User manual YAMAHA B-6

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Manual abstract: user guide YAMAHA B-6

Detailed instructions for use are in the User's Guide.

[. . . ] 3 Locate this unit away from other electrical appliances, motors, or transformers to avoid humming sounds. 4 Do not expose this unit to sudden temperature changes from cold to hot, and do not locate this unit in a environment with high humidity (i. e. a room with a humidifier) to prevent condensation inside this unit, which may cause an electrical shock, fire, damage to this unit, and/or personal injury. 5 Avoid installing this unit where foreign object may fall onto this unit and/or this unit may be exposed to liquid dripping or splashing. [. . . ] 4 When headphones are connected to the PHONES jack. · The input mode resets to AUTO when you turn the unit power off. VCR V-AUX D-TV/CBL DVD MD/CD-R TUNER CD VOLUME PL PRO LOGIC L R English 25 PLAYBACK I Virtual CINEMA DSP With Virtual CINEMA DSP, you can enjoy all DSP programs without rear speakers. It creates virtual speakers to reproduce a natural sound field. You can listen to virtual CINEMA DSP by setting "1C REAR LR" in the set menu to NON. Sound field processing changes to VIRTUAL CINEMA DSP automatically. Notes · If you turn off the sound effects, no sound is output from the center speaker or rear speakers. · If you turn off the sound effects while the unit is reproducing sound from a Dolby Digital or DTS signal, the dynamic range of the signal is automatically compressed and the unit will mix the sounds of the center and rear speaker channels and output them from the main speakers. · The volume may be greatly reduced when you turn off the sound effects or if you set "SOUND 4 D. RANGE (dynamic range)" on the set menu to MIN. In this case turn on the sound effect. Note · This unit is not set in the virtual CINEMA DSP mode even if "1C REAR LR" is set to NON in the following cases: ­ when the 5ch Stereo, DOLBY DIGITAL, Pro Logic, Pro Logic II, or DTS program is selected; ­ when the sound effect is turned off; ­ when 6CH INPUT is selected as the input source; ­ when a digital signal with a sampling frequency greater than 48 kHz is input to this unit; ­ when using the test tone; or ­ when connecting the headphones. y · During stereo reproduction, you can display information such as the type, format and sampling frequency of the signal input from the components connected to this unit. (While playing a source) I SILENT CINEMA DSP You can enjoy a powerful sound field similar to what you could expect from actual speakers through headphones, with SILENT CINEMA DSP. You can listen to SILENT CINEMA DSP by connecting your headphones to the PHONES jack while the digital sound field processor is on. The "SILENT" indicator lights up on the front panel display. The clear sound field of this gorgeous and majestic hall is suited especially for classic music. Your virtual seat is near the center on the first floor. This is the sound field at stage front in "The Bottom Line", a famous New York jazz club, that seats up to 300 people. Its wide left to right seating arrangement offers a real and vibrant sound. The ideal program for lively, dynamic rock music. The data for this program was recorded at LA's "hottest" rock club. The listener's virtual seat is at the center-left of the hall. This program recreates the acoustic environment of a lively disco in the heart of a big city. The sound is dense and highly concentrated. It is also characterized by a high-energy, "immediate" sound. Using this program increases the listening position range. [. . . ] 0. 2%/0. 3% · Stereo Separation (1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 dB · Frequency Response . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Hz to 15 kHz +0. 5, ­2 dB AM SECTION · Tuning Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530/531 to 1710/1611 kHz · Usable Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]

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