UNPACKING

ENGLISH
FOR U.S.A. Note to CATV System Installer: This reminder is provided to call the CATV system installer's attention to Article 820-40 of the NEC that provides guidelines for proper grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of cable entry as practical. FCC INFORMATION This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. CAUTION: Any changes or modifications in construction of this device which are not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.
Congratulations on Your Purchase! Your new high fidelity pre amplifier is designed to deliver maximum enjoyment and years of trouble free service. Please take a few moments to read this manual thoroughly. It will explain the features and operation of your unit and help ensure a trouble free installation. Please unpack your unit carefully. We recommend that you save the carton and packing material. They will be helpful if you ever need to move your unit and may be required if you ever need to return it for service. Your unit is designed to be placed in a horizontal position and it is important to allow at least two inches of space behind your unit for adequate ventilation and cabling convenience. To avoid damage, never place the unit near radiators, in front of heating vents, in direct sunlight, or in excessively humid or dusty locations. Connect your complementary components as illustrated in the following section.

CAUTION

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. This symbol is intended to alert the user 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. This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

WARNING

To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. Caution : Do not block ventilation openings or stack other equipment on the top.

Do not plug the AC input cord into the wall AC outlet until all connections are completed. Be sure to connect the white RCA cord to the L (left) and the red RCA cord to the R (right) jacks when making audio connections. Change the position of the FM indoor antenna until you get the best reception of your favorite FM stations. A 75 outdoor FM antenna may be used to further improve the reception. Disconnect the indoor antenna before replacing it with the outdoor one. Place the AM loop antenna as far as possible from the receiver, TV set, speaker wires and the AC input cord. Point it in the direction that offers the best reception. If the reception is poor with the AM loop antenna, an AM outdoor antenna can be used in place of the AM loop antenna. Make connections firmly and correctly. If not, it can cause loss of sound, noise or damage to the pre amplifier. If the electricity fails or the AC input cord is left unplugged for about 2 weeks, the memorized contents will be cleared. Should this happen, memorize them again.

CONNECTING ANTENNAS

CAUTION: TO PREVENT ELECTRIC SHOCK,
DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE.REFER-SERVICING TO QUALIFIED SERVICE PERSONNEL.
CONNECTING 6-CH DIRECT INPUTS
CONNECTING AUDIO COMPONENTS
DIGI-LINK STEREO DOUBLE CASSETTE DECK DD-5080C

COUNTER

T SIZE

MEMORY

B/C/OFF

R PLAY

REVERSE

AUTO REVERSE

DUBBING NORMAL HIGH

CD SUN REC

PLAY/AUTO TAPE SELECTOR

MIC MIX MIC

HX-PRO
RECORD & PLAY/AUTO TAPE SELECTOR

PHONES

REC LEVEL

REC BALAMCE

SOURCE
Use these jacks to connect the corresponding analog outputs of a separate 6-CH decoder or DVD player with 6-CH output. (For details, see the operators manual of the other component.)
CONNECTING SYSTEM CONTROL
To select the gain and the input impedance of the phono input circuitry according to the phono cartridge type of the turntable connected, set the MM/MC switch to either for MC(moving coil) or for MM(moving magnet). The TAPE 2 MONITOR IN/OUT jacks may also be connected to the LINE OUT/IN jacks of an optional graphic equalizer.
Connect this to the DIGI LINK jack of the external Sherwood component that uses the DIGI LINK ll or lll remote control system.

CONNECTING VIDEO COMPONENTS
Some video components such as DVD player or TV set, etc. have the COMPONENT VIDEO IN/OUT jacks as well as the S-VIDEO REC/PLAY or the normal VIDEO REC/PLAY jacks. When connecting the COMPONENT VIDEO IN jacks of this unit to the corresponding COMPONENT VIDEO OUT jacks of a DVD player respectively, be sure that the DVD VIDEO SELECTOR switch is set to COMPONENT. When the COPONENT VIDEO connections are not made, be sure that the DVD VIDEO SELECTOR switch is set to S-VIDEO/VIDEO. Note : When the DVD VIDEO SELECTOR switch is set to COMPONENT, a signal input into the S-VIDEO PLAY jack or the normal VIDEO PLAY jack of DVD will not be output in the MONITOR S-VIDEO jack or the MONITOR normal VIDEO jack. A signal input into the S-VIDEO PLAY jack will be output in only the S-VIDEO REC jack and a signal input into the normal VIDEO PLAY(or the COMPONENT VIDEO IN) jack will be also output in only its own VIDEO REC (or OUT) jack. However, the video signal will be output in the MONITOR VIDEO jack according to the video signal priority (COMPONENT S normal) as follows: For better picture quality, use the S-VIDEO jacks to connect video components with the S-VIDEO REC(IN)/PLAY(OUT) jacks. When using a video component with the COMPONENT VIDEO IN/OUT jacks, use the COMPONENT VIDEO jacks. A signal input into the S-VIDEO PLAY jack will be output in both the MONITOR S-VIDEO jack and the MONITOR normal VIDEO jack and a signal input into the normal VIDEO PLAY jack will be output in only the MONITOR normal VIDEO jack. DVD player, a signal input into the COMPONENT VIDEO IN jack will be output in the COMPONENT VIDEO OUT jack as well as the MONITOR S-VIDEO jack and the MONITOR normal VIDEO jack. Note : The On Screen Display function is not available when using the COMPONENT VIDEO connections.

AC INPUT CORD

Plug this cord into a wall AC outlet

PRE OUT connections

SWITCHED AC OUTLETS
These outlets are switched on (power on mode) and off (standby mode) according to power control as follows: (Maximum total capacity is 100 W) Standby mode - switched AC outlet off Power on mode - switched AC outlet on
CONNECTING DIGITAL INPUTS
Connect the PRE OUT jacks to the power amplifers connected to speakers or to powered speaker respectively. We recommand that you use Sherwood power amplifer AM-9080 for 5 channels (front L/R, rear L/R, center) for easy operation and installation. Although left and right outputs are offered for CENTER and SUBWOOFER, both channels produce the same signal. Connect one or both channels as required by the power amplifier or powered subwoofer used.

Press the corresponding DEVICE button to store the set -up code.
PASS will flicker on the LCD.
If any of the buttons do not perform as they should, start from step 1 again and enter the next set-up code. Notes:Some audio and video components have separate buttons for POWER ON/OFF. In this case, press the corresponding DEVICE(or POWER for this unit only) button to turn the component ON and press the POWER(or OFF for this unit only) button to turn the component OFF. If there is no correct set-up code or if the Manufacturer/Brand for your component is not listed in Set-Up Code Tables in the operating manual of this remote control, please use the Auto Search Method on page 10 in the operating manual of this remote control. Although each set-up code is designed to work with many different modes, certain codes may not work with some models. (Also, certain codes may only operate some of the functions available on a given model.)
Repeat the above steps 1 to 6 for each of your other components.
Note: Before operating this pre amplifier with the supplied remote control, refer to Universal Remote Control on page 9 for details about operation.

LISTENING TO A PROGRAM

Select the desired input source.

Before operation

enter the standby mode.
TA P E 2 M O N I T O R INPUT SELECTOR
The STANDBY button lights up in red. This means that the unit is connected to the AC outlet and a small amonut of current is retained to support the memorized contents and operation readiness. To switch the power off, push the POWER switch again. Then the power is cut off and the STANDBY button goes off. In the standby mode, to turn the power on.

PL AYER ( Op t )

DIGITAL or ANALOG input
SURROUND mode Input source
Each time the INPUT SELECTOR knob is rotated, the input source changes as follows:
PHONO TUNER CD PLAYER (frequency display) AUX/TV VIDEO3 VIDEO2 TAPE 1 VIDEO1 DVD PLAYER LD PLAYER
Each time the VCR1 button on the remote control is pressed, the input source changes as follows:

VIDEO 1 VIDEO 2 VIDEO 3

The STANDBY button lights up in green and the unit is turned on and enters the operating mode. In the standby mode, if the INPUT SELECTOR button is pressed on the remote control, the unit is turned on automatically and the desired input is selected. In the operating mode, to enter the standby mode.

STAND B Y

When the TAPE 2 MONITOR button is set to on and TAPE 2 MONITOR button on the front panel lights up in green, other inputs can not be heard from the speakers. To listen to a input source other than TAPE 2 MONITOR, be sure to set the TAPE 2MONITOR button to off. TAPE 2 MONITOR function You can connect either a tape deck or a graphic equalizer to the units TAPE 2 MONITOR jacks. When listening to the component connected to these jacks,set the TAPE 2 MONITOR button to on. If you connect a 3-head tape deck, you can listen to the sound being recorded during recording, instead of the source sound. For further details, refer to the operating instructions of the component connected. When selecting the 6-CH DIRECT inputs as desired.

At the Fr(ont)/Cen(ter) channel mode, the bass or the treble of the front and center channels can be adjusted together. If the TONE FLAT button is pressed, the bass and the treble of the selected channel are all adjusted to the flat level (0 dB). If the tone display disappears, start from the step 7 again. Note : Extreme settings at high volume may damage your speakers.
To listen to a program source without the tone effect.
The TONE DIRECT button lights up in green and the sound that bypasses the tone circuitry will be heard. To cancel the tone direct function, press this button again.

SURROUND SOUND

This unit incorporates a sophisticated Digital Signal Processor that allows you to create optimum sound quality and sound atmosphere in your personal Home Theater.

Surround modes

This unit has 8 different surround modes to allow you to enjoy surround sound with various program sources: DTS , DOLBY DIGITAL, DOLBY PRO LOGIC, DOLBY 3 STEREO, THEATER, HALL,STADIUM,CHURCH. DTS (Digital Theater System) : Allows you to enjoy 5.1 (or 6) discrete channels of high quality digital audio from DTS program sources bearing the , HDS or HIGH DEFINITION SURROUND trade mark such as laser discs, DVD and compact discs, ets. DTS Digital Surround delivers up to 6 channels of transparent audio (which means identical to the original masters) and results in exceptional clarity throughout a true 360 soundfield. DTS and DTS Digital Surround are trademarks of Digital Theater Systems, Inc. Note: The DTS program sources should be played back in the DTS mode. If not, no sound or the sound like continuous noise will be heard.
DOLBY DIGITAL : Allows you to enjoy up to 5.1 channels of digital surround sound from Dolby Digital program sources bearing the trademark such as laser discs. Dolby Digital provides better sound quality, improved dynamic range and great sense of direction, compared with the conventional Dolby surround. Now, you are able to enjoy real Home Theater sound in your home. DOLBY PRO LOGIC : This unit incorporates the Dolby Pro Logic Surround Decoder which has the same functions for playback as movie theaters and gives a theater - like experience in your home, naturally reproducing the audio DOLBY SURROUND sound field. Use with Dolby Pro Logic program sources bearing the trademark such as video cassette tapes or laser discs. DOLBY 3 STEREO : Combining the rear speaker signal with that of the front speakers allows you to enjoy a regenerated sound field which has comparatively more presence and a more expansive feeling from the 3 front channels (front L,front R and center speakers) than that of ordinary stereo regeneration. Use with Dolby program sources bearing the trademark. DOLBY SURROUND Manufactured under licence from Dolby Laboratories. Dolby, Pro Logic and the double-D symbol are trademarks of Dolby Laboratories. Confidential Unpublished Works. 1992-1997 Dolby Laboratories, Inc. All rights reserved. THEATER : This mode provides the effect of being in a movie theater when watching a movie source that has a stereo sound track. HALL : This mode provides the ambience of a concert hall for classical music sources such as orchestral, chamber music or an instrumental solo. STADIUM : This mode provides the expansive sound field. For music sources like a rock concert, you will feel as if you were actually at the live concert. For sports programs such as a baseball game, you can enjoy a powerful sound, thus obtaining the true stadium effect. CHURCH: This mode provides the ambience of a church for baroque, string orchestral and choral group music.

When selecting the DTS mode, the Dolby Digital mode or the Dolby Pro Logic mode.

DI GI TAL PRO-LOGIC

The DTS mode is available only for DVD,LD, AUX/TV and CD as input source. The Dolby Digital mode is available only for DVD, LD and AUX/TV as input source. To enjoy the DTS mode or the Dolby Digital mode, be sure that the program source and the corresponding digital input is selected. If not, no sound will be heard. When LDP is selected, only the RF digital input will work in the Dolby Digital mode. (Refer to When CD, DVD, LD or AUX/TV is selected as input source on page 14.) When some Dolby Digital program sources encoded into 2 channel format is played in the Dolby Digital mode, DD + Pro Logic is displayed.
Each time the DSP mode button or the SURROUND MODE button is pressed, the surround mode changes as follows; (DTS Dolby Digital Dolby Pro Logic) Dolby 3 Stereo Hall Theater (Stereo) Church Stadium ( ):Remote control only. When canceling the surround mode for normal stereo operation.

STEREO

Adjusting the speaker settings
Adjusting the settings of front, center, rear speakers and subwoofer connected. If the speaker setting is adjusted to Small, the low range bass sound of the channel(s) is redirected to the subwoofer or the front channels and if the speaker setting is adjusted to None, the sound of the channel(s) is redirected to other channels. Press the SPEAKER MODE button for more than 2 seconds to enter the front speaker mode.
Select the desired front speaker mode.
Each time this button is pressed,the front speaker mode changes and flickers for 5 seconds as follow;
Large : When using the relatively large front speakers
The front speaker mode is displayed. Memorize the desired front speaker mode while it flickers.
(full range speakers). Small : When using the relatively small front speakers (which cannot reproduce the low range bass sounds deeply). Select the desired center speaker mode.
Each time this button is pressed, the center speaker mode changes and flickers for 5 seconds as follows;
The desired front speaker mode is memorized and then it enters the center speaker mode. If the front speaker display disappears, start from the above step 2 again. In Theater, Hall, Stadium, Church mode, it will enter the rear speaker mode directly, this means the center speaker mode can not be selected. In normal stereo mode, it will enter the subwoofer mode directly, this means the center and the rear speaker modes can not be selected. Memorize the desired center speaker mode while it flickers.
Large :When using a relatively large center speaker

(full range speaker).

Small :When using a relatively small center speaker
(which cannot reproduce the low range bass sounds deeply). None :When not using a center speaker. Only in the Dolby Digital or the Dolby Pro Logic mode, the None mode can be selected. Select the desired rear speaker mode.

Each time this button is pressed, the rear speaker mode changes and flickers for 5 seconds as follows; (full range speakers).
Large :When using the relatively large rear speakers
The desired center speaker mode is memorized and then it enters the rear speaker mode. In Dolby 3 Stereo mode, it will enter the subwoofer mode directly, this means the rear speaker mode can not be selected. If the center speaker display disappears, start from the above step 2 again.
Small :When using the relatively small rear speakers
(which cannot reproduce the low range bass sounds deeply). None :When not using the rear speakers. Only in the Dolby Digital or the Dolby Pro Logic mode, the None mode can be selected.
Memorize the desired rear speaker mode while it flickers.
Select the desired subwoofer mode.
The desired rear speaker mode is memorized and then it enters the subwoofer mode. If the rear speaker display disappears, start from the above step 2 again.
Each time this button is pressed, the subwoofer mode changes and flickers for 5 seconds as follows;

Yes No

: When using a subwoofer : When not using a subwoofer.
In case that the front speaker mode is set to Small, the subwoofer mode is automatically set to Yes. Memorize the desired subwoofer mode while it flickers.
Checking the speaker setting
If the subwoofer display disappears, start from the above step 2 again.
Each time this button is pressed briefly, the corresponding speaker settings are displayed in turn.
Adjusting each channel level
Select the desired channel.
Adjust the level of the selected channel as desired.

CH SELECTOR

Each time this button is pressed, the corresponding channel is selected and shown for 3 seconds as follows;
Front L Center Front R Rear R Rear L Sub Wfr
If the channel display disappears, start from the above step 11 again.
According to the surround mode or the speaker setting(None or No), center, rear or subwoofer channel will not be selected. Repeat the above steps 11 and 12 to adjust other channel levels.
In DTS, Dolby Digital, Dolby Pro Logic or Dolby 3 Stereo mode ENGLISH
In these modes, the volume level of each channel can be adjusted easily with the test tone function. Enter the test tone mode.
Do the steps 11 to 13 inAdjusting each channel level until the sound level of each speaker is heard to be equally loud.

Whlie PTY is flickering, select the desired program type.

PTY EON

Program type is displayed and PTY is flickering
If one of the preset stations is broadcasting the selected program type, it will be tuned in while listening to a RDS station. If the station stops broadcasting the selected program type, the tuner will find other station repeatedly. If no station is found, the previous RDS station will be tuned in. When flickering PTY stops, start again from the above step 1. Press the EON PTY button to cancel the EON PTY mode.

EON TA

Use this function to automatically search and receive the traffic announcement while listening to traffic program. In the TP mode.

In the FM mode.

Each time this button is pressed, the display mode changes as follows; Traffic program is displayed and TA lights up. If the preset station broadcasting traffic announcement is found, it will be tuned in while listening to traffic program. If the station stops broadcasting traffic announcement, the tuner will find other stations repeatedly. If no station is found, the previous traffic program station will be tuned in. Press the EON TA button to cancel the EON TA mode. Frequency Program Service name (PS) Program Type (PTY) Clock Time (CT) Radio Text (RT)
If the signals are too weak or no RDS service is available, NO NAME DATA, NO PTY DATA, NO TIME DATA or NO TEXT DATAwill be displayed.
The tuner automatically searches a station offering PTY services. In no station is found, NO PROGRAM is displayed.

AUDIO RECORDING

The digital signals from the optical, coaxial or RF digital input and the analog signals from the 6-CH inputs can be heard but cannot be recorded.

Recording with TAPE 1

Select the desired input as recording source except for TAPE1 and TAPE 2 MONITOR.

I NP UT SE L E CTO R

Start recording on the tape deck connected to TAPE 1.
Start play on the desired input.
Be sure that the TAPE 2 MONITOR button is set to off.
Recording with TAPE 2 MONITOR
Set the TAPE 2 MONITOR button to on.
Select the desired input as recording source except for TAPE 2 MONITOR.

TAP E 2 M O N I T O R

T. 2 MON
Then the TAPE 2 MONITOR button on the front panel will lights up in green. Start play on the desired input.

Repeat the steps 2~5 in Entering video labels procedure.
To clear a video label, make a blank on each digit, then the video label is cleared and its factory video input source will be displayed.
This unit incorporates an OSD (On screen display) function to provide information about basic operation of this unit and to simplify the set-up procedures. The OSD function uses a monitor TV connected to this unit as a display and has two kinds of display modes such as current status display and menu screen. Notes: When the component video connections are made between the monitor TV and this unit, the OSD function is not available. Any on screen display shown on the monitor TV will not be recorded on VIDEO 1. Recording with VIDEO 1 or VIDEO 2 can only be performed using the menu screen mode. (Refer to RECORDING WITH VIDEO 1 or VIDEO 2 USING MENU SCREENon 33page)

CURRENT STATUS DISPLAY

This mode shows the basic set-ups and the status during the operation of this unit. The following items will be shown corresponding to each operation mode. The on screen display will automatically disappear in 3 seconds. When this unit is turned on or the OSD button on the remote control is pressed.
A U D I O V I DE O V I DE O 1 S O U R C E : S O U R C E : R E C O U T T U N E R A U D I O : A U X / T V A U X / T V
When selecting the desired input source.
V I DE O : DV D S U R R OU N D : D O L B Y D I G I T A L A U D I O : M A S T E R V O L U ME V I DE O : T A P E 2 MO N : P H ON O A U X / T V O F F
Basic set-up display. When the(overall) volume is adjusted.
Input source display When the Mute button on the remote control is pressed.

MU T E

M A S T E R

V O L U ME

Volume display
Mute display MUTE will flicker until the mute effect is canceled. When adjusting each channel level.
When selecting the desired surround mode or adjusting the delay time.
S U R R OU N D : DO L B Y DE L A Y T I ME C N E T E R : R E A R : 1 m s e c m s e c

D I G I T A L

F L : + 1 d B F R : + d B R L : 0 d B

Audio source to be recorded Video source to be recorded
On the VIDEO 1 REC SELECTOR menu screen, if the video source selected as recording source is different from the audio source, the audio signals and the video signals can be dubbed onto the tape in VIDEO 1 separately.(For details, refer to RECOR DING WITH VIDEO 1 OR VIDEO 2 USING MENU SCREEN on page 33). When SOURCE is selected as the video or the audio recording source, the video or the audio source selected on the INPUT SELECTOR menu screen can be recorded. When selecting the SPEAKER MODE menu.

D O L B Y

D E L A Y
T I M E 1 m s e c m s e c M A I N ME N U
C E N T E R : RE A R : GO T O
Basic set-up display. When selecting the TEST TONE menu.
- S P E A K E R F RO N T : C E N T ER : R E A R : S U BWO O FE R :
MO D E - T E S T T O N E F L : + 1 d B C E N T E R : + 2 d B F R : + d B R R : - 4 d B R L : 0 d B R L S W GO R R T O S U B W : + 6 d B M A I N ME N U
L A RG E L A R G E L A R G E Y E S F L C F R
Select the desired item using the CURSOR UP( )or DOWN ( ) button and change the conditions of the items using the CURSOR LEFT ( )or RIGHT ( ) button.
Notes: In the SURROUND MODE, when a delay time shows indication, it can not be adjusted. In the TEST TONE mode, you can hear the test tone from the speaker of each channel using the CURSOR UP( )or DOWN ( ) button as well as the CURSOR LEFT ( )or RIGHT ( ) button and adjust each channel level doing the steps 11 to 13 in Adjusting each channel level(page 19) If the test tone from a speaker can not be heard, check the surround mode or the speaker setting. If the menu screen disappears, start from the step 1 again.
When all the desired conditions have been made, select the GO TO MAIN MENU using the CURSOR UP( )or DOWN ( ) button and confirm your selection using the (MEMORY/)ENTER button.
Then the MAIN MENU will be displayed.
Repeat the above steps 2~5 to change the conditions of the items in another menu.
When all the conditions in the desired menu have been made, select the MENU OFF using the CURSOR UP( ) or DOWN ( )button and confirm your selection using the (MEMORY/)ENTER button.
Then the menu screen will be turned off.
RECORDING W I T H VIDEO1 OR VIDEO2 USING
The digital audio signals from the optical, coaxial or RF digital input and the analog signals from the 6-CH inputs can be listened to but cannot be recorded. Any On - Screen Display generated by the AVP-9080(or AVP-9080RDS) and shown on the monitor TV while recording with VIDEO 1 or VIDEO 2 will not be recorded. Any sources to be recorded using VIDEO 1 can only be selected by using the VIDEO 1 REC SELECTOR menu. Any sources to be recorded using VIDEO 2 can only be selected by using the INPUT SELECTOR menu.

Dubbing the audio and video signals from a video component onto VIDEO 1
Select the source to be recorded using the VIDEO 1 REC SELECTOR menu.
Dubbing the audio and video signals separately onto VIDEO 1
Select the sources to be recorded using the VIDEO 1 REC SELECTOR menu.
Example) When dubbing the audio and video signals from an LD player onto VIDEO 1
- V I D E O 1 R EC S E L L D L D
Example) When dubbing the LD video signal and CD audio signal separately onto VIDEO 1
- V I D E O 1 R EC S E L L D C D

V I DE O : A U D I O :

The video and audio sources selected for recording using the VIDEO 1 REC SELECTOR menu are independent of the sources selected for listening/viewing using the INPUT SELECTOR menu. Start recording on the VIDEO 1
Start play on the LD player
The audio and video signals from the LD player will be dubbed onto the VIDEO 1. To enjoy this source to be dubbed or other video and audio sources during dubbing, select the desired input sources using the INPUT SELECTOR menu and start play on the corresponding components.
Start play on the CD player
The audio signal from the CD player and the video signal from the LD player will be dubbed onto the VIDEO 1. To enjoy these sources to be dubbed or other video and audio sources during dubbing, select the desired input sources using the INPUT SELECTOR menu and start play on the corresponding components.
Dubbing the audio and video signals from a video component onto VIDEO 2
Select the desired inputs as recording sources except for VIDEO 2, using the INPUT SELECTOR menu.
Dubbing the audio and video signals separately onto VIDEO 2
Select the desired inputs as recording sources respectively using the INPUT SELECTOR menu.
Example) When dubbing the audio and video signals from LD player onto VIDEO 2
- I N P U T S E L E C T OR -
Example) When dubbing the LD video signal and CD audio signal separately onto VIDEO 2
- I N P U T V I DE O : A U D I O : T A P E 2 MO N : L D L D O F F T A P E 2

FM TUNER SECTION

Tuning frequency range......87.5~108 MHz Usable sensitivity, THD 3%, S/N 30 dB......12.8 dBf 50 dB quieting sensitivity, mono/stereo......14.2/38 dBf Signal to noise ratio, 65 dBf, mono/stereo.....80/73 dB Total harmonic distortion, 65 dBf,1 kHz, mono/stereo.....0.15/0.25 % Frequency response, 20 Hz~15 kHz..... 0.5 dB Stereo separation, 1 kHz......45 dB Capture ratio, 65 dB......1.0 dB IF rejection ratio...... 75 dB

AM TUNER SECTION

Tuning frequency range......522~1611 kHz Usable sensitivity, 400 mV/m......12.5 mV Signal to noise ratio, 80 dB/m......51 dB Selectivity.......25 dB

GENERAL

Power supply......AC 230 V, 50 Hz Power consumption......50 W Switched AC outlet..... TOTAL 100 W max. Dimensions (W H D).....380 mm(17-3/8 5-1/inches) Weight (Net).......8.5 kg(18.7 lbs)
Note : Design and specifications are subject to change without notice for improvements.

Electronically reprinted from DECEMBER 2004 www.UltimateAVmag.com

Sherwood Newcastle R-965

Lawrence E. Ullman

> AV RECEIVER

S P E C I F I C AT I O N S
R-965 AV receiver Output power, stereo: 120Wpc @ 8, 20Hz20kHz, 0.05% THD Output power, surround: 140Wpc @ 8, 1kHz, 0.7% THD, 1 channel or channel pair driven Signal/noise: line, 105dB; phono (MM), 80dB (IHF A-weighted) Sound modes: Dolby: Virtual Speaker, Headphone, Pro Logic II, Pro Logic IIx Music, Pro Logic IIx Movie, 5.1, EX DTS: 96/24, Neo:6 Cinema, Neo:6 Music, ES Matrix 6.1, ES Discrete 6.1 Other: Stereo, 7.1-channel analog bypass, MPEG Multichannel, 13 DSP modes Video inputs: Rear: 3 component, 6 S-video, 6 composite. Front: 1 S-video, 1 composite
Back in the misty days when 2-channel stereo was still an exciting new format and tubes ruled the land, Sherwood was a brand name to be reckoned with. Together with such companies as Harman/Kardon, Fisher, Marantz, and McIntosh, Sherwood was instrumental in launching the American hi-fi industry on a path that would culminate in todays highend audio geargrist for our sister publication, Stereophile. However, the path was a rocky one. When audio went solid-state in the 1960s and 70s, Sherwood and the other giants of American hi-fi found themselves unable to compete with the cheap transistorized gear flooding in from Japan. One by one, the American companies fell on hard times and were forced to sell. For the next decade or so, the once proud Sherwood logo appeared only on a long line of inexpensive, mass-market gear. Then something wonderful happened. Several years ago, Sherwoodnow owned by Etonicsannounced a new line of high-quality audio products. Named after the location of the companys assembly plant in the UK, Newcastle components would be sold only through custom installers and AV specialty retailers. The first product in the Newcastle linethe R-945 AV receiverwas introduced to great critical acclaim in 1998. Michael Fremer reviewed it in the May 1998 issue of the Stereophile Guide to Home Theater. Next came the companys first home-theater sepaVideo outputs: Monitor: 1 component, 1 S-video, rates, the AVP-9080R processor and AM1 composite. Record: 2 S-video, 2 composite 9080 multichannel amp. I not only gave the Analog audio inputs: Rear: 1 7.1-channel, 8 L/R, 9080 combo a glowing review in the (sadly 1 phono. Front: 1 L/R defunct) webzine etown.com, but found the Analog audio outputs: 9 preamp, 2 L/R pair satisfying enough to use as the centerDigital audio inputs: 2 coax, 7 optical (1 on piece of my reference system for several front), 1 USB more years.(The AVP-9080R and AM-9080 Digital audio outputs: 1 coax, 1 optical were also reviewed in the June 1999 SGHT.) Other connectors: 1 RS-232C (DB9), 2 IR ins, Progress marches on, and the 5.11 IR out, 2 12VDC trigger outs, 2 Sherwood channel 9080 separates I so enjoyed have DigiLink, 2 switched AC outlets been superseded by the 7.1-channel P-965 Dimensions: 17.4" 7.8" 17.8" (WHD) processor and A-965 multichannel amplifier. Weight: 51.8 lbs Going full circle, Sherwood recently repackPrice: $1999.95 aged its flagship 965 separates, combining the two pieces into a single cabinet to create Sherwood America the subject of this review, the R-965 AV (800) 962-3203 receiver. www.sherwoodusa.com
ULTIMATE AV | DECEMBER 2004

First Impressions Last

No sooner had the UPS driver pulled away from the curb than I had the Sherwood unpacked and up on a table under bright lighting. The brushed-aluminum, or Titanium-finish front panel looks expensive, giving the impression of having been machined out of a solid blockat least when seen head on. From the sides, you can see that the panel is actually a single formed aluminum sheet about one-tenth of an inch thick, capped by gray plastic end pieces. The overall look is clean and understated. A pair of large knobs and ten small, lighted buttons are symmetrically arranged around a large fluorescent display. All of these controls
feel great in the hand, turning with silky weighted motions and engaging with positive tactile feedback. Rows of additional buttons and the renamable Video 6 input suite (composite video, S-video, stereo analog audio, and optical digital audio) are located behind a dropdown door. Everything is labeled with white, screened-on text, which looked elegant on my brightly lit dining table, but later proved hard to read when the unit was on a shelf in a dark theater. This is a big component, so be sure to check that your equipment cabinet or rack has at least 2024 inches of free depth to accommodate the unit, including room for cable clearance.

Under the Hood

Removing the R-965s top panel (dont try this at home!) was like looking under the hood of a Porsche. The chassis is beautifully packaged and laid out. Someone clearly sweated the signal-routing details here everything in my unit was spic and span, with nary a stray wire harness in sight. Theres even a nifty wire bridge that channels and hides the few wires that must traverse the chassiss width. Sherwood logos decorate the wire bridge, as well as the power supplys massive 6-inch-diameter toroidal transformer and twin 2700F filter capacitors. Ive seen megabuck high-end amps that dont look this good inside.
Photos 2004 Cordero Studios
[SHERWOOD NEWCASTLE R-965]
When I looked closer, it quickly became apparent that the R-965s underlying architecture resembles that of a personal computer. A horizontally oriented motherboard occupies the central rear portion of the chassis, with slots for six vertically oriented expansion cards, which in turn expose arrays of connectors through the rear panel. The cards are labeled Processor, DSP, Input1, Input2, SVideo, and C[omposite]-Video. A separate daughtercard serves up the component-video connectors. Among other advantages, this modular design should make upgrades and repairs much more practical. The R-965s similarity to a PC ended when I examined the top-flight complement of DSP chips that populate its expansion cards. The

REVIEW SYSTEM

Sources Pioneer Elite DV-F07 DVD Jukebox Sony DVP-NS700P DVD player Sony SAT-W60 digital satellite receiver-recorder ProScan PSVR75 HiFi VCR Adelphia analog cable Display V, Inc. Vizio RP56 56" DLP rear-projection TV Speakers B&W 801 Matrix Anniversary Edition (L/R) B&W HTM (center) M&K S-90 (surrounds) Cables Digital: Monster, MIT Interconnect: Monster, AudioQuest Speaker: 14 AWG copper w/banana plugs
centerpiece is a Cirrus Logic CS-49400 32-bit audio decoder that ably crunches just about every DTS and Dolby algorithm known to man or beast. All eight output channels are handled by Analog Devices AD-1852 24-bit/192kHz D/A converters; AKM AK-5380 24-bit A/D converters take care of business on the input side. An Analog Devices AD-1896 sample-rate converter remasters 2-channel PCM sources to 24/192 resolution. No PC case ever held anything like the pair of shiny, machined-aluminum heatsinks that flank the Sherwoods motherboard on both sides. These finned beauties are each 15 inches long and 5 inches high, spanning the full depth and height of the cabinet. Large amplifier boards are mounted along the outside of each heatsink. Ventilation slots stamped into the bottom of the chassis directly below the all-important power transistors create a chimney effect to draw air across the sinks and out the slots in the top cover, so be sure you dont block em.

Numbers Game

According to Sherwoods website, amplifier output in Stereo mode is an ample 120 watts per channel into 8, from 20Hz to 20kHz, with <0.02% THD; the R-965s manual lists the THD at a slightly higher 0.05%. I was sad (but not surprised) to see that the R-965s multichannel output power is not fully specified with all channels driven. Sherwoods website claims 120 Watts per Channel x 7 in Surround Mode, a meaningless, unqualified spec. The R-965 manual
lists 140Wpc into 8 at 1kHz with 0.7% THD only channel driven; i.e., only the frontchannel pair, center, surround-channel pair, or surround rear/Room2 pair are driven during the test. This only-channel-driven rating at 1kHz is a far cry from the fully specd, 20Hz20kHz, all-channels-driven rating wed like to see. Another specification that raised my eyebrows is the amps apparently limited ability to drive low-impedance loads. A note in the manual warns that speakers of at least 6 should be used all around when connecting one pair of surround speakers; i.e., for a 5.1-channel configuration. This is not exactly reassuring, as the ability to remain stable into low impedance loads is something I take for granted when dealing with a high-end, $2000 component. That said, I used a pair of 4 M&K S90s for surrounds throughout the review period without incident. If youre planning on implementing a 7.1channel configuration, however, Id think twice before using any 4 speaker. The manual cautions use only speakers with impedance of over 12 when using both Surround A and Surround B connections and other [LCR] speakers with impedance of over 6. This could pose problems, as few decent speakers are rated at over 8, and a great many high-performance models are rated at only 4. It will be interesting to see how the R-965 behaves when we put it through its paces on the test bench (see sidebar, Measurements). Of course, Sherwood is hardly the only audio company to indulge in a bit of specsmanshipits rampant in our industry. And I dont want to give the impression that the R965 lacked sufficient amplifier oomphanything but! The point is, you cant shoehorn an advanced digital processor plus seven channels of amplification into a single cabinet without making some sacrificesnot if you want to sell the thing for less than a kings ransom. To their credit, Sherwood acknowledges this fact on their website: Our R-965 flagship receiver is identical to its more advanced parents [the P-965 processor and A-965 amp] except for the necessary compromises due to the use of a single power supply for both the preamp and main amp sections and in its ultimate power capability. For the record, Sherwoods A-965 7-channel amplifier has two toroidal transformers and separate amplifier monoblocks for each of the seven channels, vs. the R-965s single transformer and two amplifier blocks, each with multiple channels. The A-965 amp is fully specd at 100Wpc into 8, 20Hz20kHz, <0.02% THD, all channels

driven. A separate rating is given for 4 loads: 160Wpc, 20Hz20kHz, <0.09%, again with all channels driven. Of course, the A-965 lists for $1499.95, plus another $1499.95 for the matching P-965 processor; together, they list for a cool $1000 more than the R-965. Ive said it before and Ill say it again: when it comes to analog electronics such as a power amp, you really do get what you pay for.

Jack Attack!

One look at the R-965s rear panel is enough to make a grown man weep. Intimidating at first glance, this jack pack is complete, well thought out, and above all, flexible. First off, there are five AV inputs, each with an accompanying S-video jack. There are also three line-level audio-only inputs, labeled Aux, CD, and Tape Monitor, plus a movingmagnet phono input for you vinyl diehards. The AV, Aux, and CD inputs can be renamed. Many lesser receivers force you to plan a connection strategy that can accommodate fixed digital-audio input assignments; e.g., Video 1 has a coaxial input, Video 2 has optical, and so on. The R-965 gives you four optical and two coaxial digital inputs on the rear panel and lets you reassign them as you please. Similar flexibility is extended to the three component-video inputs, each of which can be freely assigned to any AV input. These are switched by relays, not microprocessors, so high-bandwidth HD signals should pass through with no rolloff. The R-965 is the first product Ive had inhouse that upconverts composite and S-video inputs to produce a unified, or universal, component-video output. This allows you to make a single component-video connection between the receiver and your video display, thus relieving you and your family of ever again having to switch video inputs on the TV. I saw no apparent decline in the video quality of the composite signal coming from my dusty VCR or from the S-video output of our muchloved Sony digital satellite receiver-recorder. And even if there was a performance penalty, Id gladly pay it to eliminate those dreaded midday phone calls from the wife and kids complaining that Theres no %#$* picture again! With so much flexibility on tap, its easy to forget what needs to be assigned where by the time you finally squeeze out from behind the equipment rack and sit down to program the input assignments. I found it helpful to make a little chart to keep track of each inputs new name, as well as its accompanying digital and component-video assignments. The Video 1 and 2 inputs are record loops with matching AV outputs, so youll want to reserve these inputs for use with a VCR, DVD

recorder, or TiVo. The record outputs can be switched independently to send different sources. However, the Video 2 record output serves double duty as the Room 2 output, so if you plan to have a second zone, youll be left with only one record output in your main room. And if your recording device can accept a digital audio input, the Sherwood has a digital optical output for recording (plus a coaxial digital output for a Zone 2 feed). In addition to the regular AV inputs, the R965 has a 7.1-channel analog Direct Input for use with a DVD-Audio or SACD player. (Of course, there are no such players with eight analog outputs, so the point of having the extra inputs is beyond me.) [Perhaps 7.1-discrete channels on some future format such as Blu-ray-based SACD or HD-DVD-based DVDAudio? Just daydreaming.Ed.] Dedicated composite and S-video inputs are provided, and the receivers bass-management f[unctions are active on this input. The R-965 has preamp outputs for all channels, including two subwoofer outputs. If youll be using only one Surround Back speaker in a 6.1-channel configuration, you can switch the unit to Passive Subwoofer mode and connect an unpowered sub to the Surround Back R speaker terminals. There are a total of nine pairs of high-quality speaker binding posts, labeled Front (L/R), Center, Surround A (L/R), Surround B (L/R), and Surround Back/SW (L/R). In addition to feeding a passive sub as mentioned above, the Surround Back speaker terminals can be assigned to feed speaker-level audio to the Room 2 zone. This is the first receiver Ive seen that sports a USB connector. Familiar to computer users, this high-speed serial port can accept 2-channel PCM digital audio from a PC, or it can be switched to enable downloads of
upgraded operating software. A 9-pin RS232C connector is also provided for the latter function. Custom installers and our more intrepid readers can use the R-965s IR control jacks in conjunction with a Xantech multiroom kit (sold separately) to operate the unit from a second room or when it is hidden from sight behind cabinet doors. A pair of DC trigger outputs can be used to raise and lower projectors, screens, and the like. The first jack triggers each time the receiver is powered on or off, the second when a specific, assignable input source is selected.

Control Freak

For the most part, I found the Newcastle R965 easy to set up and operate. The onscreen display (OSD) is simple but adequate, with six screens. Menu navigation is annoyingly inconsistent, sometimes requiring a push of the Enter button, other times a Return. I often found myself exiting the menu system entirely rather than stepping back to a previous sub menu. The Power Amp Assign screen is used to direct the rear-channel power amps to drive either the Surround Back or Room 2 speakers (so they can play a second, independent source). The Speaker Setup screen lets you select a speaker configuration (Large/Small for each speaker), which is then applied globally for all inputs. The subwoofer crossover frequency defaults to 80Hz, but can be adjusted from 40 to 120Hz in 20Hz increments. Although the R-965 does not have individual channel-level settings for each input, the Channel Level Setup screen does allow you to adjust and then store three channel-level presets for later recall. You can even adjust the LFE level separately for Dolby, DTS, and MPEG decoding modes.

DECEMBER 2004 | ULTIMATE AV
The System Setup screen is where you reassign digital and component inputs, turn Digital Re-Mastering on and off, etc. The Surround Setup screen selects a default decoding mode and adjusts a variety of Dolby Digital parameters. Finally, the Room2 Setup screen has settings for volume level (fixed or variable) and source. When an S-video or composite source is active, the white menu lettering appears on a transparent background, and so appears to float above the live video image. This can, of course, make it difficult to decipher the menu. On the other hand, the live video image is muted and replaced by a blue background when a component-video source is onscreen. This can be disconcerting, but at least the Sherwoods OSD can be invoked from all outputs, even component. And yes if you wish, you can turn off all onscreen displays, including the volume indicator. Two remotes are included with the R-965. The main one is a universal learning model that Sherwood repackages from Universal Remote Control, who sells it as a standalone product. Its a good-looking remote, with large, well-spaced buttons and a nifty central
rocker control. It feels great in the hand. An LCD shows the current function of ten soft buttons. Its even backlit. But its missing one critical thing: there are no dedicated buttons for input selection! The LCD page labeled Main shows the operating layers. To get to the input-selection buttons, you have to first hit Aud1. Many other frequently used operating functions are buried in subpages. I quickly grew tired of the whole affair and programmed my trusty Marantz RC-2000 Mk.II with the Sherwoods commands. This worked much better for me and my family. A secondary remote is provided for Room 2 operation. This simple remote has buttons for Zone On/Off, Input selection, Volume, and Mute. To use this IR remote, you must purchase and install a Xantech multiroom IR repeater kit. The front-panel fluorescent display is uninspiring, at best. The currently selected input (named as you prefer) appears in large characters, but everything else is indicated by tiny, sometimes confusing legends. I frequently had to get up and walk across the room to peer at the display just to determine which of the many possible surround modes I was listening to. I know Im beating a dead horse, but I just cant let it pass: the R-965s manual is a joke. This is a very complex product, with numerous parameters that must be set correctly for optimal performance. Beginning and advanced users alike deserve logically organized, clearly written operating instructions, which they dont get here.

Curtain Time

The Sherwood Newcastle R-965 was one great-sounding receiver. My notebook is sprinkled with comments like: Detailed but not harsh. Solid bass. Conveys sense of acoustic ambience. Instruments are rendered 3-dimensionally. No sense of strain. I cant remember the last time I had this kind of reaction to a receiver, even one that lists for two grand. But before I played even a single note
through the R-965, I was struck by how quiet it was. Theres very little self-induced noise, even with the volume cranked. In 2-channel mode, the R-965 reproduced all my favorite tracks with aplomb. Bernard Haitink and the Concertgebouw Orchestras recording of Shostakovichs Symphony 15 (CD, London 417 581-2) has long been a touchstone. The first movement is an orchestral tour de force, with delicate flute and glockenspiel passages, stirring trumpet fanfares, soaring woodwind solos, and a variety of percussion, including snare drum, cymbals, and a truly massive bass drum. All of this is beautifully recorded, with instruments clearly positioned in space and enveloped by the glorious acoustic of the Amsterdam Concertgebouw, one of the worlds great concert halls. Through lesser electronics, the sense of 3-dimensional space so wonderfully captured on this disc disappears, resulting in a flat, emotionally uninvolving presentation. But everything was right there with the Sherwood. Moving to a completely different genre, I spent a great deal of time listening to the Nitty Gritty Dirt Bands Will the Circle Be Unbroken: Volume Two (Universal UVLD12500). The subject of a recent PBS documentary, this groundbreaking 1989 recording was one of the first in decades to gather a group of musicians in a single room and have them actually play together with the tape rolling, rather than bring each performer separately into the studio to overdub a recording track by track. The result is a superb-sounding, musically joyous experience. With John Prine singing Grandpa Was a Carpenter in the background, I switched back and forth between the coaxial digital and analog outputs of my Pioneer Elite DV-F07 DVD/CD jukebox. Even though its a bit of a pain to use as a single-disc player, the Pioneer has been a fixture in my system for several years now. The reason is simple: Ive yet to find a receiver or processor with D/A converters that sound better than the Pioneers Legato Link DACs. I also experimented with the Sherwoods Re-Mastering function, which upconverts garden-variety, 16-bit/44.1kHz PCM audio to 24/192 resolution. With Re-Mastering turned off, the Pioneers Legato Link DACs sounded slightly smoother and cleaner than the Sherwoods in the high frequencies. But with Re-Mastering engaged, the Sherwoods high end seemed to snap into focus, becoming at least the equal of the Pioneer. I still havent decided which I like better, but at this point Im leaning toward the Sherwood. Turning to multichannel soundtracks on

DVD, the Sherwood struck just the right balance of power and finesse. Because I use fullrange front speakers in a fairly small room, I dont feel the need for a subwoofer in my system. Although my big B&W 801 speakers present a fairly benign 8 load to the amp, theyre more than happy to soak up as many watts as I care to throw at them. They also require an amp with good damping characteristics to control their big 12-inch woofers. This obviously places greater demands on a power amplifier than would a more typical home theater speaker system with small satellites and a powered sub. Judging by the deep roar of the Saturn V rocket in Apollo 13, the manifold explosions and mayhem of Saving Private Ryan, and the submarine and minefield detonations in Finding Nemo, among others, the R-965 had what it took to handle the most demanding sound effects, even when driving full-range speakers. It also effortlessly reproduced subtler ambient effects and delivered clean, intelligible dialog. I have yet to feel the need to engage the Sherwoods Cinema EQ, though Im glad to know its there. I watch a lot of regular TV programming on my system. Although some shows are recorded in matrixed Dolby Surround, many are still broadcast in stereo or even mono. Nevertheless, I still prefer to have the dialog coming out of the center speaker, so I usually leave the processor in its Dolby Pro Logic mode when watching TV. The Sherwoods Dolby Pro Logic IIx Movie mode worked great for this purpose, providing a noticeable improvement over plain ol Pro Logic. Last but not least, I have to admit that both the DTS Neo:6 Music and Dolby Pro Logic IIx Music modes work pretty darn well with many 2-channel music sources. These are certainly a huge improvement over the grotesque DSP modes still found on all too
many products. (The R-965 has a dozen such DSP modes, but I wont tell if you wont.)

Conclusion

The Sherwood Newcastle R-965 is an attractive and well-thought-out piece with exceptional build quality. It features an enormously comprehensive and flexible suite of AV inputs and outputs, including my new must have feature, unified component-video output. Above all, it delivered excellent audio performance in 2-channel and multichannel modes. The one area that could stand some improvement is the user interfacebut the same thing can be said of most of its competition. Speaking of competition, the R-965 must duke it out for shelf space in a brutally com-

petitive and rapidly changing market. Several 7.1-channel receivers with similar specifications and features are on the market, and all cost less than the Sherwood. Examples include the Denon AVR-3805 ($1199), Onkyo TX-NR901 ($1500), and Marantz SR7400 ($999). I havent had any hands-on experience with these specific receivers, so I cant say how they sound compared to the Sherwood. But the R-965 sets the bar pretty darn high. And Id be surprised indeed if any less-expensive competitor even comes close to the Sherwoods superior build quality and elegant look and feel. If you own a high-performance luxury car like a BMW or Lexus (or would if you could), the R-965 has your name written all over it.

MEASUREMENTS

All measurements were taken on the left channel, except as noted. The Sherwood Newcastle R-965s 2-channel analog frequency response, in Pure Audio mode, from the CD input to the speaker output, was 0.57dB at 10Hz, 0.18dB at 20Hz, 0.07dB at 20kHz, and 0.44dB at 50kHz. The response from the multichannel input to the speaker output differed from these results by less 0.2dB at 10Hz and 0.07dB, maximum, at 20Hz, 20kHz, and 50kHz. The Dolby Digital response (optical input to speaker output) was 0.38dB at 20Hz and 0.77dB at 20kHz, left channel (0.34dB at 20Hz and 0.76dB at 20kHz, center channel). With the Sherwoods surround left channel set to Small and the crossover frequency set to 80Hz, the response in that channel was 6dB at 82Hz at the bottom end and 0.79dB at 20kHz at the top. The line output from the LFE channel, normalized to the response at 40Hz, was 1.46dB at 20Hz and 6dB at 109Hz. The signal/noise ratio (A-weighted, 2.83V @ 8) measured 99.8dB. The gain measured 28.9dB, CD in to speaker out, with the level control set to +5. The THD+noise in 2-channel operation at 2.83V into 8 measured 0.010% at 20Hz, 0.011% at 1kHz, and 0.009% at 20kHz. At 2.83V into 4, the corresponding results were identical to within 0.001%. Driving all seven channels into 8, the Sherwood delivered (to the nearest watt) 108Wpc at 20Hz (126Wpc into 4) and 113Wpc at 1kHz (144Wpc into 4) before clipping (1% THD+noise). At 1kHz, with only two channels operating, the Sherwood clipped at 134Wpc into 8 and 220Wpc into 4.Thomas J. Norton

ManufacturersComments

Editor: Thank you for Lawrence E. Ullmans thoughtful review of our Newcastle R-965 AV receiver. His recognition of its beautifully packaged chassis, silky motions, exceptional build quality, and excellent audio performance was appreciated by all involved. We do regret that a standard industry boilerplate warning regarding the use of lowimpedance speakers and our perceived specsmanship seemed to color the first part of the review with skepticism. As your measurements and LEUs listening tests confirm, the R-965 is no wimp. With all seven channels driven, its actual power output exceeds 100Wpc RMS into 8 and 125Wpc into 4. It is clearly low-impedancecapable. Also important is the R-965s field upgradeability. Since its introduction earlier this year, we have already released two updates. The first added AV Synch delay for users of advanced TVs, and the second incorporates automatic speaker setup. We are scheduled to add parametric EQ before the end of the year. These updates are available to Newcastle owners at no charge and are an important part of our customer service. Thank you again for your appreciation of our great-sounding receiver. Jeffrey Hipps Sr. VP, Marketing and Product Planning Sherwood America
Posted with permission from the December 2004 issue of Stereophile Ultimate AV www.UltimateAVmag.com. Copyright 2004, Primedia Inc. All rights reserved. For more information about reprints from Stereophile Ultimate AV, contact Wrights Reprints at 877-652-5295