User manual YAMAHA CS40ME

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Manual abstract: user guide YAMAHA CS40ME

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

[. . . ] To prevent fire or electrical shock, do not place this unit where it may get exposed to rain, water, and/or any type of liquid. 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. On the top of this unit, do not place: ­ Other components, as they may cause damage and/or discoloration on the surface of this unit. [. . . ] The processor controls the strength and delay time of the signals output from the three effect speakers to localize the virtual sound sources and fully encompass the listener. BASIC OPERATION Hi-Fi DSP programs The following list gives you a brief description 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. No. 1 Program CONCERT HALL Features A large round concert hall with a rich surround effect. Pronounced reflections from all directions emphasize the extension of sounds. The sound field has a great deal of presence, and your virtual seat is near the center, close to the stage. ADVANCED OPERATION ADDITIONAL INFORMATION 2 JAZZ CLUB 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. · When playing a 6. 1 channel source with MATRIX 6. 1 on the remote control turned off, the program name changes to the corresponding name for 5. 1 channel. Notes · The " " indicator does not light up when selecting program No. · When playing a monaural source with a CINEMA DSP program, the source signal is directed to the center channel, main and rear speakers output effect sounds. 32 CINEMA-DSP The following list gives you a brief description 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. Select the DSP program that you feel sounds best regardless of the name and description given for it below. INTRODUCTION No. 7 Program MOVIE THEATER 1 Spectacle Features This program creates the extremely wide sound field of a 70-mm movie theater. It precisely reproduces the source sound in detail, making both the video and the sound field incredibly real. This is ideal for any kind of video source encoded with Dolby Surround, Dolby Digital or DTS (especially large-scale movie productions). This program clearly reproduces dialog and sound effects in the latest sound form of science fiction films, thus creating a broad and expansive cinematic space amid the silence. You can enjoy science fiction films in a virtual-space sound field that includes Dolby Surround, Dolby Digital and DTS-encoded software employing the most advanced techniques. This program is ideal for precisely reproducing the sound design of the newest 70-mm and multichannel soundtrack films. The sound field is made to be similar to that of the newest movie theaters, so the reverberations of the sound field itself are restrained as much as possible. [. . . ] and Canada models] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AC 120 V/60 Hz [Australia model] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AC 240 V/50 Hz [U. K. , Europe and Singapore models] . . . . . . . . . . . . . . . . AC 230 V/50 Hz [Korea model] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]

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