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DSP
PRO LOGIC
TAPE
MONITOR
PROGRAM EFFECT
NATURAL SOUND DIGITAL SOUND FIELD PROCESSOR
/
AMPLIFIER DSP-E580
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CONTENTS
PRECAUTIONS & SAFETY INSTRUCTIONS ....................Inside Front Cover
SETUP & ADJUSTMENT..................................................................................3
1-1. GETTING STARTED.................................................................................3
1-2. SETUP.......................................................................................................8
1-3. CONTROLS & ADJUSTMENTS.............................................................18
1-4. ADJUSTMENT.........................................................................................21
GENERAL OPERATION.................................................................................24
2-1. PLAYING A SOURCE.............................................................................24
2-2. DIGITAL SOUND FIELD PROGRAMS ..................................................25
2-3. SELECTING SOUND FIELD PROGRAMS............................................25
2-4. MUTING THE EFFECT SOUND ............................................................25
2-5. SUPERIMPOSED VIDEO PROGRAM/PARAMETER
DISPLAY..................................................................................................25
2-6. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS......................26
CREATING YOUR OWN SOUND FIELDS....................................................30
3-1. SELECTING AND EDITING PROGRAM PARAMETERS ....................30
3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS........................................................................................32
TROUBLESHOOTING ....................................................................................34
SPECIFICATIONS...........................................................................................35
OPERATION MANUAL
DIGITAL SOUND FIELD PROCESSING AMPLIFIER
1 Read Instructions – All the safety
and operating instructions should be read
before the unit is operated.
2 Retain Instructions – The safety and
operating instructions should be retained
for future reference.
3 Heed Warnings – All warnings on the
unit and in the operating instructions
should be adhered to.
4 Follow Instructions – All operating
and other instructions should be followed.
5 Water and Moisture – The unit
should not be used near water – for
example, near a bathtub, washbowl,
kitchen sink, laundry tub, in a wet
basement, or near a swimming pool, etc.
6 Carts and Stands – The unit should
be used only with a cart or stand that is
recommended by the manufacturer.
6A A unit and cart combination should
be moved with care. Quick
stops, excessive force, and
uneven surfaces may
cause the unit and cart
combination to overturn.
7 Wall or Ceiling Mounting – The unit
should be mounted to a wall or ceiling
only as recommended by the
manufacturer.
8 Ventilation – The unit should be
situated so that its location or position
does not interfere with its proper
ventilation. For example, the unit should
not be situated on a bed, sofa, rug, or
similar surface, that may block the
ventilation openings; or placed in a built-
in installation, such as a bookcase or
cabinet that may impede the flow of air
through the ventilation openings.
9 Heat – The unit should be situated
away from heat sources such as
radiators, stoves, or other appliances that
produce heat.
10 Power Sources – The unit should be
connected to a power supply only of the
type described in the operating
instructions or as marked on the unit.
11 Power-Cord Protection – Power-
supply cords should be routed so that
they are not likely to be walked on or
pinched by items placed upon or against
them, paying particular attention to cords
at plugs, convenience receptacles, and
the point where they exit from the unit.
12 Cleaning – The unit should be
cleaned only as recommended by the
manufacturer.
13 Nonuse Periods – The power cord of
the unit should be unplugged from the
outlet when left unused for a long period
of time.
14 Object and Liquid Entry – Care
should be taken so that objects do not fall
into and liquids are not spilled into the
inside of the unit.
15 Damage Requiring Service – The
unit should be serviced by qualified
service personnel when:
A. The power-supply cord or the plug
has been damaged;
or
B. Objects have fallen, or liquid has
been spilled into the unit;
or
C. The unit has been exposed to rain;
or
D. The unit does not appear to operate
normally or exhibits a marked change in
performance;
or
E. The unit has been dropped, or the
cabinet damaged.
16 Servicing – The user should not
attempt to service the unit beyond those
means described in the operating
instructions. All other servicing should be
referred to qualified service personnel.
17 Power Lines – An outdoor antenna
should be located away from power lines.
18 Grounding or Polarization –
Precautions should be taken so that the
grounding or polarization is not defeated.
SAFETY INSTRUCTIONS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK), NO USER-SERVICEABLE
PARTS INSIDE, REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead
symbol, within an equilateral triangle,
is intended to alert you to the
presence of uninsulated “dangerous
voltage” within the product’s
enclosure that may be of sufficient
magnitude to constitute a risk of
electric shock to persons.
The exclamation point within an
equilateral triangle is intended to alert
you to the presence of important
operating and maintenance
(servicing) instructions in the
literature accompanying the
appliance.
•
Explanation of Graphical Symbols
CAUTION
IMPORTANT!
Please record the serial number of this
unit in the space below.
Model:
Serial No.:
The serial number is located on the rear
of the unit.
Retain this Owner’s Manual in a safe
place for future reference.
WARNING
TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK, DO NOT EXPOSE
THIS UNIT TO RAIN OR MOISTURE.
PRECAUTIONS & SAFETY INSTRUCTIONS
1
1 To ensure the finest performance,
please read this manual carefully. Keep it in
a safe place for future reference.
2 Install your unit in a cool, dry, clean
place – away from windows, heat sources,
and too much vibration, dust, moisture or
cold. Avoid sources of hum (transformers,
motors). To prevent fire or electrical shock,
do not expose to rain and water.
3 Do not operate the unit upside-down. It
may overheat, possibly causing damage.
4 Never open the cabinet. If a foreign
object drops into the set, contact your
dealer.
5 Do not use force on switches, knobs or
cords. When moving the set, first turn the
unit off. Then gently disconnect the power
plug and the cords connecting to other
equipment. Never pull the cord itself.
6 Do not attempt to clean the unit with
chemical solvents; this might damage the
finish. Use a clean, dry cloth.
7 Always set the volume control to “–
∞
”
while lowering the tonearm to play a record;
turn the volume up with the stylus in the
groove.
8 Be sure to read the “Troubleshooting”
section on common operating errors before
concluding that your unit is faulty.
9 Do not connect audio equipment to the
AC outlets on the rear panel if that
equipment requires more power than the
outlets are rated to provide.
We Want You Listening
For A Lifetime
YAMAHA and the Electronic Industries
Association’s Consumer Electronics
Group want you to get the most out of
your equipment by playing it at a safe
level. One that lets the sound come
through loud and clear without annoying
blaring or distortion – and, most
importantly, without affecting your
sensitive hearing. Since hearing damage
from loud sounds is often undetectable
until it is too late, YAMAHA and the
Electronic Industries
Association’s Consumer
Electronics Group
recommend you to avoid
prolonged exposure from
excessive volume levels.
PRECAUTIONS
FCC INFORMATION
1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this
manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT : When connecting this product to accessories and/or another
product use only high quality shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions
could void your FCC authorization to use this product in the USA.
3. NOTE : This product has been tested and found to comply with the requirements
listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of assurance that your use of
this product in a residential environment will not result in harmful interference
with other electronic devices.
This equipment generates/uses radio frequencies and, if not installed and used
according to the instructions found in the users manual, may cause interference
harmful to the operation of other electronic devices.
Compliance with FCC regulations does not guarantee that interference will not
occur in all installations. If this product is found to be the source of interference,
which can be determined by turning the unit “OFF” and “ON”, please try to
eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the
interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits
or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type
cable.
If these corrective measures do not produce satisfactory results, please contact
the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Electronics Corp., U.S.A.
6660 Orangethorpe Ave, Buena Park, CA 90620.
The above statements apply ONLY to those products distributed by Yamaha
Corporation of America or its subsidiaries.
2
Congratulations!
You are the proud owner of a Yamaha Digital Sound Field Processing (DSP) System—an
extremely sophisticated audio component. The DSP system takes full advantage of Yamaha’s
undisputed leadership in the field of digital audio processing to bring you a whole new world
of listening experiences. Follow the instructions in this manual carefully when setting up your
system, and the DSP system will sonically transform your room into a wide range of listening
environments—anything from a famous concert hall to a cozy jazz club. In addition, you get
incredible realism from Dolby-Surround encoded video sources using the built-in Dolby Pro
Logic Surround Decoder.
Rather than tell you about the wonders of digital sound field processing, however, let’s get
right down to the business of setting up the system and trying out its many capabilities.
Please read this operation manual carefully and store it in a safe place for later reference.
1-1. GETTING STARTED
Unpacking
If you haven’t already done so, carefully remove this unit and its
accessories from the box and wrapping material. You should find the
unit itself and the following accessories.
Installing the Remote Control Unit Batteries
Since the remote control unit will be used for many of this unit’s
control operations, you should begin by installing the supplied
batteries.
1. Turn the remote control unit over and slide the battery
compartment cover downward in the direction of the arrow.
2. Insert the batteries (R6, AA, UM-3 type), being careful to align
them with the polarity markings on the inside of the battery
compartment.
3. Close the battery compartment cover.
3
SETUP & ADJUSTMENT
Remote control
Batteries
2
3
1
Pin cable, audio x 2 Pin cable, video
1
2
3
●
When you notice that remote control operation has become
erratic, or the distance from which the remote control will function
has decreased, it’s time to replace the batteries. Always replace
all batteries at the same time.
●
This remote control uses an advanced, highly directional infrared
beam. Be sure to aim the remote control directly at the remote
control sensor on the main unit when operating.
Remote control transmitter operation range
Notes
●
There should be no large obstacles between the remote
control transmitter and the main unit.
●
If the remote control sensor is directly illuminated by strong
lighting (especially an inverter type of fluorescent lamp etc.),
it might cause the remote control transmitter to work
incorrectly. In this case, reposition the main unit to avoid
direct lighting.
Digital Sound Field Processing
What is it that makes live music so good? Today’s advanced
sound reproduction technology lets you get extremely close to the
sound of a live performance, but chances are you’ll still notice
something missing, the acoustic environment of the live concert hall.
Extensive research into the exact nature of the sonic reflections that
create the ambience of a large hall has made it possible for Yamaha
engineers to bring you this same sound in your own listening room,
so you’ll feel all the sound of a live concert. What’s more, our
technicians, armed with sophisticated measuring equipment, have
even made it possible to capture the acoustics of a variety of actual
concert halls, jazz clubs, theaters, etc. from around the world, to
allow you to accurately recreate any one of these live performance
environments, all in your own home.
4
30°
30°
Remote control
sensor
Within approximately
7 m (23 feet)
Dolby Pro Logic Surround
The Dolby Pro Logic Surround Decoder program lets you
experience the dramatic realism and impact of Dolby Surround movie
theater sound in your own home. Dolby Pro Logic gets its name from
its professional-grade steering logic circuitry, which provides greater
effective channel separation for a much higher degree of realism than
the “passive” Dolby Surround circuits found in today’s typical home
audio/video equipment. Dolby Pro Logic Surround provides a true
center channel, so that there are four independent channels, unlike
passive Dolby Surround, which has in effect only three channels: left,
right, and rear. This center channel allows listeners seated in even
less-than-ideal positions to hear the dialog originating from the action
on the screen while experiencing good stereo imaging.
This Dolby Pro Logic Surround Decoder employs a digital signal
processing system. This system improves the stability of sound at
each channel and crosstalk between channels, so that positioning of
sounds around the room is more accurate compared with
conventional analog signal processing systems.
In addition, this unit features a built-in automatic input balance
control. This always assures you the best performance without
manual adjustment.
Manufactured under license from Dolby Laboratories Licensing
Corporation. Additionally licensed under one or more of the following
patents: U.S. number 3,959,590; Canadian numbers 1,004,603 and
1,037,877. “Dolby”, “Pro Logic”, and the double-D symbol are
trademarks of Dolby Laboratories Licensing Corporation.
Dolby Pro Logic Surround + DSP
Additionally you can enjoy sound environment created by the
combination of Dolby Pro Logic and YAMAHA DSP.
Precise sound
movement and orientation by the Dolby Pro Logic technology is
added to sound fields which are precisely recreated on the
basis of actual acoustic environments by the DSP technology,
so it is suitable for any Audio/Video source with video image.
This combination is used on sound field programs No.5 through
No.14, and No.16.
The YAMAHA “CINEMA DSP” logo indicates these programs
created by the combination of Dolby Pro Logic and YAMAHA DSP
technology.
5
Setting Up Your Speaker System
This unit has been designed to provide the best sound field
quality with a full five-speaker system setup, using one extra pairs of
effect speakers to generate the sound field plus one center speaker
for dialog, when using Dolby Pro Logic Surround decoding. We
therefore recommend that you use a five-speaker setup. A four-
speaker system using only one pair of effect speakers for the sound
field will still provide impressive ambience and effects, however, and
may be a good way to begin with this unit. You can always upgrade
to the full five speaker system later.
Use of the Center Dialog Speaker Is Recommended
With digital sound field programs No. 5 through No. 16, by using
either the Directional Enhancement circuit or the Dolby Pro Logic
decoder, decoded signals will be output from the center channel.
Therefore, if you want to upgrade the Audio/Video home theater
system, it is recommended to use the center speaker unit.
If for some reason it is not practical to use a center speaker, it is
possible to enjoy movie viewing without it. Best results, however, are
obtained with the full system.
It is also possible to further expand your system with the addition
of a subwoofer and amplifier. You may wish to choose the
convenience of a Yamaha Active Servo Processing Subwoofer
System, which has its own built-in power amp.
6
5 Speaker System
This is the recommended speaker
system, providing the best sound
effects.
With sound field programs No. 1
through No. 4, using effect speakers
reproduces the effective sound field.
With the sound field programs No. 5
through No. 16, the center speaker
provides precise center localization.
Center Mode—Set to NRML or WD.
(See page 23.)
4 Speaker System
Simple system without center
speaker.
With sound field programs No. 1
through No. 4, a sound effect matching
that of a 5-speaker system can be
obtained. With sound field programs No.
5 through No. 16, center sound is output
from the left and right main speakers.
Center Mode—Set to PHNTM.
(See page 23.)
Speakers and Speaker Placement
Your full five-speaker system will require two speaker pairs: the
MAIN SPEAKERS (your normal stereo speakers) and the REAR
EFFECT SPEAKERS, plus the CENTER SPEAKER. You may also
be using a subwoofer.
You will probably use your present stereo speakers as the MAIN
SPEAKER pair. The rear effect do not need to be equal with the
MAIN SPEAKERS, although the center speaker should be as close
as possible. They should have enough power handling capacity to
accept the maximum output of the DSP system or the external amps
that will drive them.
Place the MAIN SPEAKERS in the normal position.
Place the REAR EFFECT SPEAKERS behind your listening
position. They should be nearly six feet up from the floor.
Place the CENTER SPEAKER precisely between the two MAIN
SPEAKERS. (To avoid interference, keep the speaker above or
below the television monitor, or use a magnetically shielded speaker.)
If using a SUBWOOFER, such as a Yamaha Active Servo
Subwoofer System, the position of the speaker is not so critical
because low bass tones are not highly directional.
7
Main speaker Rear effect speaker Center speaker
8
1-2. SETUP
Before you start making connections make sure all related electronic components are turned OFF.
REAR PANEL
SINGLE
DUALDUAL
INPUT
TAPE
OUTPUT
SINGLE
AB
10dB 0dB
-
To AC outlet
15 7
9 D
2 3 4 6 8
0 A CB
(General Model)
1 Main Level Switch
Normally set to “0 dB”. If desired, you can decrease the main-
channel line output level at the MAIN OUTPUT jacks by 10 dB by
setting this switch to “–10 dB”.
2 Main Output Jacks
Main-channel line output. Connected to input jacks of external
stereo power amplifier (MAIN IN or AUX or TAPE PLAY jacks of
integrated amplifier or receiver).
3 Center Output Jack
Center-channel line output. Can be connected to input jack of an
external power amplifier driving the center speaker.
4 Rear Effect Output Jacks
Rear-channel line output. Can be connected to input jacks of an
external stereo power amplifier driving the rear effect speakers.
5 Center Speaker Terminals
When using the built-in center-channel amplifier, connect the
center speaker(s) here.
6 Rear Effect Speaker Terminals
When using the built-in rear-channel amplifier, connect the rear
effect speakers here.
7 Unswitched AC Outlet
You may plug another component into this socket as long as its
power consumption does not exceed the specified value
shown. “Unswitched” means that power is available even when
this unit is off.
8 Switched AC Outlet (U.S.A., Canada and General Model)
The power consumption of a component plugged into this
socket should not exceed the specified value shown.
“Switched” means that component is turned on and off by this
unit’s power switch.
9 Input Jacks
Accept input from a preamplifier, the “PRE OUT” or “TAPE REC”
outputs from an integrated amplifier, or direct input from a line-
level source.
0 Tape Rec Out and Playback Jacks
Connect the inputs and outputs of a stereo tape deck for
convenient recording and playback via this unit (the effect sound
cannot be recorded).
A Low Pass Jack
When using a subwoofer, connect its amplifier input to this jack.
Frequencies below 200 Hz from the left main, right main and
center channels are output to this jack.
B Video Superimpose Input/Output Jacks
Used to display this unit’s current operating status on your video
monitor, superimposed on the picture. Connect the VIDEO OUT
jack to the VIDEO IN jack of your monitor. Connect your
integrated amplifier or control amplifier equipped with video signal
output jacks or video signal source to the VIDEO IN jack.
Alternatively, the S VIDEO OUT and S VIDEO IN jacks can be
used for higher resolution and improved picture quality if your
monitor and video signal source are equipped with S connectors.
9
C Video NTSC/PAL Switch (General Model only)
Set this switch to the position corresponding to the standard
that your video equipment employs.
D Voltage Selector (General Model only)
Be sure to set to the line voltage in your area before applying
power. Consult your dealer if unsure of the correct setting.
NOTE: Even if an external power amplifier is connected to the REAR
or CENTER line output jacks, the corresponding internal amplifier will
not be turned off and output will be available at the speaker
terminals.
VIDEO SUPERIMPOSE
If you connect your video monitor to this unit and send video
signals to the video monitor via this unit, you can take advantage
of this unit’s capability to display program titles, parameter data
and information about other various settings and adjustments on
your video monitor’s screen. This information will be
superimposed over the video image.
If no video signal is input to this unit, the information will be
displayed over a blue colored background.
NOTE: The program titles, parameter data and other information
are also displayed on the display panel of this unit.
10
CONCERT HALL
DSP
P01 CONCERT HALL
CONNECTING AN INTEGRATED STEREO
AMPLIFIER OR STEREO RECEIVER TO THIS UNIT
Using an Integrated Amplifier or Stereo Receiver with PRE OUT
and MAIN IN Terminals
Some integrated amplifiers and stereo receivers have PRE OUT
and MAIN IN jacks which permit the preamplifier and power amplifier
sections to function independently. If your integrated amplifier or
stereo receiver has these jacks, begin by removing the jumpers that
connect the PRE OUT and MAIN IN jacks (or decouple the
preamplifier and power amplifier using the appropriate switch—refer
to your amplifier or receiver operation manual).
Connect the amplifier’s PRE OUT jacks to this unit’s INPUT jacks
with a stereo pin cable. Make sure that the “L” output from the
amplifier is connected to the “L” input on this unit, and that the “R”
output from the amplifier is connected to the “R” input on this unit.
Connect the MAIN OUTPUT jacks on this unit to the MAIN IN
jacks on your integrated amplifier or receiver with a second stereo pin
cable—making sure to connect the left and right channels correctly.
Connect the MAIN speakers to the speaker output terminals of your
integrated amplifier or receiver.
11
INPUT
TAPE
OUTPUT
10dB 0dB
-
MAIN
IN
PRE
OUT
Main Speaker L Main Speaker R
Integrated Amp
Using an Integrated Amplifier or Stereo Receiver that Does Not
Have PRE OUT and MAIN IN Terminals
If your integrated amplifier is NOT equipped with PRE OUT and
MAIN IN jacks, this unit must be connected to the amplifier or receiver
TAPE jacks. This unit provides additional TAPE PB and REC OUT
jacks so you will still have a place to connect your tape deck.
Connect the amplifier or receiver TAPE REC (or TAPE OUT) jacks
to this unit’s INPUT jacks with a stereo pin cable. Make sure that the
“L” output from the amplifier or receiver is connected to the “L” input
on this unit, and that the “R” output from the amplifier or receiver is
connected to the “R” input on this unit.
Connect the MAIN OUTPUT jacks on this unit to auxiliary (AUX)
input jacks, or the TAPE PLAY (or TAPE IN) jacks on your amplifier or
receiver with a second stereo pin cable—making sure to connect the
left and right channels correctly. Connect the MAIN speakers to the
speaker output terminals of the amplifier or receiver.
NOTE: If your system includes a tape deck which has been displaced
by connecting this unit to the TAPE jacks, reconnect your tape deck to
this unit’s TAPE PB and REC OUT jacks. REC OUT from this unit
goes to the INPUT jacks on your tape deck, and this unit’s TAPE PB
jacks should be connected to the tape deck’s OUTPUT jacks.
12
Main Speaker L
Main Speaker R
Integrated Amp
AUX or Tape Play (or Tape In)
INPUT
TAPE
OUTPUT
10dB 0dB
-
INPUTOUTPUT
Tape Rec or Tape Out
Tape Deck
CONNECTING A COMPONENT PREAMPLIFIER TO
THIS UNIT
Connect the PRE OUT jacks of the preamplifier (control amplifier)
to this unit’s INPUT jacks with a stereo pin cable. Make sure that the
“L” output from the preamplifier is connected to the “L” input on this
unit, and that the “R” output from the preamplifier is connected to the
“R” input on this unit.
Connect the MAIN OUTPUT jacks on this unit to the INPUT jacks
of a stereo power amplifier with a second stereo pin cable—making
sure to connect the left and right channels correctly. Connect the
MAIN speakers to the speaker output terminals of the power
amplifier.
13
Main Speaker L Main Speaker R
Control Amplifier
Power Amplifier
INPUT
TAPE
OUTPUT
10dB 0dB
-
INPUTPRE
OUT
CONNECTING TO VIDEO SIGNAL JACKS
If your integrated amplifier or similar component is equipped with
a video output jack, connect it to this unit’s VIDEO IN jack, and
connect this unit’s VIDEO OUT jack to the video input of your
monitor.
* If your integrated amplifier or similar component is not equipped
with any video output jack, connect the video output jack of your
video cassette recorder or another video source to this unit’s
VIDEO IN jack directly.
If your integrated amplifier, video cassette recorder, etc. and your
monitor are equipped with “S” (high-resolution) video terminals,
connect the “S” video output from your integrated amplifier or video
source to this unit’s S VIDEO IN jack, and connect this unit’s S
VIDEO OUT jack to the “S” video input of your monitor.
NOTE: If video signals are sent to both S VIDEO input and VIDEO
input jacks, the signals will be sent to their respective output jacks
independently.
NOTE: If your unit is the General Model, be sure the NTSC/PAL
switch has been correctly set to the standard that your video
equipment employs. U.S.A. and Canada models have no switch and
use the NTSC standard, while other models without a switch use the
PAL standard.
Notes about the Video superimpose
●
If you watch a video source which is connected to both S VIDEO
and VIDEO input jacks of this unit, signals of screen display
information are output from only the S VIDEO OUT jack.
●
When no video signal is input to either S VIDEO IN and VIDEO IN
jacks of this unit, signals of screen display information are output
from both S VIDEO OUT and VIDEO OUT jacks with a color
background.
* For the General Model, if the NTSC/PAL switch on the rear panel
is set to “PAL”, nothing will be output from either S VIDEO OUT or
VIDEO OUT jack in this case.
14
Integrated Amplifier etc.
Monitor TV
VIDEO
OUT
S VIDEO
OUT
VIDEO
IN
S VIDEO
IN
CONNECTING SPEAKER SYSTEMS
Connect the SPEAKERS terminals to your speakers with wire of
the proper gauge, cut as short as possible. If the connections are
faulty, no sound will be heard from the speakers. Make sure that the
polarity of the speaker wires is correct, that is, + and – markings are
observed. If these wires are reversed, the sound will be unnatural
and will lack bass. Do not let the bare speaker wires touch each
other or any other metal part as this could damage this unit and/or
speakers.
NOTE: Use speakers with the specified impedance shown on the
rear of this unit.
Red: positive (+)
Black: negative (–)
➀ Press down the tab.
➁ Insert the bare wire.
[Remove approx. 5mm (1/4”)
insulation from the speaker
wires.]
➂ Press up the tab and secure
the wire.
CONNECTING THE REAR EFFECT SPEAKERS TO
THIS UNIT
Connect the REAR effect speakers to the REAR SPEAKERS
terminals of this unit.
NOTE: If for some reason, you wish to use an external power amp
for the rear effect channel, connect the REAR OUTPUT jacks to the
INPUT jacks of the external amp and connect the rear effect speaker
pair to the speaker terminals of the external amp.
15
SINGLE
DUALDUAL
SINGLE
AB
Rear Effect
Speaker
R
Rear Effect
Speaker
L
➀
➁
➂
16
CONNECTING THE CENTER SPEAKER(S) TO THIS
UNIT
Connect the CENTER speaker to the CENTER SPEAKERS
terminals. One or two CENTER speakers can be connected to this
unit. For the respective connections, follow the methods figured
below. If, however, you will not be using a CENTER speaker, be sure
to set the Center Mode to “PHNTM” (phantom). (See page 23.)
For connecting one CENTER speaker
For connecting two CENTER speakers
NOTE: If for some reason, you wish to use an external power amp
for the center channel, connect the CENTER OUTPUT jack to the
INPUT jack of the external amp and connect the center speaker to
the speaker terminals of the external amp.
SINGLE
DUALDUAL
SINGLE
AB
SINGLE
DUALDUAL
SINGLE
AB
Center speaker
Center speaker Center speaker
ADDING A SUBWOOFER
You may wish to add a subwoofer to reinforce the bass
frequencies.
This unit provides a line-level subwoofer output, which contains
only the frequencies under 200 Hz from the main and center
channels. Connect the LOW PASS jack to the INPUT jack of the
subwoofer amplifier, and connect the speaker terminals of the
subwoofer amplifier to the subwoofer.
With some subwoofers, including the Yamaha Active Servo
Processing Subwoofer System, the amplifier and subwoofer are in
the same unit.
17
OUTPUT
10dB 0dB
-
Subwoofer system
18
1-3. CONTROLS & ADJUSTMENTS
FRONT PANEL
NATURAL SOUND DIGITAL SOUND FIELD PROCESSOR
/
AMPLIFIER DSP-E580
TAPE
MONITOR
PROGRAM EFFECT
DSP
PRO LOGIC
123456
9
7 8
(General Model)
1 Power Switch
* STANDBY Mode (Europe model only)
While the power is on, pressing the POWER key on the remote
control unit switches the unit to the STANDBY mode. (In this
mode, the indicator is half illuminated.)
2 Remote control sensor
Signals from the remote control unit are received here.
3 Display Panel
Shows program names, parameters and information about other
various settings and adjustments.
4 PRO LOGIC Indicator
Illuminates while the built-in Dolby Pro Logic Surround Decoder is
being activated.
5 DSP Indicator
Illuminates while the built-in Sound Field Processor is being
activated.
6 Program Selector
Sequentially selects the digital sound field processing
programs in the + or – direction.
7 Effect Switch
Normally ON, this switch can be turned OFF to disable output
from the center and effect speakers so that the sound
becomes normal 2-channel stereo.
8 Tape Monitor Switch
Used when you have connected the tape deck to this unit’s
TAPE terminals to select that tape as the source. (See page 12
and 24.)
9 Master Volume Control
Simultaneously controls signal level at all outputs: main, rear
effect, center, and subwoofer. (This does not affect TAPE REC
OUT level.)
19
REMOTE CONTROL UNIT
1 Power Key
Turns this unit on and off.
* (Europe model only): Turns the POWER on mode to the
STANDBY mode and vice versa.
2 Program Select Keys (1 through 16)
Select DSP programs 1 through 16.
3 Test Switch
When pressed, sends a signal to the main left, center, main
right, and rear effect speakers in turn for easy comparison of
level settings.
4 Set Menu/Parameter +/– Keys
Edit DSP program parameters, make settings/adjustments in the
SET MENU mode, or used in the main/center/effect speaker level
balance adjustment.
5 Effect On/Off Key
Cuts off the sound’s output from the rear effect and center
speakers. To restore the output from those speakers, press this
key again.
6 Set Menu/Parameter Select Keys
Select DSP program parameters or titles of settings/adjustments
in the SET MENU mode, or used in the main/center/effect
speaker level balance adjustment.
7 Tape Monitor Switch
Used when you have connected the tape deck to this unit’s
TAPE terminals to select that tape as the source. (See pages
12 and 24.)
8 Master Volume +/– Keys
Increase (+) or decrease (–) the master volume level.
20
TEST
EFFECT
SET MENU
PARAMETER
MASTER
VOLUME
POWER
+
—
HALL
CONCERT
VIDEO
TV
THEATER
1
CHURCH
OPERA
TV
SPORTS
2
JAZZ CLUB
CLASSIC
FILM
GAME
PRO LOGIC
ROCK
CONCERT
ANIMATION
KARAOKE
– ENHANCED
THEATER
70
mm MOVIE
1
5
9
13
2
6
10
14
3
7
11
15
4
8
12
16
+
—
TAPE
MON
PROGRAM
1
2
4
6
8
7
3
5
PREPARATION
1. Set all volume controls—on the main amp (preamp) and effect
power amplifiers—to their MINIMUM positions.
2. Turn on the power to all system components. This unit is turned
on by pressing the POWER switch on the front panel or the POWER
key on the remote control unit.
3. Use the MASTER VOLUME control on the front panel or the
MASTER VOLUME keys on the remote control to set the master
volume to its lowest level. If you are using external power amplifiers
on any channels, any volume controls on the power amps should be
set to maximum.
4. Select your video cassette deck or video disc player (or other
Dolby Surround encoded program source) on your A/V selector,
integrated amplifier, preamplifier, or receiver.
5. Begin playback of Dolby Surround encoded program material.
6. Increase the setting of the volume control on your preamplifier,
integrated amplifier, or receiver to about the halfway point.
* Depending on the particular model of preamplifier, integrated
amplifier, or receiver you are using, a slightly different volume
setting may be necessary. If there is distortion on loud passages,
try reducing the volume control setting slightly.
7. Use the MASTER VOLUME control on the front panel or the
MASTER VOLUME keys on the remote control unit to set the master
volume to a comfortable listening level.
For optimum performance—minimum noise and maximum
dynamic range—it is desirable to set the volume control of your
preamplifier, integrated amplifier or receiver to its center position,
making any necessary adjustments to the listening level by changing
the MASTER VOLUME control setting on this unit.
21
1-4. ADJUSTMENT
POWER
POWER
Front Panel Remote Control
MASTER
VOLUME
+
—
or
Front Panel Remote Control
or
MASTER
VOLUME
+
—
Front Panel Remote Control
or
MAIN/CENTER/REAR EFFECT SPEAKER LEVEL
BALANCE ADJUSTMENT
This operation uses an internal test-tone generator for balancing
the levels of the main, center and rear effect speakers. All speakers
should be adjusted to the same apparent sound level for proper
Dolby Pro Logic decoding.
1. Depress the TEST switch on the remote control to enter test
mode. A hiss-like calibration signal should be heard from the left
main speaker, center speaker(s), right main speaker and rear effect
speakers in turn (see diagram). Adjust the MASTER VOLUME to a
normal listening level.
* The state of test-tone output is shown by the display panel and
the monitor screen. (Especially on the monitor screen, it is shown
by an image of audio listening room.) This is convenient for
adjusting each speaker level.
2. Adjust the center and rear effect speaker level.
For adjusting the center speaker level:
Press the SET MENU/PARAMETER select (▲▲) key. “CENTER
LEVEL ··· dB” appears on the display and the test-tone is output from
the center speaker(s). In this state, adjust the center speaker level by
pressing the SET MENU/PARAMETER +/– keys.
For adjusting the rear effect speaker level:
Press the SET MENU/PARAMETER Select (▼▼) key. “SURROUND
LEVEL ··· dB” appears on the display and the test-tone is output from
the rear effect speakers. In this state, adjust the rear effect speaker
level by pressing the SET MENU/PARAMETER +/– keys.
Adjust each speaker level so that the sound coming from the
corresponding speakers seems to be at the same level as that from
the main speakers when you are at a normal listening position.
If there is insufficient volume from the effect speakers, you may
decrease the main speaker volume level by setting the MAIN LEVEL
switch on the rear panel to “–10 dB”, and adjust the center and rear
level again.
NOTE: If the CENTER MODE is set to the PHNTM (phantom)
position, the center speaker level cannot be adjusted. If using a
center speaker, be sure to set the CENTER MODE to the “NRML” or
“WD” position.
After completing this adjustment, press the TEST switch once
again.
NOTE: Once you have completed these adjustments, use only this
unit’s MASTER VOLUME control to adjust listening volume. Do not
change any other volume settings in the system.
22
Left main Center Right main
Rear
LEFT CENTER RIGHT
SURROUND
OTHER IMPORTANT SETTINGS AND ADJUSTMENTS
IN THE “SET MENU” MODE
The following three types of settings and adjustments should be
done before enjoying audio and video sources. Note that these
settings and adjustments cannot be done without monitoring the
display information (or the information displayed on the monitor
screen).
CENTER MODE
DIMMER
MEMORY GUARD
SETTING/ADJUSTMENT PROCEDURE
1. Select an item (title) of setting/adjustment.
2. Select any desired mode or edit parameters on the item.
In the same way, perform settings/adjustments for other items.
DESCRIPTIONS OF THE ITEMS
1. Selecting Center Mode (CENTER MODE NRML/WD/
PHNTM)
In Normal (NRML) position, any frequency below 100 Hz will be
divided between the main left and main right speakers. For this
reason even a speaker smaller than the main left and right speakers
can obtain a sufficient effect.
In Wide (WD) position, all range of frequencies for the center-
channel are output to the center speaker. Select this position if a
good quality center speaker is being used.
If not using the center speaker(s), be sure to select Phantom
(PHNTM) position, and the audio signals for the center channel are
output to the main speakers.
2. Changing brightness of the display (DIMMER)
You can select one of the five levels of brightness of the display.
3. Locking DSP parameters and other adjustments
(MEMORY GUARD)
If you wish to prevent accidental alteration to DSP parameters or
other adjustments on this unit, select “ON”. In this position, they are
locked and cannot be changed. The following functions on this unit
can be locked by this operation.
• DSP parameters
• Other setting/adjustment items in the “SET MENU” mode
(CENTER MODE/DIMMER)
• TEST switch
23
SET MENU
PARAMETER
+
—
SET MENU
PARAMETER
+
—
24
2-1. PLAYING A SOURCE
1. Set the MASTER VOLUME control to minimum.
2. Turn the power on.
3. Select a source using the input selector on the integrated
amplifier etc.
* To select a tape deck connected to this unit’s TAPE terminals, turn
the TAPE MONITOR switch on so that the indicator over the switch
on the front panel lights up. (Otherwise, turn this switch off so that
the indicator goes off.)
NOTE: If this unit is connected to the TAPE terminals of the
integrated amplifier etc., the following operations are needed.
• If your amplifier has the REC OUT selector which is independent
of the input selector;
1.Set the input selector to the AUX position.
2.Select the source to be input to this unit using the REC OUT
selector.
• If your amplifier does not have the REC OUT selector which is
independent of the input selector;
1.Set the TAPE monitor switch on the amplifier to on.
2.Select the source to be input to this unit using the input
selector.
4. Play the source.
5. Increase the setting of the MASTER VOLUME control to your
listening level.
GENERAL OPERATION
POWER
POWER
Front Panel Remote Control
or
MASTER
VOLUME
+
—
Front Panel Remote Control
or
Front Panel
TAPE
MONITOR
TAPE
MON
Front Panel Remote Control
or
2-2. DIGITAL SOUND FIELD PROGRAMS
This unit has 16 programs for digital sound field processing, 4
from actual acoustic environments from around the world, and 12
programs for Audio/Video sources including sources encoded with
Dolby Pro Logic surround. Many of the programs contain various
parameters that can be adjusted to the listener’s taste.
2-3. SELECTING SOUND FIELD
PROGRAMS
Select the desired sound field program by pressing the
PROGRAM selector on the front panel or by using the Program
Select keys on the remote control.
2-4. MUTING THE EFFECT SOUND
The EFFECT switch makes it simple to compare the normal
stereo sound with the fully processed effect sound.
To mute the effect sound and monitor only the main sound, press
the EFFECT switch. Press the EFFECT switch a second time to
restore normal operation.
2-5. SUPERIMPOSED VIDEO
PROGRAM/PARAMETER DISPLAY
You can select program names and edit parameters
watching their data displayed on your video monitor screen and
superimposed over the video image as described on page 10.
1. Turn your monitor on.
2. Program name and its parameters will be displayed on the
monitor screen for a few seconds just after you have selected them.
Parameters are selected by pressing the SET MENU/PARAMETER
Select (▼▼) key, and edited by pressing the SET MENU/PARAMETER
+/– keys. (See page 31 for details.)
25
HALL
CONCERT
VIDEO
TV
THEATER
1
CHURCH
OPERA
TV
SPORTS
2
JAZZ CLUB
CLASSIC
FILM
GAME
PRO LOGIC
ROCK
CONCERT
ANIMATION
KARAOKE
– ENHANCED
THEATER
70
mm MOVIE
1
5
9
13
2
6
10
14
3
7
11
15
4
8
12
16
PROGRAM
For stereo audio
sources
For Audio/Video
sources
26
2-6. DESCRIPTIONS OF THE SOUND FIELD PROGRAMS
The following list gives brief descriptions of the sound fields produced by each of the DSP programs. Keep in mind that most of these are
precise digital recreations of actual acoustic environments. The data for them was recorded at the locations described using sophisticated sound
field measurement equipment.
* The channel level balance between the left rear effect speaker and the right rear effect speaker may vary depending on the sound
field you are listening to. This is due to the fact that most of these sound field recreations are actual acoustic environments.
1. CONCERT HALL:
A large round concert hall with a rich surround effect.
Pronounced reflections from all directions emphasize the
extension of sounds. You will experience the sound field with a
great deal of presence sitting at about the center position near
the stage.
This sound field is also effective for karaoke. This is because
you feel as if you are standing on a real stage.
2. CHURCH:
A church in Tokyo shaped like a cross. There is the altar at the
upper side of the “cross”, and a pipe organ at the opposite side
(the lower side of the cross). It is a very unique shape with
walls all leaning inside, and pillars standing by the side of walls
only. The sound field has moderate reverberations of which
time is 2.5 seconds.
3. JAZZ CLUB:
A jazz club in New York. It is in a basement and has a relatively
spacious floor area. The reflection pattern is similar to that of a
small hall.
4. ROCK CONCERT:
The ideal program for lively, dynamic rock music. The data for
this program was recorded at LA’s “hottest” rock club.
5. CONCERT VIDEO:
This program produces an enthusiastic atmosphere and lets you
feel that you are in the midst of the action, as if attending an
actual jazz or rock concert.
The indirect sound constituent spreads on the surround side of
the sound field by the use of data of a large round hall for the
surround side, so the image space around the screen and the
sound space are fully expanded.
6. OPERA:
This program provides excellent depth of vocals and overall
clarity, restraining excessive reverberation.
For opera, the orchestra pit and the stage are ideally combined,
letting you feel a full presence sound. The rear surround side of
the sound field is relatively moderated, however, it reproduces
beautiful sound by the use of the data of a concert hall. You will
not be tired from long watching of an opera.
7. CLASSIC FILM:
This program is for reproducing monaural video sources (old
movies etc.). Monaural sounds are reproduced with much
presence by the front presence side of the sound field and
optimum reverberation effect. The use of the center speaker
makes conversations more audible, obtaining a pleasant mix of
conversations and picture.
8. ANIMATION:
Powerful reverberations on the front presence side of the sound
field adds depth to the image, so expanding the image space. On
the rear surround side, sounds are reproduced lightly but vividly.
The sound field of this program matches image effects of
animated films regardless of the genre. Conversations, sounds
and sound effects are reproduced with vitality by this program. A
source in stereo will obtain more effect, letting you steep yourself
in a fantastic world of animations.
27
9. TV THEATER:
The data of the sound field of a relatively narrow space is used for
the front presence side. A moderately sized spatial sound field
without excessive sound extension and reverberations gives
reality to the characters in a drama.
The data of the sound field of an opera house is used for the rear
surround side. In a stereo program, background music is
reproduced more beautifully with much depth, enhancing sound
effects on the drama. It’s natural sound effect will not make you
tired from long watching.
10.TV SPORTS:
Though the front presence side of the sound field is relatively
narrow, the rear surround side employs the sound environment of
a large concert hall. With this program, you can enjoy watching
various TV programs such as the news, variety shows, music
programs or sports programs. In a stereo broadcast of a sports
game, the commentator is oriented at the center position, and the
shouts and the atmosphere in the stadium spreads on the
surround side, however, spreading of them to the rear side is
properly restrained.
11.GAME:
The sound field of a disco is used for the front presence side, and
the sound field of a concert hall in Vienna is used for the rear
surround side.
This program reproduces video game music etc. more vividly
emphasizing the fast tempo and lightness of the music. If the
music is in stereo, more effective sound field will be gained by this
program.
This program is also suitable for karaoke popular music.
12.KARAOKE:
Vocals are reproduced with gentle reverberations on the stage
surrounded by seats in a round hall. A feeling of echo from the
high ceiling and reverberations in front and behind the hall brings
a lot of presence on both the stage and the seats. By using a
source with digital sound, the sound of the greatly instrumental
accompaniment is much expanded, so emphasizing the spatial
effect with vocals. You feel as if you are standing on a live-stage.
28
29
13.70 mm MOVIE THEATER 1:
This program is ideal for precisely reproducing the sound design
of the newest movies. The sound field is made according to the
design of the newest movie theaters, so the reverberations of the
sound field itself are restrained as much as possible. The three
dimensional feeling of the sound field is emphasized, and dialog
is precisely oriented on the screen. You can enjoy watching
S.F.X., adventure movies, etc. with this program.
14.70 mm MOVIE THEATER 2:
This program is for reproducing sounds on a 70 mm multi-track
film, and characterized by a soft and extensive sound field. The
front presence side of the sound field is relatively narrow. It
spatially spreads all around and toward the screen, restraining
echo effect of conversations without losing clarity. For the
surround side, the data of the sound field of an opera house is
used on an enlarged scale, so the harmony of music or chorus
sounds beautifully in a wide space at the rear of the sound field.
15.PRO LOGIC:
The digital Dolby Pro Logic decoder reproduces sounds and
sound effects of a source encoded in Dolby Surround. The
realization of a highly efficient decoding process improves
crosstalk and channel separation and makes sound positioning
smoother and more precise.
16.PRO LOGIC ENHANCED:
This program ideally simulates the multi-surround speaker
systems of the 35 mm film theater. Surround signals by the Dolby
Pro Logic decoder are processed on the surround side of the
sound field based on the data of the sound field of a shoe-box
hall. The surround effects produced by this sound field folds the
viewer naturally from the rear to the left and right and toward the
screen.
Programs No. 13 through No. 16 reproduces video discs, video tapes and similar sources which are Dolby Surround encoded and bear the
“DOLBY SURROUND” logo.
NOTE: The Dolby Pro Logic Surround system is designed to be
used with program material (mainly videotaped movie soundtracks)
encoded with the Dolby Surround system.
NOTE: If the main and center channel sound is considerably
altered by overadjustment of the BASS or TREBLE controls, the
relationship with the rear channels may produce an unnatural
effect.
30
3-1. SELECTING AND EDITING PROGRAM PARAMETERS
WHAT IS A SOUND FIELD?
In order to explain the impressive functions of the DSP system,
we need to first understand what a sound field really is.
What really creates the rich, full tones of a live instrument are the
multiple reflections from the walls of the room. In addition to making
the sound “live”, these reflections enable us to tell where the player is
situated, and the size and shape of the room in which we are sitting.
We can even tell whether it is highly reflective, with steel and glass
surfaces, or more absorbent—wood panels, carpeting and curtains.
THE ELEMENTS OF A SOUND FIELD
In any environment, in addition to the direct sound coming
straight to our ears from the player’s instrument, there are two distinct
types of sound reflections that combine to make up the sound field:
(1) Early Reflections. Reflected sounds reach our ears extremely
rapidly (50 ms — 100 ms after the direct sound), after reflecting from
one surface only—for example, from the ceiling or a wall. These
reflections fall into specific patterns as shown in the diagram on page
32 for any particular environment, and provide vital information to our
ears. Early reflections actually add clarity to the direct sound.
(2) Reverberations. These are caused by reflections from more than
one surface—walls, ceiling, the back of the room—so numerous that
they merge together to form a continuous sonic “afterglow”. They are
non-directional, and lessen the clarity of the direct sound.
Direct sound, early reflections and subsequent reverberation
taken together help us to determine the subjective size and shape of
the room, and it is this information that the DSP system reproduces
in order to create sound fields.
If you could create the appropriate early reflections and
subsequent reverberations in your listening room, you would be able
to create your own listening environment. The acoustics in your room
could be changed to those of a concert hall, a dance floor, or virtually
any size room at all. This ability to create sound fields at will is
exactly what Yamaha has done with the DSP system.
DSP programs consist of some parameters to determine
apparent room size, reverberation time, distance from you to the
performer, etc. In each program, those parameters are preset with
values precisely calculated by Yamaha to create the sound field
unique for the program. It is recommended to use DSP programs
without changing values of parameters, however, this unit also allows
you to create your own sound fields. Starting with one of the built-in
programs, you can adjust those parameters. Even if power is turned
off, your custom sound fields will remain in the DSP system’s
memory for about two weeks. The following pages detail how to
make your own sound fields.
CREATING YOUR OWN SOUND FIELDS
Each sound field program has a set of parameters that allow you
to change the characteristics of the acoustic environment to create
precisely the effect you want. These parameters correspond to the
many natural acoustic factors that create the sound field you
experience in an actual concert hall or other listening environment.
The size of the room, for example, affects the length of time between
the “early reflections”—that is, the first few widely spaced reflections
you hear after the direct sound. The “ROOM SIZE” parameter
provided in many of the DSP programs alters the timing between
these reflections, thus changing the shape of the “room” you hear. In
addition to room size, the shape of the room and the characteristics
of its surfaces have a significant effect on the final sound. Surfaces
that absorb sound, for example, cause the reflections and
reverberations to die out quicker, while highly reflective surfaces allow
the reflections to carry on for a longer period of time. The DSP
parameters allow you to control these and many other factors that
contribute to your personal sound field, allowing you to essentially
“redesign” the concert halls and rooms provided to create custom-
tailored listening environments that ideally match your mood and
music.
Refer to “3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD
PARAMETERS” on page 32 for a description of what each
parameter does, how it effects the sound, and its control range.
1. With the desired program selected, press the SET MENU/
PARAMETER Select (▼▼) key on the remote control unit once. This
will recall the first parameter. In the case of the CONCERT HALL
program, for example, this would be the INIT. DLY parameter. You
can continue pressing the SET MENU/PARAMETER Select (▼▼) key
to select other parameters in sequence. If the key is pressed when
the last parameter is being displayed, the first parameter is selected
again.
2. When the desired parameter has been recalled, use the SET
MENU/PARAMETER + (increment) and – (decrement) keys to
change its value to create the effect you want. + increases the value
of the selected parameter, and – decreases the value of the selected
parameter. In both cases you can hold the key down for continuous
incrementing or decrementing. The display will pause for a moment
at the initial value of the parameter as a reminder. (On the monitor
screen,
*
mark at the head of parameter name disappears at the
initial value of the parameter.)
NOTE: Parameter edits made in this way will remain in effect even
with power cut due to power failure or the power plug disconnected
from the AC outlet for up to about two weeks, after which all
parameters, as well as other adjustments or settings on this unit, will
return to their initial values or conditions.
31
32
3-2. DESCRIPTIONS OF THE DIGITAL SOUND FIELD PARAMETERS
Not all of the following parameters are found in every program.
●
INIT DLY (Initial Delay)
How it Affects the Sound:
Changes the apparent distance from the source sound.
Since the distance between a sound source and a reflective
surface determines the delay between the direct sound and the first
reflection, this parameter changes the location of the sound source
within the acoustic environment.
What it Does:
Adjusts the delay between the direct sound and the first reflection
heard by the listener.
Control Range:
1 – 49 milliseconds
For a small living room this parameter would be set for a small
value. Large values for a big room. Larger values produce an echo
effect.
●
ROOM SIZE
How it Affects the Sound:
Changes the apparent size of the music venue. The larger the
value, the larger the simulated room will sound.
What it Does:
Adjusts the timing between the early reflections. Early reflections
are the first group of reflections you hear before the subsequent,
dense reverberation begins.
Control Range:
0.1 – 2.0
Standard setting is 1.0.
Changing this parameter from 1 to 2 increases the apparent
volume of the room eight times (length, width, and height all
doubled).
Level
Direct sound
Early reflections
Time
Small space
Small
Level
Direct sound
Early reflections
Time
Large
Level
Direct sound
Early reflections
Time
Large space
INIT. DLY INIT. DLY INIT. DLY
Level
Time
Small
Level Level
Time
Time
Large
Direct sound
Early reflections
33
●
REV. TIME (Reverberation Time)
How it Affects the Sound:
The natural reverberation time of a room depends primarily on its
size and the characteristics of its inner surfaces. This parameter,
therefore, changes the apparent size of the acoustic environment
over an extremely wide range.
What it Does:
Adjusts the amount of time it takes for the level of the dense,
subsequent reverberation sound to decay by 60 dB (@ 1 kHz).
Control Range:
1.0 – 5.0 seconds.
The reverb time in a small-to-medium size hall would be between
1 and 2, and in a large hall it is normally between 2 and 3.
●
EFCT TRIM (Effect Trim)
Performs fine adjustment of the level of all the effect sounds.
Control Range:
–3 dB to 3 dB
●
DELAY
Adjusts the delay between the direct sounds (at the main left,
center and main right channels) and the effect sounds (at the front
effect and rear effect channels). The larger the value, the later the
effect sounds are generated.
Control Range:
15 – 30 milliseconds
REV. TIME
60 dB
REV. TIME
60 dB
REV. TIME
60 dB
Level
Reverberations Reverberations Reverberations
Time
Small
Level Level
Time
Time
Large
Direct sound
Early reflections
34
PROBLEM POSSIBLE CAUSE WHAT TO DO
Power does not come on. AC cord not properly plugged in. Carefully plug AC plug into outlet.
Hum. Bad cable connection. Firmly plug in all connection cables.
No sound. Bad or incorrect input connection. Check connections.
Incorrect input source selection.
Check A/V selector, receiver or amplifier switch settings.
No sound from the effect speakers. The EFFECT switch is set off. Press the EFFECT switch to turn on.
The DOLBY PRO LOGIC program is being used Use a different sound field program.
with material not encoded with Dolby Surround.
No sound from the center speaker. The center mode is in “PHNTM”. Select the appropriate center mode.
Incorrect sound field program. Select the appropriate program.
The sound suddenly goes off. The protection circuit has activated because of Turning the unit off and then on will reset the protection circuit.
short circuit etc.
The volume level cannot be increased, The power to the component connected to the Turn the power to the component on.
or sound is distorted REC OUT jacks of this unit is off.
DSP parameters or other settings on this The “MEMORY GUARD” function is Turn the “MEMORY GUARD” OFF.
unit cannot be changed. set ON.
Left rear and right rear channels not This is normal operation and is an exact
balanced in certain digital sound field duplication of the actual data which was
programs. measured for that particular hall etc.
The sound field cannot be recorded. It is not possible to record the sound field on a
tape deck connected to this unit’s TAPE
REC OUT jacks.
The remote control unit does not function Dead batteries. Replace batteries.
properly. Wrong distance or angle. The remote control unit will function from a maximum range of 7
meters, no more than 30 degrees off-axis from the front panel.
Direct sunlight or lighting (of an inverter type of Change position of the main unit.
flourescent lamp etc.) is striking the remote
control sensor of the main unit.
Noise from nearby TV or tuner. This unit is too close to the affected Move the unit further away from the affected equipment.
equipment.
TROUBLESHOOTING
35
Minimum RMS Output Power Per Channel
Center (1 kHz 0.03% THD 8Ω) ...................................................................... 25W
Rear Effect (1 kHz 0.03% THD 8Ω) ..................................................... 25W+25W
Input Sensitivity/Impedance (1V)
INPUT/TAPE PB ............................................................................ 150 mV/47 kΩ
Maximum Input Signal
INPUT/TAPE PB
(1 kHz 0.05% THD, EFFECT ON).............................................. More than 2.3V
Output Level/Impedance
REC OUT .......................................................................................... 150 mV/1 kΩ
PRE OUT (MAIN L/R) ........................................................................ 1.0V/1.2 kΩ
LOW PASS (fc=200 Hz) (EFFECT OFF) .......................................... 4.0V/3.3 kΩ
Maximum Voltage Output (20 Hz – 20 kHz 1% THD)
PRE OUT (MAIN L/R) ....................................................................................... 3V
Frequency Response (20 Hz – 20 kHz)
PRE OUT (MAIN L/R) (EFFECT OFF) ................................................... 0±1.0 dB
Total Harmonic Distortion
INPUT to PRE OUT (MAIN L/R)
1V, 20 Hz – 20 kHz (EFFECT OFF)......................................... Less than 0.01%
Built-in amplifier (CENTER, REAR L/R)
10W/8Ω, 20 Hz – 20 kHz ......................................................... Less than 0.03%
Signal-to-Noise Ratio (IHF-A Network)
INPUT (Input Shorted) (EFFECT OFF) ..................................... More than 98 dB
Residual Noise (IHF-A Network)
PRE OUT (MAIN L/R).................................................................... Less than 5 µV
Channel Separation Vol –30 dB
INPUT Input 5.1 kΩ Terminated (EFFECT OFF)
1 kHz/10 kHz .................................................................. More than 65 dB/50 dB
Filter Characteristics (Highcut Filter)
LOW PASS (fc = 200 Hz) ........................................................................ 6 dB/oct.
Video Section
Video Signal Type
[U.S.A. and Canada models] ..................................................................... NTSC
[Australia, Europe and U.K. models] ............................................................ PAL
[General Model] ................................................................................. NTSC/PAL
Video Signal Level .............................................................................. 1 Vp-p/75Ω
S-Video Signal Level
Y ...................................................................................................... 1 Vp-p/75Ω
C ............................................................................................... 0.286 Vp-p/75Ω
Maximum Input Level ............................................................. More than 1.5 Vp-p
Signal-to-Noise Ratio .................................................................. More than 50 dB
Monitor Out Frequency Response .................................... 5 Hz – 10 MHz, –3 dB
Power Supply
U.S.A. and Canada models ......................................................... AC 120V/60 Hz
Australia and U.K. models ............................................................ AC 240V/50 Hz
Europe model ............................................................................... AC 230V/50 Hz
General model ................................................... AC 110/120/220/240V 60/50 Hz
Power Consumption ......................................................................................... 85W
AC Outlets
1 SWITCHED OUTLET
[U.S.A. and Canada models] .................................................... 120W max. total
[General model] ......................................................................... 100W max. total
1 UNSWITCHED OUTLET
[U.S.A. and Canada models] ............................................................ 180W max.
[Australia, Europe, U.K., and General models] ................................ 200W max.
Dimensions (W x H x D) ...................................................... 435 x 146 x 400.5 mm
(17-1/8” x 5-3/4” x 15-3/4”)
Weight ..................................................................................... 8.5 kg (18 lbs. 11 oz.)
* Specifications are subject to change without notice.
SPECIFICATIONS
YAMAHA ELECTRONICS CORPORATION, USA 6660 ORANGETHORPE AVE., BUENA PARK, CALIF. 90620, U.S.A.
YAMAHA CANADA MUSIC LTD. 135 MILNER AVE., SCARBOROUGH, ONTARIO M1S 3R1, CANADA
YAMAHA ELECTRONIK EUROPA G.m.b.H. SIEMENSSTR. 22-34, D-2084 RELLINGEN BEI HAMBURG, F.R. OF GERMANY
YAMAHA ELECTRONIQUE FRANCE S.A. 17 RUE DES CAMPANULES, LOGNES 77321 MARNE LA VALLEE CEDEX 2, FRANCE
YAMAHA ELECTRONICS (UK) LTD. YAMAHA HOUSE, 200 RICKMANSWORTH ROAD WATFORD, HERTS WD1 7JS, ENGLAND
YAMAHA SCANDINAVIA A.B. J A WETTERGRENS GATA 1, BOX 30053, 400 43 VÄSTRA FRÖLUNDA, SWEDEN
YAMAHA MUSIC AUSTRALIA PTY, LTD. 17-33 MARKET ST., SOUTH MELBOURNE, 3205 VIC., AUSTRALIA
VR 38910-0 BWWY R Printed in Japan
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- English: Yamaha 580 Owner's manual
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