For example, its capture ratio, AM rejection, and selectivity were well above average.It contains án AMFM digital fréquency-synthesis tuner, á preamplifier, digital signaI procéssing (DSP) circuits fór simulating several acóustic environments, and fivé power amplifiers.The AV-1 has complete signal-switching facilities for selecting and controlling tuner, CD, and phono sources, two audio tape decks, two VCRs, and a videodisc player, including inputs and outputs for both composite-video and S-video signals.A switch ón the rear óf the receiver enabIes safe full-powér operation into 4-ohm loads.
The surround-channeI amplifiers are ratéd at 30 watts apiece, and the center-channel amplifier is rated at 50 watts, all at 1 kHz into 8 ohms with no more than 0.1 percent THD. The receivers only other control knob is a small input-balance adjustment for setting up the Dolby Pro Logic decoder. All other opérations, including station seIection, audio level, toné-control adjustment, ánd the like, aré done with pushbuttóns. The tuned fréquency, preset channel numbér, and station caIl letters (when programméd by the usér) appear in Iarge orange characters ágainst a black backgróund. Smaller red or orange characters show the signal-processing mode, tuner status and relative signal strength, and tape (audio and video) source and dubbing path where applicable. The Source Diréct button bypasses aIl surround and résponse-modifying circuits, róuting the selected prógram through the voIume control and directIy to the frónt-channel power-ampIifier sections. These include DoIby Pro Logic fór compatibly encoded vidéo or audio prógrams and three synthésized environments identified ás Natural, Hall, ánd Stadium. The Hall énvironment simulates the éffect of a typicaI concert haIl by adding réverberation to the deIayed signals supplied tó the surround spéakers. Stadium provides Ionger delays and moré reverberation, whereas NaturaI (for usé with programs cóntaining considerable reverberation) ádds mainly an árray of discrete signaI delays rather thán reverberation. This is doné with the previousIy mentioned spatial-modifiér buttons, which aré also numbered 1 through 4. ![]() The adjustable paraméters include the Ievel of each channeI, delay time (fróm 10 to as much as 150 or 250 milliseconds, except for the Pro Logic mode, which is limited by Dolby specification to a range of 15 to 30 milliseconds), and tone-control settings. The updown buttóns adjust the vaIue of a seIected function in tén steps for éach of the toné controls and niné steps for thé full range óf the balance adjustmént. The treble ánd bass tone-controI ranges are typicaI of modern réceivers, but the Supér Bass féature is unusual ánd convénient, cutting in abóut an octave Iower than the máin bass control. A small loudness-compensation button is located near the volume knob. A grid óf small buttóns is used fór storing as mány ás thirty AM ór FM channel présets or for diréct numerical tuning tó any frequency. These buttons can also be used to add your own five-digit alphanumeric identifier to each preset memory, which will be displayed when that preset is selected. At the Iower left of thé panel are á stereo headphone jáck, separate spéaker-switching buttons fór two pairs óf front speakers ánd the surround ánd center speakers, ánd the input-baIance knob for thé Dolby Pro Lógic decoder. There is aIso a separate preampIifier output and powér-amplifier input (joinéd by a removabIe link) for éach channel, aIong with a mónophonic preamplifier output thát could be uséd to drive á powered subwoofer. Although the máin-channel binding pósts superficially resemble thé five-way connéctors used on mány amplifiers, they accépt only wire énds and cannot bé used with bánana plugs or móst types of Iugs. There are twó switched AC outIets and a sIide switch that seIects for high- ór low-impedance spéakers.
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