Introduction

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 receiver 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.
READ THIS BEFORE OPERATING
FOR U.S.A. AND CANADA 120 V
FOR YOUR SAFETY Units shipped to the U.S.A. and Canada are designed for operation on 120 V AC only. Safety precaution with use of a polarized AC plug. However, some products may be supplied with a nonpolarized plug. CAUTION : To prevent electric shock, match wide blade of plug to wide slot, fully insert. ATTENTION : Pour eviter les choc electriques, introduire la lame la plug large de la borne correspondante de la prise et poussre jusqu'au fond.
FOR EUROPE AND AUSTRALIA.230 V/240 V FOR YOUR SAFETY Units shipped to Australia are designed for operation on 240 V AC only. To ensure safe operation, the three-pin plug supplied must be inserted only into a standard threepin power point which is effectively earthed through the normal household wiring. Extension cords used with the equipment must be three-core and be correctly wired to provide connection to earth. Improper extension cords are a major cause of fatalities. The fact that the equipment operates satisfactorily does not imply that the power point is earthed and that the installation is completely safe. For your safety, if in any doubt about the effective earthing of the power point, consult a qualified electrician. PAN-EUROPEAN UNIFIED VOLTAGE All units are suitable for use on supplies 230-240 V AC.

This section explains the basic functions for Sherwood or OSD mode. For non-Sherwood mode, refer to the operating manual of this remote control. Sherwood components bearing the DIGI LINK (II or III) logo can be used with this remote control. For system remote control operation, first make the DIGI LINK connections between Sherwood components. The numbered buttons on the remote control have different functions in different modes. For details, refer to the FUNCTION TABLE of the NUMBERED BUTTONS on next page.
FUNCTION TABLE of the NUMBERED BUTTONS.

(for receiver)

Button symbols SUBWOOFER LEVEL DOWN REPEAT A B DECK SELECTOR A

SUBWOOFER LEVEL UP

INTRO SCAN

DECK SELECTOR B

CENTER LEVEL UP

CENTER LEVEL DOWN

REAR LEVEL DOWN

BACKWARD SKIP

REWIND

REAR LEVEL UP

FORWARD SKIP

FAST-FORWARD

SURROUND MODE

FORWARD PLAY

DELAY TIME

REVERSE PLAY

DELAY ADJUST

RECORD

pressing PLAY, etc. on CD player or tape deck, CD or TAPE 2 MONITOR is selected automatically without selecting the input source and then PLAY, etc. starts. In this case, to listen to TAPE 1, switch off the TAPE 2 MONITOR and select the TAPE 1. Notes: Some functions for CD player, tape deck or equalizer may not be available. For details about functions, refer to the operating instructions of each component. The TV/OFF and the CH buttons may not be available for this receiver.
Conponent control selection buttons
Turn on the components you want to operate.
Use the remote control within a range of about 7 meters (23 feet) and angles of up to 30 degrees aiming at the remote sensor.
Press the DEVICE button on the remote control corresponding to the component you want to operate.
Press the button corresponding to the operation you want while aiming the remote control at the REMOTE SENSOR on the component.
When operating a Sherwood CD player or tape deck using the system remote control, aim the remote control at the REMOTE SENSOR on this receiver.
When L -BAT flickers on the LCD, the old batteries should be replaced. When changing the batteries, load the new batteries within 10 sec. to maintain existing programming If the batteries are removed for a longer period of time, the remote control might lose its memory and require reentering.

Remove the cover.

Load 4 AAA 1.5V batteries matching the polarity.

ENTERING A SET-UP CODE

Before operating audio and video components using the remote control supplied with this receiver, the set-up code for each component should be entered. For system remote control operation, the set-up code for each Sherwood component such as CD player and tape deck is 001respectively. Enter each set-up code for CD player and tape deck doing steps 3,4 and 5 as follows. Turn on the component you want to control. Find the set-up code for your component referring to Set-Up Code Tables in the operating manual of this remote control.

Example) When entering the set-up code for this receiver, turn on this receiver. Press the corressponding DEVICE and the MUTE buttons simultaneously.
Example) The 3 digit set-up codes for the Sherwood Audio are 001,002,.(Hint:The correct setup code for this receiver is 001.) Enter the 3 digit set-up code aiming the remote control at the REMOTE SENSOR on the component.
Then SET appears on the LCD of the remote control for 20 seconds.
Your component will be turned off when the correct set-up code is entered. Continue to enter the corresponding codes until your component turns off. If SET disappears, start from the step 3 again. Operate the component using the corresponding function buttons on the remote control such as POWER, CH and VOL buttons, etc. If any of the buttons do not perform as they should, start from step 1 again to 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 button to turn the component ON and press the POWER 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.)
Press the corresponding DEVICE button to store the set -up code.
Then PASS will flicker on the LCD.
Repeat the above steps 1 to 6 for each of your other components.

Operations

Note: Before operating this receiver with the supplied remote control, refer to Universal Remote Controls on page 8 for details about operation.

LISTENING TO A PROGRAM

Turn the power on. Select the desired input source.

Adjust the subwoofer level.
It is adjustable only when a powered subwoofer is connected and the subwoofer is set to YES. (Refer to Adjusting the speaker settings on page 16 ) To increase the bass sound.
Press it again to cancel. To mute the sound.
When playing back the program sources with surround sound, refer to Enjoying surround sound on page 15. Adjust the (overall) volume.
MUTE will flicker. To resume the previous sound level, press it again. To listen with the headphones. Adjust the tone (bass and treble).
Note : Extreme settings at high volume may damage your speakers. Ensure that the SPEAKER ON/OFF switch is set to off.
When CD, DVD, LDP or AUX/TV is selected as input source
Adjust the stereo balance between the left and the right channels.

SURROUND SOUND

The R-945 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 receiver has 8 different surround modes to allow you to enjoy surround sound with various program sources: DTS , DOLBY DIGITAL(AC-3), 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 DIGITAL SURROUND : 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, it will sound like continuous noise. DOLBY DIGITAL(AC-3) : Allows you to enjoy up to 5.1 channels of digital surround sound from Dolby Digital(AC-3) program sources bearing the trademark such as laser discs. Dolby Digital(AC-3) 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 receiver 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 sound field. Use with Dolby Pro Logic program sources trademark such as video cassette tapes or laser discs. bearing the 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. 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.

Delay time

The sound heard in a place such as a concert hall or a movie theater consists of the direct sound that reaches our ears directly from the sound source and the reflected sound that is indirectly reflected off from walls, floor and ceilling. The reflected sound reaches our ears slightly later than the direct sound. The delay time is the time difference between the direct sound and the reflected sound. The optimum delay time will be different according to the room size and the acoustic properties. It is recommended that you try different times to obtain the best effect. It is adjustable in the Dolby Digital(AC-3) and the Dolby Pro Logic modes only.

Speaker placement

To obtain the best surround sound effect in your home, place the speakers as follows; Front speakers : Place each front speaker about 1m (40) from the TV set. Center speaker : Place the center speaker either above or below the TV set to assure good visualization of center channel program. Rear speakers : Place the rear speakers approximately 1m above the ear level of a seated listener on the direct left and right of them or slightly behind. Subwoofer : Place the powered subwoofer by a wall or corner of the room for best sound. The ideal surround system needs all the speakers listed above and to accurately reproduce DTS Digital Surround, center and rear speakers as well as front speakers should be full range speakers. However, if you dont have a center speaker, a subwoofer or rear speakers, select the best possible surround mode with the available speakers. Note: To avoid interference with the TV picture, use only magnetically shielded center and front speakers.

ENJOYING SURROUND SOUND

Surround sound effect will not work properly if the signal passes through a graphic equalizer. Please refer to your equalizer operating instructions for guidance on switching off (or defeating) the equalizer. Select the desired surround mode.
When selecting the DTS mode, the Dolby Digital (AC-3) mode or the Dolby Pro Logic mode.

Memorize the desired subwoofer mode while it flickers.
Adjust the volume levels of the speakers until they all sound equally loud.
If the subwoofer display goes off, repeat again from the above step 2.
The rear L and R volume levels are adjusted respectively during the test tone function and all together while enjoying surround sounds.
Checking the speaker setting
Cancel the test tone function.
Each time this button is pressed briefly, the setting of the center speaker, the rear speakers or the subwoofer is displayed. Check the delay time to be adjusted.
In DTS, Dolby Digital(AC -3), Dolby Pro Logic or Dolby 3 Stereo mode
Press the TEST TONE button to adjust the volume level of each speaker.
Test tone will be heard form each speaker for 2 seconds each as follows;
FRONT L CENTER FRONT R REAR R REAR L SUB
The delay time will be displayed for 5 seconds. In Dolby Digital(AC-3) mode, the corresponding delay time will be flickering. The center delay time can be adjustable only in Dolby Digital(AC-3) mode. The rear delay time can be adjustable only in Dolby Digital(AC-3) and Dolby Pro Logic modes.
The test tone will be heard from the subwoofer only when subwoofer is set to YES in the DTS mode and the Dolby Digital(AC-3) mode. Test tone is not heard from rear speakers in Dolby 3 Stereo mode. Test tone is not heard from the speaker of which the setting is adjusted to the NONE or the NO mode.

Adjuet the delay time.

In THEATER, HALL, STADIUM or CHURCH Mode
Adjust the volume level of the rear speakers relative to that of the front speakers.
Each time this button is pressed, the delay time changes in regular intervals. If the delay time disappears, start from the step 12 again.

Memorize the delay time.

Downmixing into 2 front channels
This function can be operated only when playing back the Dolby Digital(AC-3) program sources. During playback in the Dolby Digital(AC-3) mode, press the STEREO button.
In Dolby Pro Logic mode, the rear delay time can be memorized without pressing the DELAY TIME button.
In Dolby Digital(AC-3) mode, repeat the above steps 13 and 14 to adjust the rear delay time.
DIGITAL and ST indicators light up, meaning it enters the 2-CH downmix mode, and then the 5 discrete channels (front L, center,front R, rear L and rear R) are mixed down to 2 front channels. When playing back the Dolby Digital(AC-3) program sources in the normal stereo mode, it enters the 2-CH downmix mode automatically. When the settings of the center and rear speakers are adjusted to the NONE and NO modes respectively in the Dolby Digital(AC-3) mode, if playing back the Dolby Digital (AC-3) program sources, it can also enter the 2-CH downmix mode. When playback is stopped or interrupted, etc., the 2-CH downmix mode is not canceled but DIGITAL and STindicators goes off. To cancel the 2-CH downmix mode, select the desired surround mode.

LISTENING

Select the tuner.

Manual tuning

Manual tuning is useful when you already know the frequency of the desired transmitter. Press TUNING or repeatedly until the right frequency has been reached.

Select the desired band.

Frequency direct tuning
Enter the frequency direct tuning mode.

BAND FREQUENCY

Each time this button is pressed, the band is changed to FM or AM. When pressing the BAND button without selecting the TUNER, the tuner will be selected automatically.

Auto tuning

Press TUNING second. or for more than 0.5
Enter the frequency within 7 seconds for each digit.
Then AUTO appears on the display. The tuner will now search until a station of sufficient strength has been found. The display shows the tuned frequency and TUNED. If the station found is not the desired one, simply repeat this operation. Weak stations are skipped during auto tuning.
Examples) FM 89.10MHz : FM 100.70 MHz : AM 890 kHz : AM 1030 kHz : In FM band, If 1 is pressed on the first dight, 10 is entered. With the numeric button on the remote control, you can also enter the frequency. In each digit, if it elapses 7 seconds, press the FREQUENCY DIRECT button again to enter the frequency.
Presetting radio stations ENGLISH
You can store up to 30 preferred stations in the memory. Tune in the desired station with auto or manual tuning, etc.
Listening to FM stereo broadcasts
While listening to FM broadcasts.
Press the MEMORY/ENTER button.
Each time this button is pressed, the FM mode changes as follows; Stereo mode : ST lights up Mono mode : ST goes off When FM stereo broadcasts are poor because of weak broadcast signals, select the FM mono mode to reduce the noise, then FM broadcasts are reproduced in monaural sound
MEMORY is flickering for 5 seconds. Enter a preset number (1~30).

Examples) For 3 :

Scanning preset stations in sequence

For 15 :

The receiver will start scanning the stations in the preset sequence and each station is received for 5 seconds.
The station has now been stored in the memory A stored frequency is erased from the memory by storing another frequency in its place. If MEMORY goes off, press the MEMORY/ENTER button again to enter a preset number.
Tuning to preset stations
Press the desired preset number. At the desired station, press this button again to stop scanning.
Example) For 3 : For 15 :

MEMORY BACKUP FUNCTION

The following items, set before the receiver is turned off, are memorized. INPUT SELECTOR settings VCR 1 REC SELECTOR settings Surround mode settings Preset stations Video labels, etc. Note:If the electricity fails or the AC input cord is disconnected for about 2 weeks, they are all cleared. So you should memorize them again.

When pressing the numeric buttons on the front panel without selecting the TUNER, the tuner will be selected automatically and the preset station will be tuned in.

AUDIO RECORDING

The digital signals from the optical, coaxial or RF digital input can be heard but cannot be recorded.

Recording with TAPE 1

Recording with TAPE 2 MONITOR
Select the desired input as recording source except for TAPE1 and TAPE 2 MONITOR.
Select the desired input as recording source except for TAPE 2 MONITOR.
Be sure that the TAPE 2 MONITOR indicator goes off.
Set the TAPE 2 MONITOR button to on.
Start recording on the tape deck connected to TAPE 1.
Start play on the desired input.
Start recording on the tape deck connected to TAPE 2 MONITOR.
When the TAPE 1 is selected as recording source, dubbing will start from TAPE 1 to TAPE 2 MONITOR. It is not possible to dub from TAPE 2 MONITOR to TAPE 1. For tape 2 monitor function, refer to TAPE 2 MONITOR function on page 12.

RECORDING WITH VCR1

Dubbing from video components to VCR 1
Example) When dubbing from LD player to VCR 1 Select LDP as program source.
Listening to other audio inputs during dubbing
Example) When listening to CD during dubbing from LDP to VCR 1. Select CD as the program source being enjoyed.
PROGRAM SOURCE being enjoyed. Select LDP as recording source. Select LDP as recording source.
RECORDING SOURCE Each time this button is pressed, the recording source changes as follows; DVD LDP AUX SOURCE
Start recording on the VCR 1.

Start play on the LDP.

Start play on the CDP.
The audio and video signals from LDP will be dubbed onto the tape in VCR 1 and you can enjoy LDP on the TV set and from the speakers.
The audio and video signals from LDP will be dubbed onto the tape in VCR 1 and you can listen to CD.
Enjoying other video inputs during dubbing
Example) When viewing DVD on the TV set and hearing its sound from the speakers during dubbing from LDP to VCR 1. Select DVD as the program source.
Dubbing and enjoying the audio and video signals separately
Example) When dubbing and enjoying LD video signal and CD audio signal. Select SOURCE.
Select LDP as video source within 5 seconds.
Select LDP as recording source.
Start recording on the VCR 1. Memorize it within 5 seconds.
Start play on the DVD. Select CD as audio source within 5 seconds.
The audio and video signals from LDP will be dubbed onto the tape in VCR 1 and you can enjoy DVD.
VIDEO SOURCE AUDIO SOURCE
Start play on the CDP. In the above step, if 5 seconds elapses, repeat again from the step 1.
The audio signal from CDP and the video signal from LDP will be dubbed onto the tape in VCR 1 and you can enjoy them on the TV set and from the speakers.

OTHER FUNCTIONS

Operating the sleep timer
The sleep timer allows the system to continue to operate for a specified period of time before automatically shutting off. To set the receiver to automatically turn off after the specified period of time.
Compressing the dynamic range (Dolby Digital (AC-3) mode only)
This function compresses the dynamic range of previously specified parts of the Dolby Digital (AC-3) sound track(with extremely high volume) to minimize the difference in volume between the specified and non-specified parts. This makes it easy to hear all of the sound track when watching movies at night at low levels.
Each time this button is pressed, the sleep time changes as follows ; 90 OFF Unit : Minutes Then the DYNAMIC RANGE indicator lights up. Press again to cancel. In some Dolby Digital(AC-3) softwares, this function may not be used. When the sleep time is selected, all display panels of Sherwood components connected by the DIGILINK are dimly lit.
Checking the brightness of the fluorescent displays
Each time this button is pressed, the brightness of all fluorescent displays of Sherwood components connected by the DIGI LINK III changes together as follows; ON dim OFF In the display OFF mode, when any button is pressed, the receiver switches to the display ON mode.

Entering video labels

This function can be operated only on video input sources such as DVD, LDP, VCR 1 and AUX/TV. Select the desired video input source to enter its label.
Repeat steps 3 and 4 to memorize the rest of up to 8 characters. Note:All 9 charcters must be memorized.
Rectifying or clearing a video label
Select the desired video input source to be rectified or cleared.
Press the VIDEO LABELS button for more than 2 seconds.
Select the first character of the video label while the digit is flickering.
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.
Each time the INPUT SELECTOR/INDEX knob is rotated, the characters changes as follows ; 26 Capital Letters : A B C D E F G H I J K L M N O P QRSTUVWXYZ 10 Arabic Numerals : 9 Special Marks : Memorize it within 6 seconds.
If the MEMORY/ENTER button is pressed for more than 2 seconds on the character, a dot( ) will appear by the character. If the MEMORY/ENTER button is pressed without selecting the desired character, the digit will be blank. If 6 seconds elapses, repeat again from the step 2.

Then the items of the selected menu displays.
When selecting the VCR1 REC SELECTOR
When selecting the SURROUND MODE
VCR1 REC SELECTOR VIDEO: DVD AUDIO: PHONO
SURROUND MODE SURROUND: DOLBY DIGITAL DELAY TIME CENTER: 1 msec REAR: 5 msec
When selecting the SPEAKER MODE
When selecting the TEST TONE MODE
SPEAKER MODE CENTER: LARGE REAR:YES SUBWOOFER: OFF
TEST TONE RR:+1dB RL: 0dB CENTER:0dB SUBW: -5dB

RL SW RR

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.
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 ENTER 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 each speaker using the CURSOR UP( )or DOWN ( ) button as well as the CURSOR LEFT ( )or RIGHT ( ) button. The test tone from a speaker can not be heard corresponding to the surround mode or the speaker setting. Repeat the above steps 2~5 to change the conditions of the items in another menu.
Then the MAIN MENU will be displayed. 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 ENTER button.
Then the menu screen will be turned off.

Troubleshooting Guide

If a fault occurs, run through the table below before taking your receiver for repair. If the fault persists, attempt to solve it by switching the receiver off and on again. If this fails to resolve the situation, consult your dealer. Under no circumstances should you repair the receiver yourself as this will invalidate the guarantee!

PROBLEM

No power

POSSIBLE CAUSE

The AC input cord is disconnected. Poor connection at AC wall outlet or the outlet is inactive. The speaker cords are disconnected. The master volume is adjusted too low. The MUTE button is pressed to ON. Speakers are not switched on. The digital input is not selected correctly Incorrect selection of input source. Incorrect connections between the components.

DIGITAL AUDIO SECTION

Sampling frequency....32,44.1,48 kHz Digital input level Coaxial, 75 ......0.5 Vp-p Optical, 660 nm.....-15~-21 dBm

FM TUNER SECTION

Tuning frequency range.....87.5~107.9 MHz Usable sensitivity, THD 3%, S/N 30 dB.....11.2 dBf 50 dB quieting sensitivity, mono/stereo....15.2/38.2 dBf Signal to noise ratio, 65 dBf, mono/stereo....70/65 dB Total harmonic distortion, 65 dBf,1 kHz, mono/stereo...0.5/0.8% Frequency response, 30 Hz~15 kHz.... 1.5 dB Stereo separation, 1 kHz.....50 dB Capture ratio.....1.25 dB IF rejection ratio..... 120 dB

AM TUNER SECTION

Tuning frequency range....520~1710 kHz Usable sensitivity, 400 mV/m....12.5 mV Signal to noise ratio, 80 dB/m....51 dB Selectivity.....30 dB

GENERAL

Power supply.....AC 120 V, 60 Hz Power consumption......4 A Switched AC outlet.... TOTAL 1A, 100W max. Dimensions (W H D)...380 mm(17-3/8 5-1/inches) Weight (Net).....16.3 kg(35.9 lbs) Note: Design and specifications are subject to change without notice for improvements.

Set-up Code Tables

AUDIO(Receivers, Preamplifiers, Surround processors, etc.)

Maker/Brand

SHERWOOD SONY SOUNDESIGN SOUNDSTREAM SSI SUMO TAEKWANG TEAC TECHNICS THETA DIGITAL TOSHIBA WARDS YAMAHA ZENITH

Set-up codes

ADCOM AIWA AKAI AMC ANAM ANGSTROM ARCAM AUDIO ACCESS AUDIO ALCHEMY AUDIO DESIGN AUDIO MATRIX AUDIO FILE AUDIO TECHNICA B&K BOSE CARVER CASIO CHIRO CINEMA SOUND CITATION CLARION CURTIS MATHES DENON ENLIGHTENED AUDIO FISHER FOSGATE GE GOLDSTAR HARMAN KARDON HITACHI INKEL JC PENNEY JENSEN JVC KENWOOD KRELL KYOCERA LEXICON LINN LUXMAN LXI MAGNAVOX MARANTZ MCINTOSH MCS MERIDIAN MITSUBISHI MONDIAL NAD NAKAMICHI NEC ONKYO OPTIMUS PANASONIC PARASOUND PHILPS PIONEER PROCEED RCA REALISTIC ROTEL SAMSUNG SANSUI SANYO SCOTT SEARS SHARP
CD (Compact disc players, Mult.-disc changers, etc.)
ADCOM AIWA AKAI AMC ARCAM AUDIO ACCESS AUDIO FILE AUDIO TECHNICA BSR CALIFORNIA AUDIO CAPETRONIC CARRERA CARVER CASIO CLARINETTE CREEK CROWN DENON EMERSON FISHER FRABA FUNAI GENEXXA GOLDSTAR HAITAI HARMAN KARDON HITACHI INKEL JC PENNY JENSEN JVC KENWOOD KOSS KRELL KYOCERA LOTTE LUXMAN LXI MAGNAVOX MARANTZ MCINTOSH MCS MEMOREX MERIDIAN MGA MISSION MITSUBISHI MITSUMI MODULAIRE MONDIAL NAD

121 215

CD (continued)

NAKAMICHI NEC NIKKO NSM ONKYO OPTIMUS PANASONIC PARASOUND PHILIPS PIONEER PROCEED PROTON QUASAR RADIO SHACK RCA RCX REALISTIC ROTEL RUNCO SAE SAMSUNG SANSUI SANYO SCOTT SHARP SHERWOOD SIGNATURE SONY SOUNDESIGN SUMO SYLVANIA SYMPHONIC TAEKWANG TANDY TEAC TECHNICS TECHWOOD THETA DIGITAL TOSHIBA VECTOR RESEARCH VICTO WARDS YAMAHA YORX

116 182

MARANTZ MCINTOSH MITSUBISHI NAD NAKAMICHI ONKYO OPTIMUS PANASONIC PHILIPS PIONEER QUASAR SANSUI SHARP SHERWOOD SONY TEAC TECHNICS TOSHIBA VICTOR YAMAHA
AUX(Home theater control devices, etc.)
3M AIWA AKAI ARCHER DENON DMX DWIN EXTRON FAROUDJA GE GOLDSTAR HITACHI JVC LUTRON MERIDIAN MAGNAVOX MITSUBISHI NILES NSM ONKYO PANASONIC PHILIPS PIONEER POLKAUDIO PROSCAN RCA SAMSUMG SANYO SCIENTIFIC ATLANTA SONY THOMPSON TOSHIBA TURBOSCAN X-10 XANTECH YAMAHA ZENITH
TAPE(Tape decks, Laser disc players, DVD, etc.)
AIWA CARVER DENON FISHER GOLDSTAR HARMAN KARDON JVC KENWOOD LINN LUXMAN MAGNAVOX

139 027

SATELLITE ( Satellite receivers, etc.)
TV (TVs, Monitors, Video/LCD projectors, etc.)
AMPLICA BSR CAPETRONICS CHANNEL MASTER CHAPARRAL CITOH CURTIS MATHES DRAKE DX ANTENNA ECHOSTAR EUROSAT FUJITSU GENERAL ELECTRIC GENERAL INSTRUMENT HITACHI HOME CABLE HOUSTON TRACKER HUGHES HYTEK ICR JANIEL JERROLD LEGEND MACOM MEMOREX NEXTWAVE PACE PANASONIC PANSAT PERSONAL CABLE PHILIPS PL PRESIDENT PRIMESTAR PROSAT PROSCAN RCA REALISTIC SAMSUNG SATELLITE SERVICE SCIENTIFIC ATLANTA SONY STARCAST SUPERGUIDE TEE COM TOSHIBA TOWN & COUNTRY UNIDEN US ELECTRONICS VIEWSTAR WINEGARD ZENITH

091 120

ADMIRAL AKAI AMARK AMPRO AMSTRAD ANAM AOC BLAUPUNKT CANDLE CAPEHART CETRONIC CITIZEN CLASSIC CONCERTO CONTEC CORONADO CRAIG CROWN CURTIS MATHES CXC DAEWOO DAYTRON DWIN DYNASTY DYNATECH EIKI ELECTROHOME EMERSON FISHER FUNAI FUTURETECH GE GOLDSTAR HALL MARK HITACHI INFINITY INKEL JBL JCPENNY JENSEN JVC KEC KENWOOD KLOSS KMC KTV LODGENET LOGIK LUXMAN LXI MAGNAVOX MARANTZ MATSUI MEMOREX METZ MGA MINERVA MITSUBISHI MTC NAD NEC NIKEI ONKING ONWA OPTONICA

019 081

TV (continued)

VCR (VCRs, etc.)

PANASONIC PHILCO PHILIPS PIONEER PORTLAND PROSCAN PROTON QUASAR RADIO SHACK RCA REALISTIC ROCTEC RUNCO SAMPO SAMSUNG SANYO SCOTT SEARS SHARP SIEMENS SIGNATURE SONY SOUNDESIGN SPECTRICON SSS SUPRE MACY SYLVANIA TANDY TATUNG TECHNICS TECHWOOD TEKNIKA TELEFUNKEN TELERENT TERA TMK TOSHIBA TOTEVISION UNIVERSAL VIDEO CONCEPTS VIDIKRON VIDTECH WARDS YAMAHA YORK YUPITERU ZENITH ZONDA
AIWA AKAI AMPRO ANAM AUDIO DYNAMICS BROOKSONIC CANON CAPEHART CRAIG CURTIS MATHES DAEWOO DAYTRON DBX DYNATECH ELECTROHOME EMERSON FISHER FUNAI GE GO VIDEO GOLDSTAR HARMAN KARDON HITACHI INSTANTREPLAY JCL JCPENNY JENSEN JVC KENWOOD LLOYD LXI MAGIN MAGNAVOX MARANTZ MARTA MATSUI MEI MEMOREX MGA MINOLTA

013 020

VCR (continued)
CABLE (Cable boxes, Internet set-tops, etc.)
MITSUBISHI MTC MULTITECH NEC NORDMENDE OPTONICA PANASONIC PENTAX PHILCO PHILIPS PILOT PIONEER PORTLAND PULSAR QUARTZ QUASAR RADIO SHACK RCA REALISTIC RICO RUNCO SALORA SAMSUNG SANSUI SANYO SCOTT SEARS SHARP SHINTOM SIGNATURE SONY SOUNDESIGN STS SYLVANIA SYMPHONIC TANDY TATUNG TEAC TECHNICS TEKNIKA THOMAS TMK TOSHIBA TOTEVISION UNITECH VECTOR RESEARCH VICTOR VIDEO CONCEPTS VIDEOSONIC WARDS YAMAHA ZENITH

080 101

ABC ANTRONIX ARCHER CENTURION CENTURY CITIZEN COMBANO EAGLE EASTERN ELECTRICORD GENERAL ELECTRIC GENINI GENERAL INSTRUMENT GOLDEN CHANNEL HAMLIN HITACHI JERROLD M-NET MAGNAVOX MEMOREX MOVIE TIME NSC OAK PANASONIC PARAGON PHILIPS PIONEER PRUCER PTS PULSAR RCA REGAL REGENCY SCIENTIFIC ATLANTA SONY SPRUCER STARCOM STARGATE TOCOM TOSHIBA UNIKA UNITED CABLE UNIVERSAL VIEWSTAR ZENITH

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