CAUTION : Read this before operating your unit.
1. To assure the finest performance, please read this manual
carefully. Keep it in a safe place for future reference.
2. Install this unit in a cool, dry, clean place away from
windows, heat sources, sources of excessive vibration, dust, moisture and cold. Avoid sources of humming (transformers, motors). To prevent fire or electrical shock, do not expose the unit to rain or water.
This unit is not disconnected from the AC power source as long as it is connected to the wall outlet, even if this unit itself is turned off. This state is called the standby mode. In this mode, this unit is designed to consume a small amount of power. WARNING Do not change the IMPEDANCE SELECTOR switch setting while the power to this unit is on, otherwise this unit may be damaged. IF THIS UNIT FAILS TO TURN ON WHEN THE STANDBY/ON SWITCH IS PRESSED; The IMPEDANCE SELECTOR switch may not be set to either end. If so, set the switch to either end when this unit is in the standby mode.
3. Never remove the unit cover. Contact your dealer if an
object falls inside the unit.
4. Do not use force on switches, controls or connection wires.
When moving the unit, first disconnect the power plug and the wires connected to other equipment. Never pull on the wires themselves.
5. The openings on the unit cover assure proper ventilation of
the unit. If these openings are obstructed, the temperature inside the unit will rise rapidly. Therefore, avoid placing objects against these openings, and install the unit in a well-ventilated area to prevent fire and damage.
<Europe and U.K. models>
Be sure to allow a space of at least 10 cm behind, 20 cm on the both sides and 30 cm above the top panel of the unit to prevent fire and damage.

(Europe model)

6. The voltage used must be the same as that specified on
this unit. Using this unit with a higher voltage than specified is dangerous and may result in fire or other accidents. YAMAHA will not be held responsible for any damage resulting from use of this unit with a voltage other than specified.

5 INPUT SELECTOR

Turn this knob to select the input source. The selected source will be shown on the display.

2 Remote control sensor

Receives signals from the remote controller.

6 Master VOLUME control

Simultaneously controls volume for all output sounds; front effect, main, rear, center and subwoofer. (The REC OUT level is not affected.) * The indicator on the master VOLUME control will flash when the volume is decreased by pressing the MUTE key on the remote controller.
3 Display panel Displays a variety of information. (Refer to page 12 for details.)

7 SPEAKERS switches

Press the switch A or B (or both) for the main speakers you will use to select them. Press the switch for the main speakers you will not use again to cancel them. On the display panel, SPEAKERS A and/or SPEAKERS B will be illuminated, depending on which main speakers are being selected.

D EXT. DECODER button

Press this button to select the input signals from the EXTERNAL DECODER INPUT terminals as the input source. This function takes priority over the INPUT SELECTOR setting. EXT. DECODER IN will be illuminated on the display panel. The source selected with the INPUT SELECTOR knob becomes the current input source when EXT. DECODER IN is not illuminated on the display panel.
8 PHONES jack Headphones can be plugged into this jack for private listening. You can listen to the sound to be output from the main speakers through headphones. When listening with headphones privately, press both SPEAKERS A and B switches to cancel both of the main speakers A and B, and turn off the digital sound field processor by pressing the EFFECT button so that no DSP program name is illuminated on the display panel.

E BALANCE control

This knob controls the sound from the main speakers only. The balance of the output volume to the left and right main speakers can be adjusted to compensate for sound imbalances caused by the speaker location or listening room conditions.

F A/B/C/D/E button

Press this button to select a group (AE) of preset stations.

G REC OUT selector

Rotate this knob to select the source for recording to an MD recorder (or tape deck) or VCR. This setting is independent of the INPUT SELECTOR setting, except when the REC OUT selector is set to the SOURCE position. Then the INPUT SELECTOR is used to select the source for recording to the MD recorder (or tape deck) or VCR.
9 PROGRAM selector button Press this button in the or direction to select a digital sound field processing program. 0 BASS EXTENSION button Press this button inward (ON) to boost the bass frequency response at the main left and right channels while maintaining overall tonal balance. This function is effective for reinforcing the bass frequencies when a subwoofer is not used. A TONE BYPASS button Press this button inward (ON) to bypass the tone (BASS and TREBLE) control circuitry. This function is used for outputting pure sound and checking the tone control settings. The tone control circuitry can be used when this button is released outward (OFF). B EFFECT button Press this button to turn on and off the output from the center, rear and front effect speakers. The sound becomes normal 2channel when this function is turned off. However, this does not apply to Dolby Digital or DTS. The signals at all channels will be distributed to the main channels and output from the main speakers, even if the output from the center, rear and front effect speakers are turned off, when Dolby Digital or DTS is decoded. C BASS and TREBLE controls Rotate these knobs to adjust the low and high frequency response for the left and right main channels only.

Note The input source selected in this way has priority over any other input source already selected. To select another input source, press the EXT. DECODER button again so that EXT. DECODER IN goes off from the display, and then use the INPUT SELECTOR.

Switching the input mode

This unit allows you to switch the input mode for sources that send two or more types of signals to this unit.
For CD, TAPE/MD and TV/DBS sources:
The following three input modes are provided.

For DVD/LD source:

The following five input modes are provided.
This mode is automatically selected when you turn on the power of this unit. In this mode, input signal is automatically selected by the following order of priority. 1. Digital signal encoded with Dolby Digital or DTS, or normal digital input signals (PCM) 2. Analog input signal (ANALOG) * For a CD source, if digital signals are input from both of the OPTICAL and COAXIAL terminals, the digital signal from the COAXIAL terminal is selected.
This mode is automatically selected when you turn on the power to this unit. In this mode, the input signal is automatically selected by the following order of priority. 1. Dolby Digital RF signal (DOLBY DIGITAL) 2. Digital signal encoded with Dolby Digital or DTS, or normal digital input signals (PCM) 3. Analog input signal (ANALOG)

D.D.RF:

In this mode, only Dolby Digital RF signal is selected.
In this mode, only digital input signals encoded with DTS is selected even though other signals are input at the same time.
In this mode, only digital input signals encoded with DTS are selected even though other signals are input at the same time.

ANALOG

In this mode, only analog input signals are selected even though digital signals are input at the same time. Select this mode when you want to use analog input signals instead of digital input signals.
In this mode, only digital input signals (DOLBY DIGITAL, DTS or PCM) are selected even though other types of signals are input at the same time.
In this mode, only analog input signals are selected even though other types of signals are input at the same time.
Notes on input mode selection q The input mode for a TV/DBS source is selected with function 7. TV/DBS INPUT in the SET MENU mode. This unit will be automatically set to the selected input mode when the power is turned on. q Set the input mode to the AUTO or D.D.RF mode to play a DVD/LD source encoded with Dolby Digital. q Select the ANALOG mode to play a normal 2-channel source with a Dolby Pro Logic Surround program. q The sound output may be interrupted in some LD and DVD players in the following situation: The input mode is set to AUTO. A search is made while playing the disc encoded with Dolby Digital or DTS, then disc playing is restored. The sound output is interrupted for a moment because the digital input signal was selected again. q The input mode cannot be changed for PHONO, TUNER, VCR 1, VCR 2 and VIDEO AUX sources because only analog signals are used. q The present input mode appears on the front display and monitor screen when the input source is changed to DVD/LD, CD, TAPE/MD or TV/DBS, or the input mode is changed. The present input signal also appears when the input mode is changed to AUTO, as shown in the following figure.

Press this button inward (ON) to boost the bass frequency response at the main left and right channels while maintaining overall tonal balance. This function is effective for reinforcing the bass frequencies when a subwoofer is not used.
Using the TONE BYPASS button
Press this button inward (ON) to bypass the tone (BASS and TREBLE) control circuitry. This function is used for outputting pure sound and checking the tone control settings. The tone control circuitry can be used when this button is released outward (OFF).

Tuning

Basic operation
Quick automatic-search tuning (automatic tuning) is effective when the station signals are strong with no interference. However, manual tuning can be used during less-than-ideal conditions.

Automatic tuning

Select TUNER as the input source.

Manual tuning

Select the reception band. FM or AM will be illuminated.

TUNING MODE

Turn the AUTO indicator off.
If : is illuminated on the display, press the PRESET/TUNING button to turn it off. Turn this indicator off.

PRESET /TUNING EDIT

Press the frequency. Press the
side once to tune in to a higher side once to tune in to a lower frequency.
Tune to the desired station manually.
* Hold down the button to continue the tuning search. * Press the button again if the tuning search does not stop at the correct station. * Use manual tuning if the tuning search does not stop at the correct station because the signals are weak. Notes q Manually selecting an FM station will automatically change the reception to monaural to increase the signal quality. q If an RDS station that employs PS data service is received, its station name is shown on the display.
Preset tuning Manual preset tuning
This unit can store station frequencies selected by the tuning operation. With this function, you can recall any desired station only by selecting the preset station number. Up to 40 stations (8 stations x 5 groups) can be stored.

RX V2095 RDS

To store stations
Tune to a station. (Refer to the previous page for the tuning procedure.)
Press the MEMORY button before the MEMORY indicator goes off.
Flashes on and off for about 5 seconds.
DVD/LD TV/DBS STEREO AUTO VCR 1 VCR 2
Select a group (A E) of preset stations before the MEMORY indicator goes off. The group will appear on the display.
Shows the displayed station has been programmed to A-1. * In the same way, program other stations to A-2, A-3. A-8. * You can program more stations to preset station numbers on other groups in the same way by selecting other groups in step 3. Notes A new setting can be programmed in place of the former one. For presets, the setting of the reception mode (stereo or monaural) is stored along with the station frequency.

Make sure that the EON indicator is illuminated on the display.
DVD/LD DIGITAL PRO LOGIC DSP SPEAKERS A PS PTY RT CT STEREO AUTO EON TV/DBS VCR 1 VCR 2 V-AUX TAPE/MD CD TUNER PHONO DIGITAL PRO LOGIC DSP SPEAKERS A PS PTY RT CT STEREO AUTO EON DVD/LD TV/DBS VCR 1 VCR 2 V-AUX TAPE/MD CD TUNER PHONO
When the broadcast of the selected program ends, the previously received program (or another program of the same station) is recalled.
* If the EON indicator is not illuminated on the display, receive an (or another) RDS station so that the EON indicator will be illuminated on the display.
Press the EON button once or more, so that no program type name is illuminated on the display.
Select the desired program type, NEWS, INFO, AFFAIRS or SPORT.
DV L C PS PTY RT CT STEREO AUTO EON NEWS TV

Press once or more.

Becomes illuminated.
The search is performed among all preset RDS stations in the background. If a program is found, the program will be automatically received when it starts broadcasting.
DVD/LD DIGITAL PRO LOGIC DSP SPEAKERS A PS PTY RT CT STEREO AUTO EON NEWS TV/DBS VCR 1 VCR 2 V-AUX
Using digital sound field processor (DSP)
This unit incorporates a sophisticated, multi-program digital sound field processor. The processor allows you to electronically expand and change the shape of the audio sound field from both audio and video sources, creating a theater-like experience in your listening room. You can create an excellent audio sound field by selecting a suitable sound field program (this will, of course, depend on what you will be listening to), and adding desired adjustments. In addition, this unit incorporates a Dolby Digital decoder and a Dolby Pro Logic Surround decoder for multi-channel sound reproduction of sources encoded with Dolby Surround, and a DTS decoder for multi-channel sound reproduction of sources encoded with DTS. The operation of these decoders can be controlled by selecting a corresponding DSP program including a combined operation of YAMAHA DSP and Dolby Digital, Dolby Pro Logic Surround or DTS. This unit has 12 programs for digital sound field processing; 7 from actual acoustic environments from around the world, and 5 programs for Audio/Video sources. In addition, each program has two subprograms. All programs contain various parameters that can be adjusted to the listeners taste. For details about digital sound field programs, refer to pages 57 to 61.

Program No. 1 to 7: Hi-Fi DSP programs (for audio sources)
DSP When the input signal is analog or PCM audio: ( ) Speaker output: main, rear, front effect When the input signal is encoded with the Dolby Digital (not in 2 channels): ( Speaker output: main, center, rear, front effect DSP When the input signal is encoded with the DTS: ( ) Speaker output: main, center, rear, front effect

DIGITAL

PROGRAM CONCERT HALL 1
SUBPROGRAM (TYPE) Europe Hall A
FEATURE This is a large fan-shaped concert hall in Munich which has approximately 2500 seats. Almost the whole interior is made of wood. There is relatively little reflection from the right and left walls, and sounds spread finely and beautifully. A classic shoe-box type concert hall with approximately 1700 seats. Pillars and ornate carvings create extremely complex reflections. Those reflections and the reflections from all directions of the hall produce a very full, rich sound. This is a large 2600-seat concert hall in the United States which features a fairly traditional European design. The interior is relatively simple, suggesting an American taste. Sound of the middle and high frequencies are richly and beautifully reproduced. A large round concert hall with a rich surround effect. Pronounced reflections from all directions emphasize the extension of sounds. You will experience the sound field with a great deal of presence sitting at about the center position near the stage. This sound field is also effective for karaoke. This is because you feel as if you are standing on a real stage. Recreates the acoustic environment of a big church with a high pointed dome and columns along the sides. This interior produces very long reverberations. This program features a sound field created by the refectory (dining hall) of the monastery, a beautiful medieval Gothic structure located in Royaumont on the outskirts of Paris. The dome-like spaces in the ceiling formed by the supporting pillars cause reverberations to echo and create a beautiful, lingering tone.

Europe Hall B

CONCERT HALL 2

U.S.A. Hall C

Live Concert

CHURCH

Freiburg

Royaumont

PROGRAM JAZZ CLUB
SUBPROGRAM (TYPE) The Bottom Line
FEATURE This is the sound field at stage front in The Bottom Line, a famous New York Jazz club. The floor can seat 300 people to the left and right in a sound field offering real and vibrant sound. A jazz club in New York. It is in a basement and has a relatively spacious floor area. The reflection pattern is similar to that of a small hall. The ideal program for lively, dynamic rock music. The data for this program was recorded at LAs hottest rock club. This program gives you long delays between direct sounds and effect sounds, and extraordinarily spacious feel of a large arena theater. Recreates the acoustic environment of a lively disco in the heart of a very lively city. The sound is dense and highly concentrated. It is also characterized by a high-energy, immediate sound. This is a sound field suitable for background music at parties where you can hear the sound directly from the rear as well, thus realizing music enjoyment over a wide area. This program gives you the long delays and extraordinarily spacious feel of an outdoor stadium in Los Angeles that is no less than 300 meters (990 feet) in diameter. An outdoor stadium with the typical bowl-shaped seating arrangement. The reflections from seats far from your position are sensed in all directions.

Village Gate

ROCK CONCERT

Roxy Theatre

ENTERTAINMENT

STADIUM

Anaheim
Program No. 8 to 12: CINEMA-DSP programs (for Audio/Video sources)
These programs use the Dolby Pro Logic decoder, the Dolby Digital decoder or the DTS decoder. Speaker output for each program is as follows. No. 8, 9, 10, 11: main, center, rear, front effect No. 12 (Normal): main, center, rear No. 12 (Enhanced): main, center, rear, front effect
For program No. 8 and 9 only, indicators light up as follows. When the input signal is analog or PCM audio: ( ) DSP When the input signal is encoded with the Dolby Digital (not in 2 channels): ( When the input signal is encoded with the DTS: ( ) DSP )

PROGRAM CONCERT VIDEO

SUBPROGRAM (TYPE) Classical/Opera
FEATURE Provides excellent depth of vocals and overall clarity, restraining excessive reverberation. For opera, the orchestra pit and the stage are ideally combined, letting you feel a full presence sound. The rear surround side of the sound field is relatively moderated, however, it reproduces beautiful sound by the use of the data of a concert hall. You will not be tired from long watching of an opera. Produces an enthusiastic atmosphere and lets you feel that you are in the midst of the action, as if attending an actual jazz or rock concert. The indirect sound constituent spreads on the surround side of the sound field by the use of data of a large round hall for the surround side, so the image space around the screen and the sound space are fully expanded. This program is for reproducing monaural video sources (old movies etc.). Monaural sounds are reproduced with much presence by the front presence side of the sound field and optimum reverberation effect. The use of the center speaker makes conversations more audible, obtaining a pleasant mix of conversations and picture. Though the front presence side of the sound field is relatively narrow, the rear surround side employs the sound environment of a large concert hall. With this program, you can enjoy watching various TV programs such as the news, variety shows, music programs or sports programs. In a stereo broadcast of a sports game, the commentator is oriented at the center position, and the shouts and the atmosphere in the stadium spread on the surround side, however, spreading of them to the rear side is properly restrained.

No. 10

This program is for reproducing sounds on a multi-track film, and characterized by a soft and extensive sound field. The front presence side of the sound field is relatively narrow. It spatially spreads all around and toward the screen, restraining echo effect of conversations without losing clarity. For the surround side, the harmony of music or chorus sounds beautifully in a wide space at the rear of the sound field.
Program No. 12 is for reproducing video discs, video tapes and similar sources which are encoded with Dolby Surround (bearing the DOLBY SURROUND or DOLBY DIGITAL logo) or encoded with DTS (bearing the dts logo). PROGRAM /DTS SURROUND SUBPROGRAM (TYPE) PRO LOGIC/Normal ( ) Functions when the input signal is analog or PCM audio or encoded with Dolby Digital in 2 channels.
PRO LOGIC DIGITAL ) DOLBY DIGITAL/Normal ( Functions when the input signal is encoded with Dolby Digital not in 2 channels.

No. 12

FEATURE The built-in Dolby Pro Logic Surround decoder, the Dolby Digital decoder or the DTS decoder precisely reproduces sounds and sound effects of a source encoded with Dolby Surround or DTS. The realization of a highly efficient decoding process improves crosstalk and channel separation and makes sound positioning smoother and more precise.
DTS DIGITAL SUR./Normal ( ) Functions when the input signal is encoded with DTS. PRO LOGIC/Enhanced DSP ( PRO LOGIC ) Functions when the input signal is analog or PCM audio or encoded with Dolby Digital in 2 channels. DOLBY DIGITAL/Enhanced DSP DIGITAL ( ) Functions when the input signal is encoded with Dolby Digital not in 2 channels. DTS DIGITAL SUR./Enhanced DSP ( ) Functions when the input signal is encoded with DTS. Note: If the NONE position is selected on 1A. CENTER SP in the SET MENU mode, no sound is output from the center speaker(s). Ideally simulates the multi-surround speaker systems of the newest film theater. The digital sound field processing and the Dolby Surround decoding or the DTS decoding are precisely performed without altering the originally designed sound orientation. The surround effects produced by this sound field fold the viewer naturally from the rear to the left and right and toward the screen.

5. PARAMETER INI (Initializing parameters on a DSP program)
You can initialize all parameter settings on a DSP program. Note that a DSP program has two or three subprograms; all parameters on both subprograms are initialized by this operation. Initializing method After selecting this function (title) in step 2 on page 62, press the + or key to display the DSP program numbers (1 12). A program number whose parameters has been changed is marked with . Press a DSP program selector key corresponding to the program number whose parameters you want to initialize. When initialized, the mark will disappear.
6. MEMORY GUARD (Locking DSP parameters and other adjustments)
If you wish to prevent accidental alteration to DSP parameters and other adjustments on this unit, select ON. In this position, they are locked and cannot be changed. The following functions on this unit can be locked by this operation. DSP parameters Other functions in the SET MENU mode ON SCREEN display key LEVEL key TEST key
7. TV/DBS INPUT (Selecting the initial input mode of the source connected to the TV/DBS input terminals)
For the source connected to the TV/DBS input terminals of this unit, you can designate the input mode that is automatically selected when the power of this unit is switched on. AUTO: In this position, the AUTO input mode is always selected when the power of this unit is switched on. LAST: In this position, the input mode you have selected the last time is memorized and will not be changed even if the power of this unit is switched off. * Refer to page 37 for details about switching the input mode.
8. DIMMER (Changing brightness of the display panel)
You can adjust the brightness of the display panel in five degree increments.
Creating your own sound fields

What is a sound field?

In order to explain the impressive functions of the DSP, we need to first understand what a sound field really is. What really creates the rich, full tones of a live instrument are the multiple reflections from the walls of the room. In addition to making the sound live, these reflections enable us to tell where the player is situated, and the size and shape of the room in which we are sitting. We can even tell whether it is highly reflective with steel and glass surfaces, or more absorbent with wood panels, carpeting and curtains. DSP programs consist of some parameters to determine apparent room size, reverberation time, distance from you to the performer, etc. In each program, these parameters are preset with values precisely calculated by Yamaha to create the sound field unique for the program. It is recommended to use DSP programs without changing values of parameters, however, this unit also allows you to create your own sound fields. Starting with one of the built-in programs, you can adjust those parameters. Even if the power cord of this unit is disconnected from the AC outlet, your custom sound fields will remain in the DSPs memory for about two weeks. The following page details how to make your own sound fields. In addition to the TYPE parameter which selects the subprograms within each DSP program (for example, Europe Hall A, and Europe Hall B for the program 1. CONCERT HALL 1), each program also has a set of parameters that allow you to change the characteristics of the acoustic environment to precisely create the effect you want. These parameters correspond to the many natural acoustic factors that create the sound field you experience in an actual concert hall or other listening environment. The size of the room, for example, affects the length of time between the early reflectionsthat is, the first few widely spaced reflections you hear after the direct sound. The ROOM SIZE parameter provided in many of the DSP programs alters the timing between these reflections, thus changing the shape of the room you hear. In addition to room size, the shape of the room and the characteristics of its surfaces have a significant effect on the final sound. Surfaces that absorb sound, for example, cause the reflections and reverberations to die out quicker, while highly reflective surfaces allow the reflections to carry on for a longer period of time. The DSP parameters allow you to control these and many other factors that contribute to your personal sound field, allowing you to essentially redesign the concert halls, theaters, etc. provided to create custom-tailored listening environments that ideally match your mood and music. Refer to Descriptions of the digital sound field parameters on pages 68 to 70 for a description of what each parameter does, how it effects the sound, and its control range.

Basic operation (Cover is open)
The remote controller is designed to control the most commonly used functions. If the CD player, tape deck, LD player, etc. is a YAMAHA component with remote control compatibility, this remote controller will also control various functions. * For basic operations, the cover must be opened.

Key name and function

TRANSMIT /LEARN CLEAR LEARN MACRO

PRESET A/B/C/D/E

H G F E D
ROCK ENTERCONCERT TAINMENT EXT. DEC. TV CONCEFIT VIDEO THEATER EFFECT ON/OFF
View with the cover opened.

Side view

1 TAPE/MD keys These keys control tape decks or MD recorders. The A/B/C switch (I) should be set to the A position to control tape decks, and C position for MD recorders. * The DIR A, B and A/B keys apply only to double cassette tape decks. * Pressing the DIR A key will reverse the tape direction on a single cassette tape deck with the automatic reverse function. * The and keys work as follows. For tape decks: : Rewinds a tape. : Advances a tape fast.
For MD recorders: : Locates the beginning of the current or previous track. : Locates the beginning of the next track.

A RESET button

This button is inside the battery compartment. Press this button to reset the internal microcomputer for controling remote control operations. This button is used when the remote controller freezes. * Learned functions will not be erased when this button is pressed. RESET button
B MASTER VOLUME C MUTE key
(up) and (down) keys Press these keys to increase or decrease the volume.
2 CD/DVD/LD player keys These keys control compact disc players, DVD players or LD players. Set the A/B/C switch (I) to the A position to control compact disc players, B position for DVD players and C position for LD players. * The DISC key is used for disc changers only. * The STOP key is used for DVD players and LD players only. 3 Tuner keys Control tuners. The A/B/C switch (I) should be set to the A position. +: Press this key to select the next preset station number. : Press this key to select the previous preset station number. A/B/C/D/E: Selects the group (A E) of preset station numbers. 4 DSP program selector keys Press a key to select a DSP program when the built-in digital sound field processor is on. Includes the Dolby Pro Logic Surround decoder, Dolby Digital decoder, and DTS decoder. 5 LEVEL key This key is used to adjust the output level of the center, rear and front effect speakers, and subwoofer. First, press this key (several times) to select the speaker(s). The name will be illuminated on the display. Then press the + or keys (D) to change the output level. 6 PARAMETER/SET MENU switch Set this switch to PARAMETER to edit a DSP program parameter. Set to SET MENU to adjust or make changes in a function in the SET MENU mode. 7 TEST key This key is used when adjusting the speaker balance. (Refer to pages 31 to 33.) 8 SLEEP timer key Press this key to turn the built-in SLEEP timer on and off, and set the SLEEP time. (Refer to page 71.) 9 ON SCREEN display key Press this key to change the type of display on the monitor screen. Three types of displays are available. Each time the key is pressed, the information can be changed to a full, simple and no display. 0 SYSTEM POWER ON and STANDBY keys Press the SYSTEM POWER ON key to turn on the power. Press the STANDBY key to set this unit in the standby mode.

Connect this units S VIDEO MONITOR OUT terminal to the TVs S video input terminal. Turn this unit into the standby mode, and then turn on to reset the protection circuit. Cancel the SLEEP timer function. Adjust it to the appropriate position. Connect the cords properly. If the problem persists, the cords may be defective. Press the EFFECT button to turn it on. Use a different sound field program.
The sound suddenly goes off.
Set to the 7ch position. Select another program (or subprogram).
Select the appropriate position. Select another program.
Refer to the instructions for the source currently played. Select the MAIN position.
Make output mode selections suitable for your speaker system. Firmly connect the audio plugs. If the problem persists, the cords may be defective. Make the GND connection between the turntable and this unit. The player should be connected to the unit through the MC head amplifier. Turn on the power to the component.
Problem DSP parameters and some other settings on this unit cannot be changed. INPUT DATA ERR appears on the display and no sound is heard. The sound field cannot be recorded.
Cause The function 6. MEMORY GUARD in the SET MENU mode is set to the ON position. A nonstandardized source is played back, or the unit playing back a source is misoperating. It is not possible to record the sound field on a tape deck connected to this units TAPE/MD OUT terminals. The internal microcomputer has been frozen by an external electric shock (lightning, excessive static electricity, etc.) or power supply with low voltage. The source unit is connected to this unit between digital terminals only. This unit is too close to the affected equipment. This unit is in the standby mode.
What to Do Set to the OFF position. Check the source, or turn off the unit playing back the source and then turn on again.
This unit does not operate properly.
Unplug the AC power cord from the wall AC outlet, and then plug in again after about one minute. Make additional connection between analog terminals. Move the unit further away from the affected equipment. Turn the power to this unit on.
A source cannot be recorded by a tape deck or VCR connected to this unit. Noise from nearby TV or tuner. The sound is degraded when listening with the headphones connected to the compact disc player or tape deck that is connected with this unit.
Problem The remote controller does not work. Cause The batteries of this remote controller are weak. The internal microcomputer freezes. The remote controller does not function properly. Wrong distance or angle. What to Do Replace the batteries with new ones and press the RESET button on the remote controller. Press the RESET button on the remote controller. The remote controller will function from a maximum range of 6 meters, no more than 30 degrees off-axis from the front panel. Change position of the main unit.

Direct sunlight or lighting (of an inverter type of fluorescent lamp etc.) is striking the remote control sensor of the main unit. The internal microcomputer freezes. Learning cannot be made successfully. (The TRANSMIT/LEARN indicator does not light up or flash.) The batteries of this remote controller and/or the other remote controller are weak. The distance between the two remote controllers is too far or short. The signal coding or modulation of the other remote controller is not compatible with this remote controller. Memory capacity is full. The internal microcomputer freezes. Continuous functions such as volume are learned, but operate only for a moment before stopping. Learning process incomplete.
Press the RESET button on the remote controller. Replace the batteries (and press the RESET button for this remote controller). Place the remote controllers at the proper distance. Learning is not possible.
Further learning is not possible without deleting unnecessary commands. Press the RESET button on the remote controller. Be sure to press and hold the function key on the other remote controller until the TRANSMIT/LEARN indicator begins flashing slowly.
Problem FM stereo reception is noisy. Cause Because of the characteristics of FM stereo broadcasts, this is limited to cases where the transmitter is too far away or the antenna input is poor. There is multipath interference. What to Do Check the antenna connections. Try using a high quality directional FM antenna. Set the TUNING MODE button to the manual tuning mode. Adjust antenna placement to eliminate multipath interference. Use the manual tuning method. Use a high quality directional FM antenna. Repeat the presetting procedure. Tighten the AM loop antenna connections and rotate it for best reception. Use the manual tuning method. There are continuous crackling and hissing noises. There are buzzing and whining noises (especially in the evening). Noises result from lightning, fluorescent lamps, motors, thermostats and other electrical equipment. A television set is being used nearby. Use an outdoor antenna and a ground wire. This will help somewhat but it is difficult to eliminate all the noises. Relocate this unit away from the TV. AM
There is distortion and clear reception cannot be obtained even with a good FM antenna. A desired station cannot be tuned in with the automatic tuning method. Previously preset stations can no longer be tuned in. A desired station cannot be tuned in with the automatic tuning method.
The station is too weak. This unit has been unplugged for a long period. Weak signal or loose antenna connections.

SPECIFICATIONS

AUDIO SECTION
Minimum RMS Output Power Per Channel (When both channels are driven) MAIN L/R (20 Hz to 20 kHz, 0.02% THD, 8 ohms).. 100W+100W CENTER (20 Hz to 20 kHz, 0.02% THD, 8 ohms).. 100W REAR L/R (20 Hz to 20 kHz, 0.02% THD, 8 ohms)..100W+100W FRONT L/R (1 kHz, 0.05% THD, 8 ohms)..25W+25W Maximum Power [China and General models only] 1 kHz, 10% THD, 8 ohms (When both channels are driven) MAIN L/R..135W+135W CENTER..135W REAR L/R.135W+135W FRONT L/R..35W+35W Dynamic Power Per Channel (by IHF Dynamic Headroom Measuring Method) [U.S.A., Canada, China and General models only] MAIN L/R (8 ohms/6 ohms/4 ohms/2 ohms) (When both channels are driven).140W/170W/220W/320W Dynamic Headroom [U.S.A., Canada, China and General models only] MAIN L/R (8 ohms). 1.46 dB DIN Standard Output Power Per Channel [Europe and Singapore models only] MAIN L/R (1 kHz, 0.7% THD, 4 ohms) (When both channels are driven).. 160W IEC Power [Europe and Singapore models only] MAIN L/R (1 kHz, 0.015% THD, 8 ohms) (When both channels are driven). 115W Power Band Width (20 Hz to 20 kHz) 8 ohms, 50W, 0.08% THD (When both channels are driven)..10 Hz to 50 kHz Damping Factor MAIN L/R (20 Hz to 20 kHz, 8 ohms)... More than 200 Input Sensitivity/Impedance (100W/8 ohms) CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX. 150 mV/47 k-ohms PHONO MM..2.5 mV/47 k-ohms MAIN IN..1V/47 k-ohms Maximum Input Signal (1 kHz, 0.05% THD) CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX (EFFECT ON). 2.3V PHONO MM.. 110 mV Output Level/Impedance REC OUT.. 150 mV/1.0 k-ohms PRE OUT MAIN, CENTER, REAR, FRONT.. 1.0V/1.5 k-ohms SUBWOOFER (MAIN SP: SMALL) (EFFECT OFF). 4.0V/1.5 k-ohms ZONE 2 OUT [U.S.A., Canada, Australia, China, Singapore and General models only].. 1.0V/1.5 k-ohms Maximum Voltage Output (20 Hz to 20 kHz, 1% THD) PRE OUT (MAIN L/R). More than 3V Headphone Jack Rated Output/Impedance Output Level CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX Input: 1 kHz, 150 mV, RL=8 ohms. 0.5V Impedance. 440 ohms Frequency Response (20 Hz to 20 kHz) CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX to MAIN L/R SP OUT.. 00.5 dB RIAA Equalization Deviation (20 Hz to 20 kHz) PHONO MM..00.5 dB Total Harmonic Distortion (20 Hz to 20 kHz) CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX to PRE OUT (MAIN L/R), 1V.. Less than 0.008% PHONO MM to REC OUT, 3V.. Less than 0.01% MAIN IN to SP OUT (MAIN L/R, CENTER), 50W/8 ohms. Less than 0.008% Signal-to-Noise Ratio (IHF-A Network) CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX (Input Shorted) (EFFECT OFF). More than 96 dB PHONO MM (Input Shorted 5 mV) (EFFECT OFF)..More than 86 dB Residual Noise (IHF-A Network) MAIN L/R SP OUT. Less than 170 V Channel Separation (Vol. 30 dB) CD/TAPEMD/DVDLD/TVDBS/VCR 1 /VCR 2/VIDEO AUX Input 5.1 k-ohms Shorted (EFFECT OFF) 1 kHz/10 kHz. More than 60 dB/45 dB PHONO MM Input Shorted (EFFECT OFF) 1 kHz/10 kHz..More than 60 dB/55 dB Tone Control Characteristics Bass Boost/Cut.. 10 dB (50 Hz) Turnover frequency. 350 Hz Treble Boost/Cut.. 10 dB (20 kHz) Turnover frequency.. 3.5 kHz Bass Extension (MAIN L/R)..+6 dB (50 Hz) Filter Characteristics MAIN L/R, CENTER, REAR L/R (MAIN, CENTER, REAR SP: SMALL) (H.P.F.)..fc = 90 Hz, 12 dB/oct. SUBWOOFER (L.P.F.). fc = 90 Hz, 18 dB/oct. Gain Tracking Error (0 to 60 dB) MAIN L/R.3 dB or less Audio Muting..

Service Rang & Namen

Die groe

Testbersicht

Verstrker
Service: Rang & Namen

Vollverstrker

Name Heft Preis in Punkte Bemerkungen
Abacus Rieder Amp 50 Accuphase E-530 Accuphase E-203 Accuphase E-205 Accuphase E-206 Accuphase E-210 Accuphase E-211 Accuphase E-211 Accuphase E-303 Accuphase E-303 X Accuphase E-305 Accuphase E-306 V Accuphase E-405 Acoustic Research A 03 Acoustic Research A 07 Acoustic Research A 07 Adyton Opera Aiwa AA-8500 E Aiwa XA-006 Akai AM-2400 Akai AM-35 Akai AM-47 Akai AM-52 Akai AM-55 Akai AM-65 Akai AM-67 Akai AM-73 Akai AM-93 Akai AM-95 Akai AM-A 301 Akai AM-U 61 AMC 3050 AMC CVT 3030 A Arcam A 65 Arcam A 85 Arcam Alpha Arcam Alpha 10 Arcam Alpha 3 Arcam Alpha 5 Arcam Alpha 8 Arcam Delta 60 Arcam Delta 90 Arion Tycho ASR Emitter 1 Plus SQ ASR Schfer Emitter II HD Audio Analogue Puccini
04/86 02/03 02/80 04/86 06/89 09/95 04/01 04/01 10/79 08/85 05/88 05/98 02/90 01/94 11/89 12/89 11/93 12/81 05/94 03/79 02/91 02/92 11/87 02/91 11/89 10/92 09/88 03/89 06/90 12/85 12/82 06/96 06/98 05/02 05/02 03/87 08/98 10/92 01/94 03/98 11/89 08/87 01/96 04/01 03/97 12/97

6500 950

21-23 Punkte, frher om37-39 Punkte, frher s1 37-39 Punkte, frher s1 45-47 Punkte, frher as50 43-45 43-45-47 Punkte, frher as3 29-31 Punkte, frher s3 33-35 Punkte, frher s2 33-35 Punkte, frher s2 41-43 Punkte, frher as4 25-27 Punkte, frher s4 29-31 Punkte, frher s3 29-31 Punkte, frher s3 29-31 Punkte, frher s3 29-31 Punkte, frher s3 29-31 Punkte, frher s3 33-35 Punkte, frher s2 29-31 Punkte, frher s3 37-39 Punkte, frher s1 33-35 Punkte, frher s2 9-11 Punkte, frher m2 25-27 Punkte, frher s4 37-39 Punkte, frher s33-35 Punkte, frher s33-35 Punkte, frher s2 29-31 Punkte, frher s33-35 Punkte, frher s2 33-35 Punkte, frher s2 41-43 Punkte, frher as26 21
digital digital FB digital digital digital
Audio Innovations Audio NET SAM Audio Net SAM V 2 Audio Research CA 50 Audioanalyse PA 90 Audium 6L6 Aura VA 40 Avantgarde C 1 AVM A 2 AVM Competition amp AVM Evolution A 1 AVM Inspiration A 6 Ayre AX 7 Ayre AX 7 X Braun A 1 Burmester 909 Burmester 959 Burmester Rondo 991 Burmester Rondo 991 Burmester Twin-Amp 940 Cairn Alegra Cambridge A 1 Mk 3 Cambridge ATAC 3 Cambridge ATAC 3 Advance Edit. Cambridge Audio A 500 Camtech Der Verstrker Camtech V 102 Cayin 220 Cayin 500 Cayin 600 Cayin TA 30 Cayin TA 35 Classe Audio CAP 100 Conrad Johnson CAV 50 Creek 4330 Creek 5250 Creek 5250 SE Creek 5350 Creek 5350 SE Creek A 50i Cybernet CA-50 Cyrus 5 Cyrus 6 Denon AVC-1530 Denon AVC-A 1 SR Denon AVC-A 10 SE Denon AVC-A 11 SR Denon PMA 655 R Denon PMA-1060 Denon PMA-1315 R Denon PMA-1500 R Denon PMA-2000 Denon PMA-250 Denon PMA-250 SE Denon PMA-260 Denon PMA-280 Denon PMA-300 Denon PMA-350 SE Denon PMA-360 Denon PMA-425 R Denon PMA-500 Denon PMA-500 V Denon PMA-520 Denon PMA-525 R
06/91 02/98 01/01 03/97 06/89 11/93 11/89 09/95 07/99 03/97 03/92 10/02 06/02 04/03 02/81 06/91 08/96 11/99 08/02 01/95 05/99 09/98 06/96 09/96 09/03 03/98 11/95 12/01 02/00 03/01 11/01 05/02 09/97 10/98 05/99 01/98 03/98 06/01 05/02 09/03 03/79 03/00 10/03 12/94 07/02 08/00 01/02 05/00 09/91 10/94 05/98 07/96 03/87 11/97 03/90 05/94 11/86 05/97 02/91 03/97 04/81 03/87 08/88 12/95

300 250

33-35 Punkte, frher s37-39 Punkte, frher s1 41-43 Punkte, frher as4 29-31 Punkte, frher s3 45-47 Punkte, frher as22 41-43 Punkte, frher as53-55 Punkte, frher as1 45-47 Punkte, frher as47 49-51 Punkte, frher as28 33-35 Punkte, frher s2 33-35 Punkte, frher s42 37-39 Punkte, frher s25-27 Punkte, frher s4 51/43 45/38 49/33-35 Punkte, frher s2 33-35 Punkte, frher s41-43 Punkte, frher as4 25-27 Punkte, frher s29-31 Punkte, frher s3 29-31 Punkte, frher s29-31 Punkte, frher s25-27 Punkte, frher s4 25-27 Punkte, frher s4 25-27 Punkte, frher s4 29-31 Punkte, frher s3
Digital-Vollverstrker ohne Phono m. D/A-Wandler

Separater PhonoVorverstrker Phono mit A 2 digital digital

mit Endstufe

Mulitkanal

Surround

Akkugert
63/58 SurroundVorverstrker

5 stereoplay 2004

Mark Levinson No 38 S Mark Levinson No. 28 Mark Levinson No. 380 MBL 4010 MBL 5010 CM MBL 5010 CM MBL Der Vorverstrker McIntosh C 2200 McIntosh C 27 McIntosh C 29 McIntosh C 29 McIntosh C 33 McIntosh C 712 McIntosh MC 7205 McIntsoh C 100 Mclntosh MX132 Meridian 201 Meridian 501 Meridian 562/517/516 Meridian 565 Meridian 568 Meridian MCLP Metaxas Marquis Metaxas Opulence Mission 776 Mission Pre Mitsubishi DA-P 600 Mondial Acurus ACT 3 Monrio Primus Moscode Minuet in A Musical Fidelity Preamp 3 AX Musical Fidelity X P 100 Musical Fidelity X-Pre Musical Technology P 1 Myryad MP 100 NAD 1130 NAD 114 NAD 1155 NAD 118 NAD 1240 NAD 1300 NAD C 160 NAD PP 2 NAD S-100 Nagra PL-P Naim AV 2 Naim NAC 282 + HiCap Naim NAC 500 Naim NAC 552 Nakamichi CA-5 E Nakamichi CA-5 E II Nikko Beta 400 Nikko Beta II Octave HP 200 Octave HP 300 Octave HP 500 Octave HP 500 Octave HP 500 Mk 3 Onkyo P-200 Onkyo P-3030 Onkyo P-3060 Onkyo P-3060 R Onkyo P-3090 Onkyo P-3390 Onkyo P-3890 Parasound P/HP 850 Parasound P/LD 1100 Parasound P/LD 2000 Parasound P/LP 1500 Parasound P/SP 1000 Parasound P/SP 1500 Pass X 2 Pass Xono Perreaux SM 2 Pioneer C-7 Pioneer C-73 Pioneer C-90 Pioneer C-Z 1 Plinius Jarrah Proceed AVP Proceed PAV Proton AP-1000 Proton AP-400 Pro Quad 34 Quad 44 02/95 10/91 07/99 10/83 04/98 06/00 02/88 04/03 09/78 01/80 05/82 08/83 10/97 10/00 06/98 10/00 06/88 07/95 08/97 04/98 03/01 12/85 09/91 02/88 03/83 04/97 05/79 10/99 03/95 08/86 07/88 05/00 07/98 08/01 03/99 04/86 04/97 12/86 04/96 05/89 06/88 05/01 11/03 12/98 02/98 08/02 06/03 10/97 09/02 11/85 10/89 01/89 11/79 09/93 07/01 10/90 03/96 02/00 11/85 11/83 01/82 03/83 11/81 12/86 09/92 06/94 02/95 03/96 03/94 07/95 12/96 11/98 10/01 06/85 07/91 02/91 08/86 09/80 08/01 01/01 09/94 01/89 06/94 01/89 03/k.A. 750 53-55 Punkte, frher as1 43-37-39 Punkte, frher s51 43-Restek V 2a 03/Rotel RC 1070 05/Rotel RC-1000 05/Rotel RC-2000 07/Rotel RC-850 06/Rotel RC-870 BX 05/Rotel RC-970 BX 06/Rotel RC-972 03/Rotel RC-990 BX 09/Rotel RC-995 10/Rotel RHA-10 09/Rotel RSP 1066 08/Rotel RSP-960 12/Rotel TC-980 AX 03/Rowen PR 1 08/Rowland Consonance 10/SAC Epsilon 02/SAC Mediatore 12/SAE 2100 L 06/SAE X 1 P 12/Sherwood AP-7020 09/Sherwood AVP-8500 R 12/Siemens RP 666 03/Sony TA-E 1000 ESD 10/Sony TA-E 2000 ESD 08/Sony TA-E 90 ES 02/Sony TA-E 900 01/Sony TA-E 901 07/Sony TA-E 901 03/Sony TAE-9000 ES 06/Stax CA-Y 05/Sudgen C 28 06/Sumo Athena 06/Sumo Electra 12/T + A P 1220 01/T + A PD 1200 R 01/T + A Pulsar P 1200 R 09/T + A Pulsar P 2000 04/T + A Pulsar P 2000 AC 12/T + A Pulsar P 2000 AC 10/TAG McLaren AV 192 R (PL II, 6.1, U2, Raumkorr.) TAG McLaren AV 32 R-EX TAG McLaren DPA 32 R TAG McLaren PA 20 R TAG McLaren PPA 20 Tandberg 3038 A Tandberg TCA 3002 Tandberg TCA 3002 A Technics SU-A 4 Mk II Technics SU-A 40 Technics SU-A 6 Technics SU-A 60 Technics SU-A 8 Technics SU-C 1000 Technics SU-C 3000 Terratec Phono Preamp Studio Theta Casablanca II Threshold FET One Threshold FET Two Mk II Thule PR 250 Thule spirit Control Toshiba Aurex SY-A 88 Toshiba Aurex SY-A 90 Uher UPA 3000 VT Uher UPA-1000 Vincent LS 1 Vincent SA 11 Vincent SA T 1 VTL Maximal WBE Diamond 36 HE Yamaha C-2a Yamaha C-2x Yamaha C-4 Yamaha C-60 Yamaha C-65 Yamaha C-70 Yamaha CX-50 Yamaha CX-70 Yamaha CX-830 Yves Cochet P Deux 03/01 11/00 10/98 01/02 10/89 01/82 06/84 07/84 10/90 01/82 07/88 12/81 10/95 03/99 06/03 05/01 05/82 03/86 04/00 02/98 09/82 11/83 09/93 09/92 04/96 02/98 07/03 05/90 08/01 09/80 06/85 08/80 09/84 12/86 09/82 10/88 10/89 10/90 08/33-35 Punkte, frher s2 48

FB Rhre; Phono MM

43-45 43-55/57/54 37-39 Punkte, frher s1 37-39 Punkte, frher s50 57/51 37-39 Punkte, frher s1 43-45 43-45 43-49/36 49-51 Punkte, frher as2 33-35 Punkte, frher s2 37-39 Punkte, frher s44 56/33-35 Punkte, frher s33-35 Punkte, frher s2 29-31 Punkte, frher s3 33-35 Punkte, frher s40/52 58/37-39 Punkte, frher s1 37-39 Punkte, frher s1 29-31 Punkte, frher s3 37-39 Punkte, frher s43-45 53-55 Punkte, frher as37-39 Punkte, frher s1 33-35 Punkte, frher s2 37-39 Punkte, frher s1 37-39 Punkte, frher s1 43-45 33-35 Punkte, frher s2 43-45 37-39 Punkte, frher s1 49-51 Punkte, frher as2 53-55 Punkte, frher as1 43-45 37-39 Punkte, frher s1 49-51 Punkte, frher as60/61 37-39 Punkte, frher s1 43-45 33-35 Punkte, frher s2 33-35 Punkte, frher s2 52/53 57/53 43-45 25-27 Punkte, frher s4 33-35 Punkte, frher s2 29-31 Punkte, frher s3
Multikanal AC-3,DTS, MPEG-2
29-31 Punkte, frher s3 25-27 Punkte, frher s4 37-39 Punkte, frher s43-45 49-51 Punkte, frher as2 43-45 50/37 37-39 Punkte, frher s1 37-39 Punkte, frher s1 37-39 Punkte, frher s1 37-39 Punkte, frher s1 53-55 Punkte, frher as1 33-35 Punkte, frher s2 37-39 Punkte, frher s1 33-35 Punkte, frher s2 37-39 Punkte, frher s1 33-35 Punkte, frher s2 49-51 Punkte, frher as2 33-35 Punkte, frher s2 37-39 Punkte, frher s1 37-39 Punkte, frher s1 47/36 43-45 33-35 Punkte, frher s2 37-39 Punkte, frher s1 33-35 Punkte, frher s60/51 43-45 37-39 Punkte, frher s1 29-31 Punkte, frher s3 37-39 Punkte, frher s1 08/03 56/53 58/57/57 29-31 Punkte, frher s3 29-31 Punkte, frher s3 33-35 Punkte, frher s2 33-35 Punkte, frher s2 37-39 Punkte, frher s1 29-31 Punkte, frher s3 37-39 Punkte, frher s1 37-39 Punkte, frher s36/--59/54 43-45 37-39 Punkte, frher s1 51/37-39 Punkte, frher s1 29-31 Punkte, frher s3 37-39 Punkte, frher s1 37-39 Punkte, frher s1 33-35 Punkte, frher s52 37-39 Punkte, frher s1 49/50 37-39 Punkte, frher s1 37-39 Punkte, frher s1 37-39 Punkte, frher s1 37-39 Punkte, frher s1 33-35 Punkte, frher s2 37-39 Punkte, frher s1 33-35 Punkte, frher s2 37-39 Punkte, frher s1 29-31 Punkte, frher s3 33-35 Punkte, frher s2

Surround-Vorverstrker

Surround alle Dec. + Raumprozessor

mit Endstufe digital

mit DA-A 600 Mulitkanal

Digital

Separater PhonoVorverstrker
10600 60/55 Surround-Vorverstrker AC3, DTS, EX, THX Digital seperater PhonoVorverstrker
Surround-Vorverstrker Phono MM oder MC 390,-
Separater PhonoVorverstrker Multikanal, AC-3, DTS

AC-3, DTS

Surround Phono

Rhre, ohne Phono Phono

Phono Multikanal

6 stereoplay 2004

Endverstrker
a/d/s PH 6 Accuphase M-100 Accuphase M-1000 Accuphase P-266 Accuphase P-300 L Accuphase P-300 V Accuphase P-300 X Accuphase P-400 Accuphase P-500 Accuphase P-600 Accuphase P-700 Accuphase P-800 Accuphase Pro 5 Accustic Arts Amp I Accustic Arts Amp I Accustic Arts Amp II Adcom GFA 5500 Adcom GFA-555 AES Model Two Akai DA-A 9500 Akai PA-W 06 Amcron Goodyne II AMP Mono an+di Revolution A 5 an+di Revolution II Arion Tycho Audio Analogue Donizetti Audio Analogue Donizetti Audio Labor P 3 Audio Physic Strada (Paar) Audio Research Reference 600 Audio Research VT 100 Mk II Audio Research VT 250 Audioanalyse B 90 Audiolabor Diamant Audiolabor Diamant Gold Audiolabor ES 200 Audiolabor Schnell Audiolabor Stark Audiolabor Stark AudioNET Amp 1 AudioNET Amp II Aura PA 100 Avantgarde Basic A1 AVM Competition mono AVM Evolution M 1 AVM Evolution M 3 AVM Evolution M 3 S AVM Evolution M 4 AVM Evolution M 5 AVM M 2 Ayre V 5 B & W MPA 1 Bartolomeo D 100 Bel Canto Evo 200.2 Benytone MA 4000 Boulder 500 Bow Walrus Braun a/d/s PA 4 Bryston 3 B Bryston 4 B Bryston 4 B Bryston 7 B-RX Burmester 828 Burmester 850 Burmester 956 Burmester 956 Mk II Burmester Concerto Power-Amp Cabre AS 102 Cairn Ion T 2 Cairn Studio I Camtech Mono Verstrker Camtech Stereo Verstrker L Carver M-400 Carver M-400t Carver Silver Seven Cayin 800 MK Cello Performance Chord SPM 1200 B Class Audio CA 300 Class CAV 180 Conrad Johnson Johnson MF-200 Conrad Johnson MV 45

03/93 12/82 06/90 12/83 03/85 05/88 01/82 04/81 03/86 01/84 05/96 12/88 08/85 08/99 03/01 09/99 02/98 07/88 03/95 11/89 12/81 09/92 07/98 10/97 11/96 01/96 07/97 08/01 01/85 06/02 06/96 11/98 06/98 10/89 02/97 10/97 10/80 06/85 01/85 03/86 12/94 02/97 04/97 11/94 10/96 04/91 12/93 12/97 05/95 03/99 08/00 02/02 04/88 03/89 04/00 03/83 04/88 03/00 11/88 12/83 07/84 10/89 11/91 04/84 05/86 02/96 05/00 01/93 07/84 08/01 08/99 05/95 03/98 05/81 11/83 10/89 03/01 07/90 11/94 12/96 11/01 10/91 08/85
37-39 Punkte, frher s1 43-45 49-51 Punkte, frher as2 43-45 43-45 43-45 37-39 Punkte, frher s1 33-35 Punkte, frher s2 43-45 43-45 53-55 Punkte, frher as1 43-45 37-39 Punkte, frher s42 37-39 Punkte, frher s1 45-47 Punkte, frher as3 43-45 37-39 Punkte, frher s27 43-45 41-43 Punkte, frher as49 37-39 Punkte, frher s43-56 37-39 Punkte, frher s28 33-35 Punkte, frher s2 37-39 Punkte, frher s1 43-45 43-45 53-55 Punkte, frher as20 53-55 Punkte, frher as1 45-47 Punkte, frher as3 49-51 Punkte, frher as2 49-51 Punkte, frher as53-55 Punkte, frher as37-39 Punkte, frher s1 43-33-35 Punkte, frher s2 43-37-39 Punkte, frher s1 37-39 Punkte, frher s1 37-39 Punkte, frher s1 37-39 Punkte, frher s1 45-47 Punkte, frher as3 43-45 43-45 53-55 Punkte, frher as41-43 Punkte, frher as4 37-39 Punkte, frher s49 41-43 Punkte, frher as33-35 Punkte, frher s2 29-31 Punkte, frher s3 43-53-55 Punkte, frher as1 49-51 Punkte, frher as2 53-55 Punkte, frher as1 54/52 37-39 Punkte, frher s1 37-39 Punkte, frher s1

6 Kanal Paar Paar

Conrad Johnson Premier 12 09/98 Conrad Johnson Premier 4 04/87 Conrad Johnson Premier One 04/88 Conrad Johnson SA 250 07/97 Creek A-52 SE 07/98 Crest FA 901 09/92 Cybernet A 2 06/80 Denon POA-1500 11/83 Denon POA-1500 06/84 Denon POA-2200 11/86 Denon POA-3000 10/80 Denon POA-3000 Z 03/85 Denon POA-4400 A 01/89 Denon POA-5000 03/93 Denon POA-6600 08/87 Denon POA-6600 09/87 Denon POA-800 10/89 Denon POA-8000 08/82 Denon POA-S 1 07/94 Denon POA-T 3 + POA-T 2 12/96 Electrocompaniet 250 DMB 02/94 Electrocompaniet 60 FTT 04/97 Electrocompaniet Ampliwire 100 03/86 Electrocompaniet Ampliwire 100 DMB Electrocompaniet Ampliwire 250 Electrocompaniet Ampliwire Ia Electrocompaniet AW 180 Electrocompaniet Nemo Esoteric Audio Research 549 Experience Classic Experience Quadriga Experience Renaissance RS 9105 Fidelity Research Sarder Fidelity Topas Fidelity Topas Mk III Fidelix 2B-4 Fostex AP-1020 Gassmann Akustik Avantgarde A 1 Graaf GM 100 Grundig MA 100 Hafler DH-220 Hafler XL-280 Harman PA 4000 (4-Kanal) Harman Signature 2.1 Harman/Kardon Citation 19 Harman/Kardon Citation 22 Harman/Kardon Citation X-1 Harman/Kardon Citation XX Harman/Kardon hk 775 Harman/Kardon hk 870 Hitachi HMA-7500 Mk II Hitachi HMA-8500 Mk II Hitachi HMA-9500 Mk II Isostatic Ultra Jadis JA 30 Jadis JA 500 Julius Futtermann Kenwood Basic M 1 Kenwood L-08 M Kenwood L-1000 M Kort KR Enterprise VT 6000 PPM Krell FPB 250 M Krell FPB-M 650 Krell KAS-100 Krell KAV-500 Krell KSA-100 Krell KSA-250 BEUR Krell KSA-250 EUR LAB 1300 C LAB 2000 C L'Audiophile Le Classe A Lindemann AMP 3 Linn AV 5125 Linn Klimax 500 Twin Linn Klimax Solo 500 (Paar) Linn LK 2 Linnenberg Power DAC Linnenberg Poweramp Luxman B-10 Luxman M-02 Luxman M-03 Luxman M-05 Luxman M-07 Luxman M-300 Luxman M-363 Luxman M-4000 A 04/88 03/85 01/96 09/99 12/85 09/92 09/93 03/90 04/87 08/86 07/88 01/85 09/92 07/92 01/02 12/81 06/84 08/90 04/03 06/99 12/78 12/87 12/83 04/83 06/82 11/83 10/80 11/83 04/81 06/94 08/86 10/89 06/79 10/83 08/81 10/90 04/87 09/99 11/97 03/98 05/82 04/98 03/86 11/89 10/88 11/94 11/94 03/85 01/96 07/01 01/02 11/02 04/86 09/94 01/95 09/96 06/84 06/88 07/94 01/90 01/82 02/94 10/80