ee|HTS ETETToTeIrTDtIBtTorerierrrrerztewrerteirrrrierrrierstTrreerreetir FREQ CONTROL PHASE COMPARATOR Phase comparator timing chart SIN PHASE OUT —-° oe ed, Q—_e—— Ost AIN (No. 20:2) 1-35

{P-A1010TN @ TC74HC123P (IC706) ........ DUAL RETRIGGERABLE MONOSTABLE MULTIVIBRATOR TA Truth value table + OUTPUTS NOTE 1B[2] INPUTS a Qa OUTPUT ENABLE INHIBIT 1CLR| 3] afle, “LS INHIBIT _ LH rola! OUTPUT ENABLE LH OUTPUT ENABLE 20/5] JIL LW INHIBIT GND Bo JL LW LH oA X: Don’t care. ,: ; Cx, Rx: External parts installation terminal @ NJM3404S (IC710)........ DUAL SINGLE SUPPLY OPERATIONAL AMPLIFIER PIN ARRANGEMENT vt A OUTPUT A— INPUT A+INPUT V— B+INPUT B-—INPUT B OUTPUT OBVNtOARWN= 1-36 (No. 20120)