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Anleitung Zusammenfassung
This will return all your gain adjustments to a neutral reference point From here, you can start the level calibration process again. The front panel “Rear/Center Reset” button © serves the same purpose One note of caution Do not use either “Rear/Center Reset” button after you’re satisfied with channel-to-channel balances. They are intended only to provide a reference point from which to START the balancing procedure detailed here. 16) RESUMING NORMAL OPERATION Push the “Bal Check” button ©again to turn off the test tone The GSP-560 is now ready for normal operation See Paragraph 19 below for additional information on choosing the proper Surround and Delay options 17) MASTER VOLUME OPERATION When you use the remote controller for volume, the GSP-560 will give you two visual clues that the circuit is operating First, the “Receiving" LED on the front panel © will flash. The LED on the “Master Volume” knob © will change color from red to green as the knob moves in response to commands from the hand held controller However, the LED will NOT change color if you move the “Master Volume” knob by hand. 18) GETTING THE MOST OUT OF YOUR FAVORITE SOURCE MATERIAL The GSP-560 is an enormously flexible unit and will increase your enjoyment of a wide variety of audio and video sources This section is the most subjective in the entire Owner’s Manual’ Feel free to take the suggestions here as starting points for your own experimentation Above all, enjoy1 a) Choosing the proper Operating Mode The GSP-560 provides six operating modes selected by the “Surround” pushbutton on the front panel © or the remote controller © These are Dolby Pro Logic, Concert Hall, Nightclub, 5 Channel Matrix, 5 Channel Stereo and Bypass (2 channel stereo ) Each of the first five modes is indicated by an LED to the left of each mode ID. In “Bypass” mode, no Mode LED lights. DOLBY PRO LOGIC is the preferred mode for properly processing Dolby Surround encoded video soundtracks, a growing number of CDs, and even the audio portion of some video games1 In this mode, the GSP-560 presents a spatially correct soundstage with precise lateral imaging and front to back depth Rear channel delay choices 30.20. and 15 milliseconds (See 18B below for more information on delay ) 9 CONCERT HALL, recreates a fairly big and acoustically reverberant environment well suited for playback of full orchestral works and other music that is usually performed in large indoor spaces Rear channel delay choices 40 and 30 milliseconds. NIGHTCLUB, synthesizes a smaller and more intimate soundfield ideal for many types of jazz and popular music Rear channel delay choices- 20 and 15 milliseconds 5 CHANNEL MATRIX is ideal for mono sources — the soundtracks of older videotapes, for example — and crcatcs a dimensionally enhanced, diffuse soundfield for increased enjoyment No rear channel delay is available in this mode 5 CHANNEL STEREO differs from the MATRIX mode in that no dimensional enhancement is performed 5 CHANNEL STEREO simply sends a mono (L + R) signal to the center channel speaker, Left Front information to the Left Rear speaker and Right Front data to the Right Rear. No rear channel delay is available in this mode b) Choosing the proper rear channel delay setting Rear channel delay (available only in Dolby Pro Logic, Concert Hall and Nightclub modes) is a technique that has been used in consumer audio equipment since the early '70s Sometimes confused with the various quadraphonic technologies popular in the mid '70s, time delay is a much more defined and exact process Time delay takes front channel information, “stores” it for a brief period of time (usually less than one tenth of a second), and then sends itto the rear speakers While a useful technique to enhance apparent spaciousness and ambience, time delay also serves a specific purpose in Dolby Surround playback it prevents front channel information (usually dialog) from “leaking” into the rear speakers The reasons for this benefit are complex and based on a psychoacoustic effect called “masking ” Dolby Surround decoding limits time delay to a maximum of 30 millliseconds in order to optimize the intelligibility of the dialog information in a video soundtrack If you delay rear channel information longer than 30 milliseconds, you grandually lose the “masking” effect and become aware of a growing discontinuity between front and rear outputs Eventually, you’ll perceive the rear channel output as a discrete echo rather than as an integral part of a coherent soundfield Somewhere in the middle of this range of effects, time delay has some interesting and useful applications For example, longer delay times often give us the impression that we are in a larger room — the longer the delay, the larger the apparent space is If we’re not particularly concerned about the "masking effect” necessary for proper Dolby Surround processing, we can experiement THE PRACTICAL APPLICATION OF THIS INFORMATION IS SIMPLE: IF...