DIGITAL OPTICAL

ANTENNA

MONITOR

COMPONENT VIDEO

CONTROL
L L L CENTER IN S-VIDEO IN S-VIDEO OUT S-VIDEO IN OUT S-VIDEO VIDEO

CTRL A1

CENTER

PB/CB /B-Y PR/CR /R-Y

DVD IN

SURROUND

MULTI CH INPUT 2

R R SURROUND

MULTI CH INPUT 1

SURR BACK

IN VIDEO

OUT VIDEO

TV-SAT IN

MONITOR OUT

IR REMOTE

RS232C

COAXIAL
DVD IN TV/ SAT IN MD/ DAT IN MD/ DAT OUT
IN IN OUT IN OUT IN IN IN OUT IN OUT IN

SIGNAL GND

CD/SACD

MD/DAT

TV/SAT

VIDEO 2

VIDEO 1 R

ANALOG

OPTICAL

IMPEDANCE USE 4 - 16

ASSIGNABLE

DIGITAL

SURR BACK SPEAKER

SURROUND SPEAKERS

CENTER SPEAKER

FRONT SPEAKERS

AUDIO OUT L

Satellite tuner

* Connect to either the COAXIAL DVD IN or the OPTICAL DVD IN jack. We recommend making connections to the COAXIAL DVD IN jack.
You can listen to the sound of your TV by connecting your TVs audio output jacks to the TV/SAT AUDIO IN jacks on the receiver. In this case, do not connect the TVs video output jack to the TV/SAT VIDEO IN jack on the receiver.
2 Connect the video jacks.
The following illustration shows how to connect a TV or satellite tuner and a DVD player with COMPONENT VIDEO (Y, PB/CB/B-Y, PR/CR/R-Y) output jacks. Connecting a TV with component video input jacks allows you to enjoy higher quality video.
On this receiver, standard video signals can be converted to s-video signals (STR-DA2000ES only).

TV monitor

R-Y COMPONENT B-Y Y

S VIDEO

S VIDEO R-Y

COMPONENT B-Y Y

VIDEO R-Y

continued

Hooking up an MD/DAT deck

MD/DAT deck

INPUT OUTPUT

LINE LINE L

OPTICAL OUT IN

OUT OUT IN

If you want to connect several digital components, but cannot find an unused input

See Assigning the audio input (page 37).
All the digital audio jacks are compatible with 32 kHz, 44.1 kHz, 48 kHz and 96 kHz sampling frequencies. You can also connect an LD player with a DOLBY DIGITAL RF OUT jack via an RF demodulator (You cannot connect an LD players DOLBY DIGITAL RF OUT jack directly to this units digital input jacks). Refer to the operating instructions supplied with the RF demodulator.
You cannot make digital recordings of digital multi channel surround signals.
1b: Connecting components with multi channel output jacks
If your DVD or Super Audio CD player is equipped with multi channel output jacks, you can connect it to this receivers MULTI CHANNEL INPUT jacks to enjoy the multi channel sound. Alternatively, the multi channel input jacks can be used to connect an external multi channel decoder. For details on the required cords (AH), see page 7.
MULTI CHANNEL INPUT 2 MULTI CHANNEL INPUT 1

SURROUND CENTER

MULTI CH OUT
DVD player, Super Audio CD player, Multi channel decoder, etc.
This connection also allows you to enjoy software with multi-channel audio recorded in formats other than the Dolby Digital, and DTS. Make connections to either the MULTI CHANNEL INPUT 1 or MULTI CHANNEL INPUT 2 jacks according to the number of audio output jacks of the component.
When you make connections to the MULTI CHANNEL INPUT jacks, you will need to adjust the level of the surround speakers and sub woofer using the controls on the connected component. DVD and Super Audio CD players do not have SURR BACK terminals.
The following illustration shows how to connect a DVD player with COMPONENT VIDEO (Y, PB/ CB/B-Y, PR/CR/R-Y) output jacks. Connecting a TV with component video input jacks allows you to enjoy higher quality video.
1c: Connecting components with only analog audio jacks
Hooking up audio components

Turntable

LINE L

CD/Super Audio CD player

Tape deck
If your turntable has a ground wire, connect it to the U SIGNAL GND terminal.
Hooking up video components
If you connect your TV to the MONITOR jacks, you can watch the video from the selected input (page 24). You can also display the SP. SET UP, LEVEL, EQUALIZER, CUSTOMIZE and TUNER menu settings and sound fields on your TV by pressing ON SCREEN on the remote. For details on the required cords (AH), see page 7.

VIDEO IN VIDEO OUT

AUDIO IN
To the VIDEO 3 INPUT jacks (Front panel)

Camcorder or TV game

2: Connecting the antennas
Connect the supplied AM loop antenna and FM wire antenna.

For advanced speaker setups
Use the CUSTOMIZE menu and set MENU EXP. to ON. This enables advanced setups including those of the heights of the surround speakers. For details on MENU EXP., see page 40. For details on how to set the items, see page 41.
x SB X.X meter* (Surround back speaker distance)
Initial setting: 3.0 meter (10 feet) Lets you set the distance from your listening position to the surround back speaker. You can adjust from 1.0 meter to 7.0 meters (3 to 23 feet) in 0.1 meter (1 foot) steps. If you connect two surround back speakers and both surround back speakers are not placed an equal distance from your listening position (STRDA2000ES only), set the distance to the closest speaker. * For models of area code U, CA, X feet is displayed.
6: Adjusting the speaker levels and balance

TEST TONE

Adjust the speaker levels and balance while listening the test tone from your listening position. Use the remote for the operation. For details on the remote operation, refer to the operating instructions supplied with the remote.
PHASE AUDIO in the LEVEL menu (page 43).
The receiver employs a test tone with a frequency centered at 800 Hz.
Press ?/1 on the remote to turn on the receiver. Press TEST TONE on the remote.
TEST TONE in the LEVEL menu appears in the display and the test tone is output from each speaker in sequence.
Adjust the speaker level and balance using the LEVEL menu so that the level of the test tone sounds the same from each speaker.
For details on the LEVEL menu settings, see page 38.
To adjust the level of all speakers at the same time, press MASTER VOL +/ on the remote or turn MASTER VOLUME /+ on the receiver. You can also use /+ on the receiver for the adjustment.

Press TEST TONE again.

The test tone turns off.
To output the test tone only from a specific speaker
Set TEST TONE in the LEVEL menu to FIX (page 38). The test tone is output only from the selected speaker.

For more precise adjustment
You can output the test tone or sound source from two adjacent speakers to adjust their balance and level. Set MENU EXP. in the CUSTOMIZE menu to ON (page 40). Then select the two speakers you want to adjust using PHASE NOISE or
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Notes on using headphones
Selecting the component 1
Rotate INPUT SELECTOR to select the input.
The selected input appears in the display.

To select the Display

VIDEO 1 or VIDEO 2 DVD TV/SAT MD/DAT
When headphones are connected, you can select only the following sound fields (page 34). HEADPHONE (2CH) HEADPHONE (DIRECT) HEADPHONE (MULTI 1) HEADPHONE (MULTI 2) HEADPHONE THEATER When headphones are connected and you use the MULTI CH DIRECT function (page 25), the sound of all channels may not output depending on the speaker settings.
Camcorder or TV game VIDEO 3 DVD player Satellite tuner MD or DAT deck
CD or Super Audio CD CD/SACD player Tape deck Multi channel input Built-in tuner (FM) Built-in tuner (AM) Turntable TAPE MULTI 1 DIRECT MULTI 2 DIRECT Tuner (FM) Tuner (AM) PHONO
Turn on the component and start playback. Rotate MASTER VOLUME /+ to adjust the volume.

To mute the sound

Press MUTING on the remote. To cancel, press MUTING on the remote again or turn MASTER VOLUME /+ clockwise to raise the volume. Even if you turn off the receiver, the muting function works when you turn on the receiver again.
Listening to multi channel sound

MULTI CH IN

You can select the audio directly from the components connected to the MULTI CHANNEL INPUT jacks. This enables you to enjoy high quality analog inputs like DVD or Super Audio CD. Surround effects are not activated when using this input.

Listening to FM/AM radio

You can listen to FM and AM broadcasts through the built-in tuner. Before operation, make sure you have connected the FM and AM antennas to the receiver (see page 15).
The tuning scale for direct tuning differs depending on the area code as shown in the following table. For details on area codes, see page 3.

Area code FM AM

U, CA CEL, SP

100 kHz 50 kHz

10 kHz* 9 kHz
Move the easy scroll key on the remote to select MULTI, then press the key to enter the selection.
* The AM tuning scale can be changed (see page 56).

Automatic tuning

Press MULTI CH on the remote.
The selected audio source is output.
Rotate INPUT SELECTOR to select FM or AM. Press TUNING + or TUNING.
When a center speaker or sub woofer is not connected
If you have set the center speaker to NO, or set the sub woofer to NO in the SP. SET UP menu (page 20), and you activate the MULTI CH IN function, the analog center or sub woofer audio will be output from the front left and right speakers.

Travel & Touring Programs about travel. Not for announcements that are located by TP/TA. Leisure & Hobby Programs on recreational activities such as gardening, fishing, cooking, etc. Jazz Music Country Music National Music Oldies Music Folk Music Documentary None Jazz programs Country music programs Programs featuring the popular music of the country or region Programs featuring oldies music Folk music programs Investigative features Any programs not defined above
Each time you press DISPLAY, the display will change as follows. Input name and sound field name t Volume level
FM and AM All inputs except FM and AM Index name and sound field name* y
Preset station name and sound field name* y Input name and sound field name t Volume level
Index name appears only when you have assigned one to the input or preset station (page 45). Index name does not appear when only blank spaces have been entered, or it is the same as the input name.
Displaying the input stream information
You can check the input stream information (about format, channel, etc.) of digital input signals. The input stream information also appears for 4 seconds when the receiver detects any changes in the digital input signal.
Press MAIN MENU to select STREAM INFO. Rotate MENU.
The input stream information appears.
Rotate /+ for more information.
About the indications in the display

SLEEP SP.A SP.B

SW L SL SBL C S SB R SR SBR
; DIGITAL EX ; PRO LOGIC II

MULTI CH IN 1 2

L.F.E.
DTS -ES 96/24 MONO MEMORY RDS STEREO D.RANGE EQ NEO:6 OPT COAX D.ASSIGN
A SW: Lights up when sub woofer selection is set to YES (page 20). While this indicator lights up, the receiver outputs the LFE signal recorded on the disc or generates a low frequency signal for output to the sub woofer. This indicator does not light during the 2CH STEREO mode. B SLEEP: Lights up when sleep timer is activated. C SPA/SPB: Lights up in accordance with the speaker system being used (A or B). Turns off when headphones are connected. D MULTI CH IN 1/2: Lights up when MULTI 1 DIRECT or MULTI 2 DIRECT is selected. E ; DIGITAL (EX): Lights up when Dolby Digital signals are input. EX lights up when Dolby Digital EX signals are input.When playing a Dolby Digital EX format disc, be sure that you have made digital connections and that INPUT MODE is NOT set to ANALOG FIXED (page 38). F ; PRO LOGIC (II): Lights up when the receiver applies Pro Logic processing to 2 channel signals in order to output the center and surround channel signals. This indicator also lights when the Pro Logic II Movie/Music decoder is activated. However, this indicator does not light if both the center and surround speakers are set to NO. G DTS (-ES): Lights up when DTS signals are input. -ES lights up when DTS-ES signals are input. When playing a DTS format disc, be sure that you have made digital connections and that INPUT MODE is NOT set to ANALOG FIXED (page 38).

H 96/24: Lights up when the receiver is decoding DTS 96 kHz/24 bit signals. I Tuner indicators: Lights up when using the receiver to tune in radio stations, etc. See pages 2528 for tuner operations. J MEMORY: Lights up when presetting stations, naming preset stations and inputs, etc. K D.ASSIGN: Lights up when the digital assign function is used for the selected input. L COAX: Lights up when the source signal is a digital signal being input through the COAXIAL terminal or when INPUT MODE is set to COAXIAL FIXED (page 38). M OPT: Lights up when the source signal is a digital signal being input through the OPTICAL terminal, or when INPUT MODE is set to OPTICAL FIXED (page 38). N NEO:6: Lights up when DTS Neo:6 Cinema/ Music decoding is activated. However, this indicator does not light if both the center and surround speakers are set to NO. O EQ: Lights up when the equalizer is activated. P D.RANGE: Lights up when dynamic range compression is activated (page 43). Q Playback channel indicators: The letters (L, C, R, etc.) indicate the channels being played back. The boxes around the letters vary to show how the receiver downmixes the source sound (based on the speakers settings). L (Front Left), R (Front Right), C (Center (monaural)), SL (Surround Left), SR (Surround Right), S (Surround (monaural or the surround components obtained by Pro Logic processing)), SBL (Surround back Left), SBR (Surround back right), SB
(Surround Back (the surround back components obtained by 6.1 channel decoding))

Example:

Recording format (Front/Surround): 3/2 Output channel: Surround speakers absent Sound Field: A.F.D. AUTO

SW L SL C R SR

R L.F.E.: Lights up when the disc being played back contains the LFE (Low Frequency Effect) channel. When the sound of the LFE channel signal is actually being reproduced, the bars underneath the letters lights up to indicate the level. Since the LFE signal is not recorded in all parts of the input signal the bar indication will fluctuate (and may turn off) during playback.
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Using only the front speakers
In this mode, the receiver outputs the sound from the front L/R speakers only. There is no sound from the sub woofer.
Enjoying higher fidelity sound

AUTO FORMAT DIRECT

The Auto Format Direct (A.F.D.) mode allows you to select the decoding mode you want for your audio sound.
A.F.D. mode (Display) Decoding mode
Listening to 2 channel stereo sources (2CH STEREO)
Standard 2 channel stereo sources completely bypass the sound field processing and multi channel surround formats are downmixed to 2 channel.

Press 2CH.

A.F.D. AUTO (A.F.D. AUTO) PRO LOGIC (PRO LOGIC) PRO LOGIC II MOVIE (PLII MOVIE) PRO LOGIC II MUSIC (PLII MUSIC) Neo:6 Cinema (Neo:6 Cinema) Neo:6 Music (Neo:6 Music)
As encoded Dolby Pro Logic

Dolby Pro Logic II

2CH STEREO appears in the display and the receiver switches to the 2CH STEREO mode.

DTS Neo:6

No sound is output from the sub woofer in the 2CH STEREO mode. To listen to the 2 channel stereo sources using the front L/R speakers and a sub woofer, set to the A.F.D. mode.
Decoding the input audio signal automatically
In this mode, the receiver automatically detects the type of audio signal being input (Dolby Digital, DTS, standard 2 channel stereo, etc.) and performs the proper decoding if necessary. This mode presents the sound as it was recorded/ encoded, without adding any surround effects. However, if there are no low frequency signals (Dolby Digital LFE, etc.) it will generate a low frequency signal for output to the sub woofer.
Press A.F.D. repeatedly to select A.F.D. AUTO.
The receiver automatically detects the type of audio signal being input and performs the proper decoding if necessary.
In most cases, A.F.D. AUTO provides the most appropriate decoding. You may want to use SURR BACK DECODING (page 35) to match the input stream to the mode you prefer.
Enjoying stereo sound in multi channel (2 channel decoding mode)
This mode lets you specify the type of decoding for 2 channel audio sources. This receiver can reproduce 2 channel sound in 5 channels through Dolby Pro Logic II; 6 channels through DTS Neo:6; or 4 channels through Dolby Pro Logic. However, DTS 2CH sources are not decoded by DTS Neo:6; they are output in 2 channels.

HALL JAZZ CLUB LIVE CONCERT

x HALL

Reproduces the acoustics of a classical concert hall.

x V.MULTI DIMENSION DCS

Creates 5 sets of virtual speakers from a single pair of actual surround speakers.

x JAZZ CLUB

Reproduces the acoustics of a jazz club.
About CINEMA STUDIO EX modes
CINEMA STUDIO EX modes are suitable for watching motion picture DVDs (etc.), with multi channel surround effects. You can reproduce the sound characteristics of Sony Pictures Entertainments dubbing studio in your home. The CINEMA STUDIO EX modes consist of the following three elements. Virtual Multi Dimension Creates 5 sets of virtual speakers from a single pair of actual surround speakers. Screen Depth Matching Creates the sensation that the sound is coming from inside the screen like in theaters. Cinema Studio Reverberation Reproduces the type of reverberation found in theaters. The CINEMA STUDIO EX modes integrate these three elements simultaneously.

x LIVE CONCERT

Reproduces the acoustics of a 300-seat live house.
When the headphones are connected
You can select only from the following sound fields.

x HEADPHONE (2CH)

Outputs the sound in 2 channel (stereo). Standard 2 channel stereo sources completely bypass the sound field processing and multi channel surround formats are downmixed to 2 channels.

x HEADPHONE (DIRECT)

Outputs the signals without processing the equalizer, sound field, etc.
x HEADPHONE (MULTI 1/MULTI 2)
Outputs the analog signals input to the MULTI CHANNEL INPUT jacks.

x HEADPHONE THEATER DCS

Allows you to experience a theater-like environment while listening through a pair of headphones.
You can identify the encoding format of DVD software, etc. by looking at the logo on the package. : Dolby Digital discs : Dolby Surround encoded programs : DTS Digital Surround encoded programs
To turn off the surround effect
Press 2CH, or press A.F.D. to select A.F.D. AUTO.
The effects provided by the virtual speakers may cause increased noise in the playback signal. When listening with sound fields that employ the virtual speakers, you will not be able to hear any sound coming directly from the surround speakers.
Listening to the sound without any adjustment
You can listen to the sound without adjusting the equalizer and surround effect.
Press DIRECT on the remote.
Selecting a sound field for music
Press MUSIC repeatedly to select the sound field you want.

Advanced LEVEL menu parameters
When MENU EXP. is set to ON, all of the following parameters are displayed and adjustable. See page 38 for the LEVEL menu adjustments. Initial settings are underlined.
All LEVEL menu parameters
TEST TONE PHASE NOISEa) PHASE AUDIOa) BAL. L_I_R CENTER XXX.X dB SURR L XXX.X dB SURR R XXX.X dB SB XXX.X dBb) SB LEFT XXX.X dBc) SB RIGHT XXX.X dBc) SW XXX.X dB MULTI 1 SW XXX dB MULTI 2 SW XXX dB D. COMP.a) EFFECT LEVEL XXX%
Dynamic range compressor lets you compress the dynamic range of the soundtrack based on the dynamic range information included in the Dolby Digital signal. STD is the standard setting, but it only enacts light compression. Therefore, we recommend using the MAX setting. This greatly compresses the dynamic range and lets you view movies late at night at low volumes. Unlike analog limiters, the levels are predetermined and provide a very natural compression.
Dynamic range compression is possible with Dolby Digital sources only.
Adjustable only when MENU EXP. is set to ON. b) When surround back speaker is set to SINGLE or YES (page 21).

Custom install mode

(Models of area code U, CA only)
x 12V TRIG (12 V trigger)
Lets you turn on or off the external equipment by outputting 12V trigger when the receiver is turned on or off. For example, you can automatically unroll your video screen when you turn on the receiver. OFF Lets you turn off output of 12V triggers even when the main receiver is turned on. ZONE Lets you turn on output of 12V triggers when the main receiver is turned on. CTRL Lets you turn on or off the output of 12V triggers manually by the CIS command of the IR remote or RS232C control. INPUT Lets you turn on output of 12V triggers when the main receiver is turned on, depending on the setting of each input. See To set the 12V trigger setting for each input.
This receiver features the custom install modes described below. Depending on how you intend to use these features, use of these modes may require additional equipment (available separately) or modification of your listening environment. Please consult the retailer where you purchased this receiver for more information.
Press MAIN MENU to select CIS. Rotate MENU to select the parameter.
For details, see CIS menu parameters below.
Rotate /+ to select the setting you want. Repeat steps 2 and 3 to adjust the other items.
To set the 12V trigger setting for each input
The initial setting is ON for VIDEO 1, VIDEO 2, VIDEO 3, DVD, and TV/SAT, and OFF for other inputs. To set this setting, you can use only the controls on the front panel.

CIS menu parameters

You cannot record a digital audio signal using a component connected to the analog VIDEO 1 OUT or VIDEO 2 OUT jacks. Make sure to make both digital and analog connections to the TV/SAT or DVD inputs. Analog recording is not possible if you make only digital connections. Some sources contain copy guards to prevent recording. In this case, you may not be able to record from the sources. The analog audio signals of the current input are output from the VIDEO 1 OUT or VIDEO 2 OUT jacks. The signals input to the MULTI CHANNEL INPUT jacks are not output from VIDEO 1 OUT or VIDEO 2 OUT jacks even when MULTI CH IN is being used. The analog audio signals of the current or previously used input are output.
Recording on a video tape
You can record from a VCR, a TV, or an LD player using the receiver. You can also add audio from a variety of audio sources when editing a video tape. See the operating instructions of your VCR if you need help.
Select the program source to be recorded.
Listening to the sound in another zone
Only signals from components connected to the analog input jacks are output through the 2ND ZONE OUT jacks. No signals are output from components connected to only the digital input jacks. When SOURCE is selected, the signals input to the MULTI CH IN jacks are not output from the 2ND ZONE OUT jacks even when MULTI CH IN is selected. The analog audio signals of the current function are output.

2nd zone connections

Main receiver

IR REMOTE RS232C

IN DEO

OUT S-VIDEO VIDEO

Audio/video components

2ND ZONE OUT

2nd zone
You can select analog audio signals for output to the 2nd zone.
On the remote, press ?/1 while holding down USE MODE. Press v/V on the remote to select 2ND.

Amplifier/Receiver

The remote switches to the 2nd zone mode. For details on the supplied remote, refer to the operating instructions supplied with the remote.

Speaker

Turn on the main receiver (this receiver). Press ?/1 on the remote. Press one of the input buttons on the remote to select the source signals you want to output.

01/DECODE ERROR Appears when the signal which the receiver cannot decode (ex. DTS-CD) is input when DEC. PRI. in the CUSTOMIZE menu is set to PCM. Set to AUTO. 11/PROTECTOR Irregular current output to the speakers. Turn off the receiver and check the speaker connection. Then turn on the power again. 12/PROTECTOR The amplifier section is overheated. Turn off the receiver and check that the ventilation hole is not covered. Leave the receiver for a while and turn on the power again. 13/PROTECTOR The power section is overheated. Turn off the receiver and check that the ventilation hole is not covered. Leave the receiver for a while and turn on the power again. 21/PROTECTOR Irregular voltage output to the speakers. Turn off the receiver and check the speaker connection. Then turn on the power again. 22/PROTECTOR There is a problem with the power circuit. Turn off the receiver and check the speaker connection. Then turn on the power again.

Specifications

AUDIO POWER SPECIFICATIONS
POWER OUTPUT AND TOTAL HARMONIC DISTORTION: (STR-DA2000ES models of area code U only)
2) INPUT SHORT. 3) Weighted network, input level. Inputs (Digital) CD/SACD, DVD (Coaxial) Impedance: 75 ohms S/N: 100 dB (A, 20 kHz LPF)
With 8 ohm loads, both channels driven, from 20 20,000 Hz; rated 120 watts per channel minimum RMS power, with no more than 0.09% total harmonic distortion from 250 milliwatts to rated output.

Amplifier section

Rated Power Output at Stereo Mode (8 ohms 20 Hz 20 kHz, THD 0.09%) 120 W + 120 W (4 ohms 20 Hz 20 kHz, THD 0.09%) 100 W + 100 W Reference Power Output (8 ohms 20 Hz 20 kHz, THD 0.09%) FRONT1): 120 W + 120 W CENTER1): 120 W SURR1): 120 W + 120 W SURR BACK1): 120 W (4 ohms 20 Hz 20 kHz, THD 0.09%) FRONT1): 100 W + 100 W CENTER1): 100 W SURR1): 100 W + 100 W SURR BACK1): 100 W 1) Depending on the sound field settings and the source, there may be no sound output. Frequency response PHONO RIAA equalization curve 0.5 dB
CD/SACD, DVD, TV/ S/N: 100 dB SAT, MD/DAT, (A, 20 kHz LPF) VIDEO3 (Optical) Outputs TAPE, MD/DAT (AUDIO OUT), VIDEO 1, 2 (AUDIO OUT) Voltage: 150 mV Impedance: 2.2 kilohms

FRONT L/R (STRVoltage: 2 V DA2000ES only), SUB Impedance: 1 kilohms WOOFER EQUALIZER Gain levels 10 dB, 1 dB step

FM tuner section

Tuning range 87.5 - 108.0 MHz Antenna FM wire antenna Antenna terminals 75 ohms, unbalanced Sensitivity Mono: 18.3 dBf, 2.2 V/75 ohms Stereo: 38.3 dBf, 22.5 V/75 ohms Useable sensitivity 11.2 dBf, 1 V/75 ohms S/N Mono: 76 dB Stereo: 70 dB Harmonic distortion at 1 kHz Mono: 0.3% Stereo: 0.5% Separation 45 dB at 1 kHz Frequency response 30 Hz 15 kHz, +0.5/2 dB Selectivity 60 dB at 400 kHz
MULTI CHANNEL 4 Hz 50 kHz INPUT 1, 2, CD/ 2 dB (when sound field and SACD, TAPE, MD/ equalizer bypassed) DAT, DVD, TV/SAT, VIDEO 1, 2, 3 Inputs (Analog) PHONO Sensitivity: 2.5 mV Impedance: 50 kilohms S/N2): 86 dB (A, 20 kHz LPF,

2.5 mV3))

AM tuner section
Tuning range STR-DA2000ES: 530 1,710 kHz4) (With 10-kHz tuning scale) 531 1,710 kHz4) (With 9-kHz tuning scale) 531 1,602 kHz (With 9-kHz tuning scale) Loop antenna 50 dB/m (at 1,000 kHz or 999 kHz)
MULTI CHANNEL INPUT 1, 2, CD/ SACD, TAPE, MD/ DAT, DVD, TV/SAT, VIDEO 1, 2, 3
Sensitivity: 150 mV Impedance: 50 kilohms S/N2): 96 dB (A, 20 kHz LPF, 150 mV3))
STR-DB2000: Antenna Usable sensitivity
S/N Harmonic distortion Selectivity At 9 kHz: At 10 kHz:
54 dB (at 50 mV/m) 0.5% (50 mV/m, 400 Hz) 35 dB 40 dB
STR-DA2000ES: Remote commander RM-LG112 (1) R6 (size-AA) batteries (2) STR-DB2000: Remote commander RM-PP412 (1) R6 (size-AA) batteries (2) For details on the area code of the component you are using, see page 3. Design and specifications are subject to change without notice.
4) You can change the AM tuning scale to 9 kHz or 10 kHz. After tuning in any AM station, turn off the receiver. While holding down PRESET TUNING + or TUNING +, press ?/1. All preset stations will be erased when you change the tuning scale. To reset the scale to 10 kHz (or 9 kHz), repeat the procedure.

Video section

Inputs/Outputs Video: S-video: 1 Vp-p, 75 ohms Y: 1 Vp-p, 75 ohms C: 0.286 Vp-p, 75 ohms COMPONENT VIDEO:Y: 1 Vp-p, 75 ohms PB/CB/B-Y: 0.7 Vp-p, 75 ohms PR/CR/R-Y: 0.7 Vp-p, 75 ohms

General

Power requirements
Area code Power requirements
U, CA CEL, CEK SP Power consumption
120 V AC, 60 Hz 230 V AC, 50/60 Hz 220-230 V AC, 50/60 Hz

Power consumption

U, CEL, CEK, SP CA

170 W 300 VA

Power consumption (during standby mode) 1W AC outlets

Area code AC outlets

U, CA SP, CEL, CEK Dimensions
2 switched, 120 W/1A MAX 1 switched, 100 W MAX 400 mm including projecting parts and controls 10 kg

Mass (Approx.)

Supplied accessories
FM wire antenna (1) AM loop antenna (1)

ES Series Receivers Technical Background
Version 3.0; May 30, 2003

Introduction

For 2003, Sony is introducing a completely new and dramatically different line of ES Series audio/video receivers. To create these remarkable components, Sony ES engineers have rethought, refreshed and redesigned just about every aspect: Digital power amplifier technology (STR-DA2000ES and higher) Redesigned internal chassis layout (STR-DA2000ES and higher) Pulse power supply (STR-DA2000ES, DA3000ES and DA5000ES) i.LINK (IEEE 1394) 1-bit digital interface for Super Audio CD (STRDA9000ES) Superior ergonomics with "silver cascade" front panel (STR-DA3000ES and higher)
While these design breakthroughs are exciting and fresh, the fact that they make their appearance in the Sony ES Series should come as no surprise at all. From the very beginning, ES receivers have benefited from Sony's comprehensive expertise in digital source components and Sony's thorough understanding of digital signals. Those insights led directly to significant Sony ES innovations: The world's first outboard D/A converter (DAS-702ES, 1985). The world's first Dolby Surround decoder to operate in the digital domain (SDP-505ES, 1986). The world's first all-digital preamplifier (TA-E1000ESD, 1989). 24-bit Dolby Digital decoding (SDP-EP9ES, 1997). Digital Cinema Sound processing (STR-DA90ESG, 1997). World's first floating-point 32-bit preamplifier (TA-E9000ES, 1998).
Sony's latest A/V receivers are worthy successors, carrying this heritage forward to a new generation of home entertainment enthusiasts. S-Master Pro Technologies. S-Master Pro Benefits.. Other New Features.. Continuing Features.. Features and Specifications.. Page 3 Page 15 Page 21 Page 30 Page 32

ES Receivers V3.0

Page 2
S-Master Pro Technologies
Digital amplifiers have been around for decades, occupying a place outside the mainstream of home audio. But important trends in audio technology are creating significant reasons to prefer digital amplification. First, digital signal-handling technology has improved, especially in the area of 1-bit digital signal processing. Modern circuitry can exercise amazingly precise control over 1-bit pulse lengths, pulse height and pulse timing, for jitterfree, distortion-free performance. Large Scale Integrated (LSI) technology continues to move forward, enabling manufacturers to build this sophisticated technology into consumer products. Today's faster output transistors do a better job at digital switching speeds. Finally, home entertainment continues to move inexorably into the digital domain, leaving analog processes behind. Simultaneous with these advances, the function of the home audio receiver has been transformed. "High fidelity" or "AM/FM" receivers have long since given way to sophisticated A/V control centers that first handled composite video, then added component video, HD component video and now digital component video. Over the years, stereo receivers have been transformed into four, five, six and now seven-channel receivers. And the designs continue to grow in complexity. In this new context, digital amplification is becoming more and more compelling. It was for this reason that Sony first developed the S-Master process back in 2001. The 2003 ES receivers, starting with the STR-DA2000ES, incorporate Sony's third generation of S-Master technologyand our most advanced by far. Process Generation Introduction S-Master

First 2001

"Digital Drive" SMaster
Second 2002 AVD-C70ES AVD-S50ES Clean Data Cycle C-PLM S-TACT Pulse Height Volume Control

S-Master Pro

Third 2003 STR-DA9000ES STR-DA5000ES STR-DA3000ES STR-DA2000ES Clean Data Cycle C-PLM S-TACT Pulse Height Volume Control DC Phase Linearizer Discrete Output Transistors Toroidal Low Pass Filter Two-Stage Pulse Power Supply

Technologies

Clean Data Cycle C-PLM S-TACT

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In high fidelity components, the simplest solution is usually the best because it subjects the signal to the fewest distortion-causing processes. Unfortunately, conventional A/V receivers are anything but simple. After Digital Signal Processing (DSP), every signal needs to be converted back to analog, run through a Low Pass Filter (LPF), sent through an analog volume control and then amplified.

Input (Digital)

D/A convert

Volume Control

Analog Power Amp

Speaker Output

Digital Signal

Analog Signal

The conventional A/V receiver is anything but simple. The signal must run through a gantlet of processes and stages.
The Sony S-Master Pro amplifier is dramatically different. There is no Digital-to-Analog (D/A) converter. Instead, the amplifier accepts the digital output of the DSP stage directly. The output of the S-Master Pro amplifier provides the wattage that drives the speakers. In this way, the signal remains digital until the last possible instant.

S-Master Power Amplifier

The Sony S-Master Pro amplifier dramatically simplifies receiver design. And in high fidelity, simpler is better.

Principle of operation

The S-Master Pro amplifier accepts all digital signals directly, whether they're multi-bit Pulse Code Modulation (PCM) or 1-bit Direct Stream Digital pulses, in the case of the SCD-XA9000ES SA-CD player connected via i.LINK interface to the STR-DA9000ES. Analog inputs undergo Analog-to-DSD (A/DSD) conversion.

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Block diagram of the S-Master Pro amplifier.
Sony generates a 1-bit pulse stream to switch a pair of FET power output transistors on and off. The resulting output has more than enough wattage to drive a loudspeaker.
The output transistors act like an electronic on/off switch for the power supply voltage. The Low Pass Filter (LPF) converts the amplified pulses to a smooth, continuous analog waveform.
The S-Master 1-bit pulse stream has much in common with the Direct Stream Digital signal that Sony developed for Super Audio CD. If you look carefully at the pulses, you'll see that where the audio waveform is positive, the pulses are mostly 1. Where the audio waveform is negative, the pulses are mostly 0. In this way, a 1-bit pulse stream can represent the audio signal. As with a DSD signal, a Low Pass Filter (LPF) is all you need to recover the original audio signal.

In the diagram above, (A) represents the output power pulse stream. This combines two components, the original audio signal (B) and a noise component (C). The audio signal (B) looks smooth and continuous because the frequencies are low. The noise component (C) looks abrupt and spiky because the frequencies are high. The Low Pass Filter (LPF) effectively separates out the audio signal, for extremely accurate music reproduction.

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Low-Pass Filtering (LPF)
(B) audio elements (C) noise elements Frequency
The action of the LPF. The audio signal (B) consists of low frequencies, which pass. The red lines show the characteristic of the LPF, which suppresses the noise elements (C) on the right. These are high frequencies, which do not pass.

The S-Master Pro process

While Sony's S-Master Pro amplifier is simple in principle, the fidelity of the output signal depends on getting each pulse exactly right. That is, the leading and trailing edges of each pulse must have the right timingand the height of each pulse must be carefully controlled. This is comparable to the requirements for Super Audio CD playback. So to accomplish these goals, Sony used technologies developed for our legendary SCD-1 Super Audio CD player.
Sony's own CXD9730 Large Scale Integrated circuit (LSI) provides the S-Master Pro processing.
The S-Master Pro process converts the incoming signal to a one-bit Complementary Pulse Length Modulation (C-PLM) stream, after which the Pulse Height Volume control sets the volume level. The S-Master Pro process is performed by the Sony CXD9730, a proprietary Sony Large Scale Integrated circuit (LSI).

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As a primary manufacturer of Large Scale Integrated circuits (LSIs), Sony has the freedom to pursue innovative thinking like S-Master Pro and then express this thinking in silicon. The result is the Sony CXD9730.
The S-Master Pro system involves eight important technologies: Clean Data Cycle Synchronous Time Accuracy Controller (S-TACT) Complementary Pulse Length Modulation (C-PLM) Pulse Height Volume Control DC Phase Linearizer Discrete Output Transistors Toroidal Low Pass Filter Two-Stage Pulse Power Supply

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Frequency
The S-Master Pro circuit reproduces this phase response, with a shift beginning at 40 Hz.
On the STR-DA2000ES, DA3000ES and DA5000ES, the DC Phase Linearizer provides four control positions: Off, Standard (factory preset), Mid and High. The STR-DA9000ES offers seven control positions: Off, Low-A, StandardA (factory preset), High-A, Low-B, Standard-B and High-B. In this way, Sony accommodates the widest range of loudspeaker designs, which may someday include speakers based on the "flat" phase linearity of digital amplifiers like Sony's S-Master Pro design.
Sony's DC Phase Linearizer restores the low-frequency phase response that loudspeaker designers experience when speakers are developed.
Discrete Output Transistors
In analog amplifiers, the output transistors or ICs directly shape the analog waveform. For this reason, analog amplifiers are extremely sensitive to the selection, configuration, bias current and heat sinking of their output devices. By their design, digital amplifiers are inherently less sensitive to these factors. That's why some previous digital amplifiers have used relatively inexpensive integrated circuit op-amps at the output. But Sony ES engineers were after the best possible sound. So they selected discrete output transistors for the entire ES line. The STR-DA2000ES, DA3000ES and DA5000ES use low-distortion Field Effect Transistors (FETs), while the STR-DA9000ES uses deluxe Metal Oxide Semiconductor FETs (MOS FETs). The result is another measure of signal integrity.
ES Receivers V3.0 Page 12
The discrete output FETs of the STR-DA2000ES.

Toroidal Low Pass Filter

The Low Pass Filter is a crucial stage in any digital amplifier. The filter must have a turnover frequency high enough for high-resolution audio, yet have a cutoff characteristic steep enough to suppress high-frequency noise elements. In this way, the filter has a major influence on sound quality. That's why the engineers of Sony ES selected the filter parts carefully and methodically. Instead of choosing less expensive cylinder-type coils, the ES engineers chose exotic toroidal coils, optimized for sound. Customers will never see these toroidal coils, but they will hear the benefits in clean, open, non-fatiguing music reproduction.
The toroidal coils of Sony's Low Pass Filters are more expensive. But their contribution to sound is more than worth the price.

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Two-Stage Pulse Power Supply
The power supply is always a critical component of amplifier sound quality. And this continues to be true of digital amplifiers. That's why Sony designed the S-Master Pro amplifiers with incredibly stable power supplies. The STR-DA2000ES, DA3000ES and DA5000ES take advantage of Sony's twostage pulse power supply. At 200 watts per channel across seven channels (2020,000 Hz, 8 ohms, 0.15% THD), the STR-DA9000ES required something even more robust, an absolutely massive Toroidal power supply, discussed later in this paper. Simply stated, a receiver's power supply should output stable voltage no matter what the music is doing. Even during the most demanding musical peaks, the power supply output should be smooth and steady. Sony's Two-Stage Pulse Power Supply does a remarkable job in achieving exactly this result. The first stage is a switching or "pulse" power supply of high performance. The second stage is an analog constant voltage power supply, for an even higher degree of stability. The cumulative effect is remarkably stable performance, even when a rock band is playing all-out, or when a movie sound track includes car crashes and explosions.

On the left, these fluctuations, at the input of the Pulse Power Supply, are unacceptable for high fidelity audio reproduction. In the center, the output of the Pulse Power Supply is substantially better, but still not up to the standards of Sony ES. At right, after the analog constant voltage power supply, the power is ready for true high-resolution audio reproduction.
The pulse power supply of the STR-DA5000ES is remarkably compact and efficient.

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S-Master Pro Benefits

No crossover distortion

Conventional power amplifiers use separate transistors to reproduce the upper and lower halves of the waveform. Crossover distortion occurs when one power transistor switches off and the other switches on as the audio waveform "crosses over" the zero point between negative and positive. This distortion is particularly bothersome because it remains constant as the signal gets softer. This makes the distortion more audible during the quiet passages of music or movies. Conventional amplifiers combat crossover distortion with the output transistor bias current of Class A/B designs. Ironically, this bias current generates even more heat. So in fighting one problem, designers cause another.

Analog Driver

Audio Output -V Audio Output
Class B analog amplifiers introduce a "kink" in the audio waveform where the wave passes between positive and negative. Treating this crossover distortion is a major goal of conventional amplifier design.

Pulse Driver

Audio Output
The S-Master Pro digital amplifier is immune from these issues because the output transistors do not shape the audio waveform directly.
Because the S-Master Pro amplifier uses pulse density, switching glitches get removed from the music by the low pass filter. The system is immune to

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crossover distortion, even when the music or movie sound track is particularly soft.
Reduced thermal modulation distortion
Analog power amp output transistors create the shape of the audio waveform directly. Unwanted variations in this waveform are heard directly as distortion. Unfortunately, changes in the output signal cause momentary heating or cooling in the transistors. These temperature changes actually alter the performance of the transistor, which distorts the sound. This is thermal modulation distortion.

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In the STR-DA4ES (top), the signal flows from the center, to the sides and back to the center again for point-to-point wiring to the speaker output terminals. It's anything but straightforward. On the STRDA2000ES (bottom), the signal flows in one direction only.
Superb open-loop performance
Conventional amplifiers typically generate substantial distortion in "openloop" mode. That's why analog amps use Negative Feedback (NFB). NFB constantly compares the output with the input, identifying open-loop distortion and applying an equal-but-opposite correction signal at the input. NFB is a powerful tool for limiting distortion, and NFB explains the low distortion specifications common today. However, NFB exposes the signal to Transient Intermodulation Distortion and other dynamic problems. In contrast, the Sony S-Master Pro amplifier achieves excellent fidelity without any negative feedback at all! Distortion remains low without any sacrifice in transient and dynamic characteristics. Music comes alive. And movie sound effects like car crashes and gunshots retain all their original impact.
Musicality and transparency
Armed with S-Master Pro amplifier technology, the latest ES Series receivers stand apart. They deliver high power output (up to 200 watts per

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channel x7, 8 ohms, 20 to 20,000 Hz, 0.15%), and exceptional sound quality. Music is rendered in very high resolution, against a background of silky silence. Dynamics are powerful but not forced. Bass is vigorous but not boomy. These receivers are perfect for integration with the most difficult and power-hungry speakers. Use good speaker cables, a suitable disc player and a Super Audio Compact Disc that you know well. Then sit back and listen carefully. The results speak for themselves.

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Other New Features
i.LINK Digital Audio Interface (STR-DA9000ES)
From the initial launch of Super Audio Compact Disc, the 1-bit Direct Stream Digital pulse train was always converted to analog prior to output from the player. While SA-CD players have included coaxial and optical digital outputs, these outputs handled CD signals exclusively. The SCD-XA9000ES is Sony's first SA-CD player to provide an i.LINK digital output for the 1-bit DSD signal. The STR-DA9000ES is Sony's first receiver to incorporate an i.LINK digital input. The i.LINK interface maintains the signal in the digital domain and can simplify the signal path considerably. The i.LINK interface also enables a single digital cable to take the place of six analog cables. SA-CD Player Amplifier Speakers

A/D convert

Volume

SCD-XA9000ES

STR-DA9000ES

Speakers

Typical SA-CD reproduction involves numerous D/A and A/D conversions. Connected to a compatible SA-CD player, the STRDA9000ES maintains the signal in digital form.
The i.LINK digital audio interface uses Digital Transmission Content Protection (DTCP), a robust system that protects the music from piracy. The application of the i.LINK (IEEE 1394) interface to digital audio is clearly different fromand not compatible withprevious i.LINK interface applications for DV camcorders, PC peripherals and professional digital video systems. You can only connect the STR-DA9000ES i.LINK interface to a compatible digital audio output, such as that on the SCD-XA9000ES SA-CD player.

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The design of the interface is exceptional because communicating six streams of 2.8224 MHz digital samples raises exceptional challenges. Conveying 1-bit signals at such high data rates and synchronizing the signals with the receiver's master clock would normally expose the signal to the timebase errors called jitter. These errors translate directly into time-based distortion of the audio waveform. Sony overcame this challenge with the High quality digital Audio Transmission System (HATS). HATS uses "command-based rate control of isochronous data flow" to solve the problem. The system incorporates three principal elements. 1. Variable-speed transmission from the player. 2. Buffer memory in the receiver. 3. Command signals from the receiver to the player, controlling transmission speed.
SCD-XA9000ES STR-DA9000ES
With Sony HATS, audio data flows from the player to the receiver's buffer memory, according to rate control commands from the receiver. Reproduction in the receiver achieves the full time base accuracy of the receiver's quartz crystal master clock.
The receiver continually monitors the amount of audio data in its buffer memory. When the buffer memory reaches its lower limit, the receiver commands the player to increase data transmission speed. When the buffer memory reaches its upper limit, the receiver commands the player to decrease transmission speed. And when the buffer memory is between the upper and lower limits, the receiver commands the player to transmit at normal speed. In this way, HATS makes it unnecessary to synchronize a jitter-prone signal with the receiver master clock. Instead, the buffer memory outputs a jitterfree signal at the full quartz-crystal accuracy of the receiver's master clock. You get all the benefits of digital transmission, without the exposing the signal to the potential for jitter-induced distortion.

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The STR-DA5000ES performs Lip Sync with another Sony Large Scale Integrated circuit, the CXD9722.
9.1-Channel Operation (STR-DA9000ES)
The STR-DA9000ES offers an ingenious arrangement of the A and B speaker terminals. The speaker selector switch includes positions for A, B and A + B. In the A + B position, the receiver can drive two Surround Left and two Surround Right speakers, in addition to a Surround Back pair. Of course, this 9.1 configuration is closer to the array of surround speakers used in a commercial movie theater. It's also exactly the same as the 9.1-channel configuration of Hollywood dubbing theaters!

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Toroidal Power Supply (STR-DA9000ES)
Like the STR-DA2000ES, DA3000ES and DA5000ES, the top-of-the-line DA9000ES operates the S-Master Pro amplifier from a two-stage power supply. And like these other receivers, in the DA9000ES, the second stage is an analog, constant voltage supply. But where the other receivers use a Pulse Power Supply, the DA9000ES uses an analog supply with a giant toroidal core power transformer. Sony made this choice for strictly practical reasons: we could not build a pulse power supply with the current capability for 200 watts per channel, for 7 simultaneous channels into 8 ohms (2020,000 Hz, 0.15% THD). For this reason, the first stage of STR-DA9000ES power supply wields an extremely massive toroidal-core power transformer. In fact, the unusual height of the DA9000ES chassis is determined in part by the size of the power transformer. Thanks to this transformer, the current delivery of the DA9000ES is an incredible 12 amps per channel. This is more than enough current to drive "difficult," low-impedance loudspeakers, including models rated at 4 ohms with impedance dips down to 2 ohms! Power transformer cores and windings can vibrate and degrade the sound, radiating 60 Hz hum into nearby audio circuits. That's why Sony chose the toroidal core design, which enables the transformer windings to be wrapped without the voids or gaps that permit vibration. This results in far less radiation, far less radiated hum.
The extraordinary size and weight of the STR-DA9000ES receiver is explained in part by the size and weight of this toroidal-core power transformer.

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MOS FET output transistors (STR-DA9000ES)
To achieve 200 watts x7 (2020,000 Hz, 8 ohms, 0.15% THD), the STRDA9000ES incorporates some unique power amplifier technology. For example, the power amplifier uses Metal Oxide Semiconductor Field Effect Transistors (MOS FETs), highly prized for their linearity. Four MOS FETs per channel are configured in modules that are direct-mounted to heat sinks in a "circuit-onchassis" configuration.

The STR-DA9000ES power amp circuit board features seven heat sinks for the seven output channels.
The output stage is attached to the underside of each heat sink in a "circuit-on-chassis" configuration. The black capsules in this picture protect and insulate the four MOS FETs.

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Conventional transistors are packaged in plastic with prefabricated leads (left). To achieve the shortest possible signal path, Sony uses bare MOS FETs and employs molecular bonding to connect each lead to the circuit board. The bare transistors and their connections are then encapsulated for protection.
Even the method of attaching the MOS FETs to the circuit board is remarkable. Instead of using conventional, packaged transistors, Sony uses "bare" transistors and molecular bonding. While expensive and time consuming, this approach makes for the shortest possible signal paths. Sony then protects the assembly with encapsulation in a protective compound.
Motherboard Topology (STR-DA9000ES)
To shorten the signal paths and optimize the circuit topology, the STRDA9000ES uses an internal configuration that's rare in home audio, but common in computers. The receiver features a large motherboard that forms a "floor" and provides interconnections to daughterboards that process the signal. Input signals go directly into an input board, of which one edge is mounted to the back panel and one edge is mounted to the motherboard. Then the input board signal flows through the motherboard to the S-Master Pro power amplifier. Power supply voltage travels a similar route, from the opposite side. In this way, Sony keeps signal leads to a minimum, protecting the music from the radiation of spurious hum and noise.

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For efficient space utilization and minimum point-to-point wiring, the STR-DA9000ES uses a motherboard/daughterboard circuit topology.
Silver Cascade Design (STR-DA3000ES and up)
In addition to their remarkable technology, these receivers inaugurate a new faceplate design exclusive to the Sony ES Series. The "cascade" design sets the primary front panel controls at an angle, so that you can use them without uncomfortable bending and stooping to identify each control. The silver colored faceplate is made of brushed aluminum and fits in beautifully with conventional audio components. But the design really comes into its own when the receivers are combined with other silver cascade components, such as the SCD-XA9000ES Super Audio CD player or the DVP-NC555ES DVD/CD/SA-CD 5-disc changer.

The DVP-NC555ES 5-disc DVD/CD/SA-CD changer shows how the Silver Cascade design extends to source components.

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Here is a summary of the cosmetics in the 2003 ES Series. SILVER CASCADE FRONT PANELS STR-DA9000ES A/V receiver STR-DA5000ES A/V receiver STR-DA3000ES A/V receiver SCD-XA9000ES SA-CD player DVP-NC555ES DVD changer MATCHING SILVER FRONT PANELS STR-DA2000ES A/V receiver STR-DA1000ES A/V receiver DVP-NS999ES DVD player (Silver or Black) DVP-CX777ES DVD changer RCD-W2000ES CD recorder AVD-C700ES DVD receiver AVD-S500ES DVD receiver

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Continuing Features
Of course, the latest ES Series A/V receivers reflect the lessons learned in two decades of ES refinements and improvements. These models have the full complement of ES decoding, Digital Signal Processing, control and integration technologies. Seven channels of amplification (all models). This configuration can drive separate Surround Back Left and Surround Back Right speakers, ideal for both 5.1- and 6.1-channel sources. Auto channel grouping (all models). The feature adapts the reproduction to match a 7-speaker configuration. In reproducing 5.1-channel sources, the four Surround speakers are driven in two groups (SL and SR). In reproducing 6.1-channel sources, the Surround speakers are driven in three groups (SL, SB and SR). Full complement of digital and analog surround decoding (all models). Sony provides decoding for all of the following sources: o Dolby Digital surround sound o Dolby Digital EX 6.1-channel sound o Dolby Pro Logic surround sound o Dolby Pro Logic II-movie and Pro Logic II-music o dts 5.1-channel surround sound o dts 96/24 o dts ES discrete 6.1 and dts ES matrix 6.1 o dts Neo6:cinema and dts Neo6:music 32-bit surround sound decoding (all models). Using a proprietary Sony Large Scale Integrated circuit (LSI). 6.0-channel Digital Cinema Sound concert hall modes (all models). For the Amsterdam Concertgebouw and the Vienna Musikvereinsaal. 7.1-channel Cinema Studio EX modes (all models). Recreate the acoustics of the Hollywood dubbing stages where directors go to audition and approve their final sound mixes. 7.1-channel Virtual Multi Dimension (all models). Recreates the effect of a full array of Surround speakers. 12V triggers (STR-DA2000ES and higher). ES receivers are destined to be used in custom installations where curtains, screens and lighting "scenes" may require 12-volt triggers. Infrared repeater ports (STR-DA2000ES and higher). To accommodate installations where the stack of electronics is hidden away, ES receivers offer one infrared repeater input and two outputs. This means you can place an inconspicuous IR "eye" in the home theater room and still control your components.

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RS-232C interface (STR-DA2000ES and higher). To communicate with third-party room automation systems, these receivers include RS-232C ports. The ports also enable future firmware upgrades to the STR-DA5000ES and DA9000ES. Front optical digital audio input (all models). As part of the Video 3 input of the front panel, these receivers also accept optical digital audio, in addition to Left/Right analog audio. Assignable digital input (all models). An optical or coaxial digital input can be flexibly assigned to any video input, providing greater versatility when connecting a second DVD player, an HDTV tuner or other digital video source component. A/B speaker terminals (all models). Real estate on the back panel of modern A/V receivers is severely limited. At the request of ES dealers, Sony found a way to add a set of B speaker terminals.

Conclusion

Beginning with the PCM-701ES digital processor in 1982, the engineers of Sony ES have been extending the capabilities of digital audio. Breakthroughs like the S-Master Pro amplifiers take audio reproduction to the next stage in sophistication, simplicity and sound quality. These ES receivers represent another milestone in the digital technology. To appreciate the difference, just turn them on and listen.

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Features and specifications

Feature

Power output, 8 ohms, 20 to 20,000 Hz at rated THD THD at rated power output S-Master Pro Amplifier DC Phase Linearizer Dolby Digital EX decoding dts ES decoding dts 96/24 decoding Dolby Pro Logic II decoding dts Neo:6 decoding Digital Cinema Sound circuit 32-bit Decoder 32-bit DSP Lip Sync OP Processing Auto channel grouping A/B speaker terminals Multi-channel inputs DVI inputs/outputs HD Component video inputs/output S-Video to Component upconverter Composite to S-Video upconverter S-Video inputs/outputs Composite video inputs/outputs i.LINK digital audio input Optical inputs/outputs Coaxial inputs Multi-channel preamp output Front A/V input with optical digital audio Infrared repeater input/outputs RS-232C control/upgrade 12-volt trigger outputs On screen display Multi-Zone/Room Capability 2nd Room output 3rd Room output Remote Features Preprogrammed LCD Learning & Macro 2-way Touch-screen Second-room remote

STRDA9000ES

200 watts x7 0.15% Yes 6 positions + Off Yes Yes Yes Yes Yes 7.1-channel Yes Yes (Two) Yes Yes Yes 7.1 (x2) 2/1 3/1 Yes Yes 7/3 7/3 Yes 6/Yes, 7.1 channels Yes 1/2 Yes/Yes 5 Yes 3/3 A/V out Audio Yes Yes Yes Yes Yes
STRSTRSTRSTRDA5000ES DA3000ES DA2000ES DA1000ES
170 watts x7 0.8% Yes 3 positions + Off Yes Yes Yes Yes Yes 7.1-channel Yes Yes (Two) Yes Yes Yes 7.1, 5.1 -/2/1 Yes Yes 4/2 4/2 5/Yes, 7.1 channels Yes 1/2 Yes/Yes 3 Yes 3/3 A/V out Audio Yes Yes Yes Yes 150 watts x7 0.8% Yes 3 positions + Off Yes Yes Yes Yes Yes 7.1-channel Yes Yes (Two) Yes Yes 7.1, 5.1 -/2/1 Yes Yes 4/2 4/2 5/Yes, 7.1 channels Yes 1/2 Yes/2 Yes 2/2 A/V out Yes Yes Yes 120 watts x7 0.8% Yes 3 positions + Off Yes Yes Yes Yes Yes 7.1-channel Yes Yes Yes Yes 7.1, 5.1 -/2/1 Yes 3/1 4/1 3/L, R, Subwoofer Yes 1/1 Yes/1 Yes 2/2 Audio out Yes Yes 100 watts x7 0.09% Yes Yes Yes Yes Yes 7.1-channel Yes Yes Yes Yes Yes 5.1 -/2/1 Yes 3/1 4/1 3/Subwoofer Yes -/-/Yes -/Yes Yes -

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Sony Electronics Inc. 1 Sony Drive, Park Ridge, NJ 07656 www.sel.sony.com
2003 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifciations are subject to change without notice. Non-metric weights and measures are approximate Sony, Digital Cinema Sound, Direct Stream Digital and i.LINK are trademarks of Sony. Dolby, Dolby Digital and Pro Logic are trademarks of Dolby Laboratories Licensing Corporation. dts is a trademark of Digital Theater Systems Corporation. All other trademarks are property of their respective owners.

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