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Natural Sound AV Receiver Rcepteur audiovisuel Son Naturel Natural Sound AV-Receiver Natural Sound AV-receiver Sintonizzatore AV a suono naturale Receptor AV de Sonido Natural Natural Sound AV Ontvanger
OWNERS MANUAL MODE DEMPLOI BEDIENUNGSANLEITUNG BRUKSANVISNING MANUALE DI ISTRUZIONI MANUAL DE INSTRUCCIONES GEBRUIKSAANWIJZING
SUPPLIED ACCESSORIES ACCESSOIRES FOURNIS MITGELIEFERTE ZUBEHRTEILE MEDFLJANDE TILLBEHR ACCESSORI IN DOTAZIONE ACCESORIOS INCLUIDOS BIJGELEVERDE ACCESSOIRES
Indoor FM Antenna Antenne FM intrieure UKW-Innenantenne FM inomhusantenn Antenna FM interna Antena FM interior FM Binnenantenne
q q q q q q q
After unpacking, check that the following parts are included. Aprs le dballage, vrifier que les pices suivantes sont incluses. Nach dem Auspacken berprfen, ob die folgenden Teile vorhanden sind. Kontrollera efter det apparaten packats upp att fljande delar finns med. Verificare che tutte le parti seguenti siano contenute nellimballaggio dellapparecchio. Desembalar el aparato y verificar que los siguientes accesorios estn en la caja. Controleer na het uitpakken of de volgende onderdelen voorhanden zijn.
Remote Control Transmitter Tlcommande Fernbedienung Fjrrkontroll Telecomando Transmisor de control remoto Afstandbediening
AM Loop Antenna Cadre-antenne AM MW-Rahmenantenne AM ramantenn Antenna AM ad anello Antena de cuadro de AM AM Lusantenne
DELAY/CENTER /REAR/SWFR TEST
DELAY TIME +
TV/DBS DVD/LD 2CH /6CH
VIDEO 2CH /6CH
DIR B REC/PAUSE
DIR A TAPE
75-ohm/300-ohm antenna adapter (U.K. model only) Adaptateur dantenne 75 ohms/300 ohms (Modle pour le Royaume-Uni seulement) 75 Ohm/300 Ohm Antennenstecker (nur GrobritannienModell) 75 ohm/300 ohm antennadapter (Endast modell fr Storbritannien) Adattatore per antenna da 75 e 300 ohm (Solo modello per la Gran Bretagna) Adaptador de antena de 75 ohmios/300 ohmios (Modelo para Reino Unido slo) 75 ohm/300 ohm antenne-adapter (Alleen modellen voor Groot-Brittanni)
Batteries (size AA, R6, UM-3) Piles (taille AA, R6, UM-3) Batterien (Gre AA, R6, UM-3) Batterier (storlek AA, R6, UM-3) Batterie (dimensioni AA, R6, UM-3) Pilas (tamao AA, R6, UM-3) Batterijen (maat AA, R6, UM-3)
Thank you for selecting this YAMAHA AV receiver.
q 5 Speaker Configuration (Power Amp. Section) RX-V493RDS 65W + 65W (8) RMS Output Power, 0.04% THD, 2020,000 Hz Center: 65W (8) RMS Output Power, 0.04% THD, 1 kHz Rear: 20W + 20W (8) RMS Output Power, 0.04% THD, 1 kHz RX-V393RDS 50W + 50W (8) RMS Output Power, 0.04% THD, 2020,000 Hz Center: 50W (8) RMS Output Power, 0.04% THD, 1 kHz Rear: 20W + 20W (8) RMS Output Power, 0.04% THD, 1 kHz q Digital Sound Field Processor q Dolby Pro Logic Surround Decoder q Theater-like Sound Experience by the Combination of Dolby Pro Logic and YAMAHA DSP Technology (CINEMA DSP) Main: Main: q Automatic Input Balance Control for Dolby Pro Logic Surround q Test Tone Generator for Easier Speaker Balance Adjustment q 3 Center Channel Modes (NORMAL/WIDE/PHANTOM) q Multi-Functions for RDS Broadcast Reception q 40-Station Random Access Preset Tuning q Automatic Preset Tuning q Preset Station Shifting Capability (Preset Editing) q IF Count Direct PLL Synthesizer Tuning System q 6-Channel Discrete Input Terminals for Connecting with a Dolby Digital (AC-3) Decoder q Video Signal Input/Output Capability q SLEEP Timer q Remote Control Capability
6. Always set the VOLUME control to before starting
the audio source play. Increase the volume gradually to an appropriate level after playback has been started. this might damage the finish. Use a clean, dry cloth.
Special Instructions for U.K. Model
IMPORTANT THE WIRES IN MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE: Blue: NEUTRAL Brown: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug.
7. Do not attempt to clean the unit with chemical solvents; 8. Be sure to read the TROUBLESHOOTING section
regarding common operating errors before concluding that the unit is faulty.
9. When not planning to use this unit for long periods of time
(ie., vacation, etc.), disconnect the AC power plug from the wall outlet.
10. To prevent lightning damage, disconnect the AC power
plug and antenna cable when there is an electrical storm.
11. Grounding or polarization Precautions should be taken
so that the grounding or polarization of an appliance is not defeated.
12.Do not connect audio equipment to the AC outlet on the
rear panel if the equipment requires more power than the outlet is rated to provide. 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 state, this unit is designed to consume a very small quantity 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 closely. If so, set the switch to either end closely.
SET BEFORE POWER ON
REAR 6MIN. /SPEAKER
CENTER SINGLE:6MIN. /SPEAKER DUAL:3MIN. /SPEAKER MAIN A OR B:4MIN. /SPEAKER A B:8MIN. /SPEAKER REAR 8MIN. /SPEAKER
CENTER SINGLE:8MIN. /SPEAKER DUAL:4MIN. /SPEAKER MAIN A OR B:8MIN. /SPEAKER A B:16MIN. /SPEAKER
NOTES ABOUT THE REMOTE CONTROL TRANSMITTER
Battery installation Remote control transmitter operation range
0 dB dB
Remote control sensor
Within approximately 6 m (19.7 feet)
Connecting the ground wire of the turntable to the GND terminal will normally minimize hum, but in some cases better results may be obtained with the ground wire disconnected.
Connecting with 6 channel discrete outputs of a Dolby digital (AC-3) decoder or a DVD player, etc.
If you have a Dolby Digital (AC-3) decoder or a DVD player etc. which incorporates a Dolby Digital (AC-3) decoder or a DTS decoder, its 6 channel discrete outputs can be connected to the 6CH DISCRETE INPUT terminals of this unit.
6CH DISCRETE OUTPUT
MAIN CENTER SURROUND
Dolby Digital (AC-3) decoder
DIGITAL OUT RF Demodulator
TAPE TAPE REC PB /MD OUT
AC-3 RF IN
MAIN LEVEL AUDIO SIGNAL
AC-3 RF OUT VIDEO OUT AUDIO OUT Laserdisc player with AC-3 RF output or another unit
Notes for RX-V493RDS The laserdisc player (or another unit) must be also connected to the DVD/LD (or TV/DBS) AUDIO SIGNAL input terminals of this unit for playing a source with the Dolby Pro Logic Surround decoded or in normal stereo (or monaural). The discrete signals input to this unit cannot be recorded by a tape deck, MD recorder or VCR. To record a source played on the laserdisc player (or another unit), it must be connected to the DVD/LD (or TV/DBS) AUDIO/VIDEO SIGNAL input terminals of this unit.
If you made no connection to the SUBWOOFER input terminal of this unit or you will not use a subwoofer, you should make a setting for distributing signals at the SUBWOOFER channel to the right and left MAIN output terminals on the Dolby Digital (AC-3) decoder etc. For details, refer to the owners manual for the Dolby Digital (AC-3) decoder etc.
Notes for RX-V393RDS The laserdisc player (or another unit) must be also connected to the VIDEO AUDIO SIGNAL input terminals of this unit for playing a source with the Dolby Pro Logic Surround decoded or in normal stereo (or monaural). The discrete signals input to this unit cannot be recorded by a tape deck, MD recorder or VCR. To record a source played on the laserdisc player (or another unit), it must be connected to the VIDEO AUDIO/VIDEO SIGNAL input terminals of this unit.
Subwoofer system Rear speaker Rear speaker
Right Center speaker
Left (Europe model)
REAR CENTER REAR (SURROUND)
CENTER SINGLE:8MIN. /SPEAKER DUAL:4MIN. /SPEAKER
CENTER C DUAL SINGLE D
MAIN A OR B:8MIN. /SPEAKER A B:16MIN. /SPEAKER
Main speakers B
Main speakers A
Use speakers with the specified impedance shown on the rear of this unit.
Note on center speaker connection:
One or two center speakers can be connected to this unit. If you cannot place the center speaker on or under the TV, it is recommended to use two center speakers and place them on both sides of the TV to orient the center sound at the center position. For connecting two center speakers, follow the method shown below.
Note on main speaker connections:
One or two speaker systems can be connected to this unit. If you use only one speaker system, connect it to either the SPEAKERS A or B terminals.
Note on a subwoofer connection:
You may wish to add a subwoofer to reinforce low frequencies or to output low bass sound from the subwoofer channel when reproducing discrete signals. Connect the SUBWOOFER OUTPUT terminal of this unit to the INPUT terminal of the subwoofer amplifier, and connect the speaker terminals of the subwoofer amplifier to the subwoofer. With some subwoofers, including the Yamaha Active Servo Processing Subwoofer System, the amplifier and subwoofer are in the same unit.
How to Connect:
Connect the SPEAKERS terminals to your speakers with wire of the proper gauge, cut as short as possible. If the connections are faulty, no sound will be heard from the speakers. Make sure that the polarity of the speaker wires is correct, that is the + and markings are observed. If these wires are reversed, the sound will be unnatural and lack bass. Caution Do not let the bare speaker wires touch each other or any metal part of this unit. This could damage this unit and/or speakers. For connecting to the MAIN SPEAKERS terminals Red: positive (+) Black: negative () For connecting to the REAR and CENTER SPEAKERS terminals Red: positive (+) Black: negative ()
The impedance of each speaker must be 8 or higher.
Center: If you use one center speaker, the impedance of the speaker must be 8 or higher. If you use two center speakers, the impedance of each speaker must be 4 or higher. Main: If you use one pair of main speakers, the impedance of each speaker must be 8 or higher. If you use two pairs of main speakers, the impedance of each speaker must be 16 or higher.
Each antenna should be connected to the designated terminals correctly, referring to the following diagram. Both AM and FM indoor antennas are included with this unit. In general, these antennas will probably provide sufficient signal strength. Nevertheless, a properly installed outdoor antenna will give clearer reception than an indoor one. If you experience poor reception quality, an outdoor antenna may result in improvement. Outdoor FM antenna Indoor FM antenna (included) Outdoor AM antenna
75-ohm/300-ohm antenna adapter 75-ohm coaxial cable
AM loop antenna (included)
75-ohm/300-ohm antenna adapter 300-ohm feeder
Ground Connecting the AM loop antenna
Orient so that the best reception is obtained.
* The AM loop antenna should be placed apart from the main unit. The antenna may be hung on a wall. * The AM loop antenna should be kept connected, even if an outdoor AM antenna is connected to this unit.
For maximum safety and minimum interference, connect the GND terminal to a good earth ground. A good earth ground is a metal stake driven into moist earth.
Notes q When connecting the indoor FM antenna, insert its connector into the FM ANT terminal firmly. q If you need an outdoor FM antenna to improve FM reception quality, either 300-ohm feeder or coaxial cable may be used. In locations troubled by electrical interference, coaxial cable is preferable.
CONTROLS AND THEIR FUNCTIONS
NATURAL SOUND AV RECEIVER
1 Tape deck keys
Control tape deck. * DIR A, B and A/B are applicable only to double cassette tape deck. * For a single cassette deck with automatic reverse function, pressing DIR A will reverse the direction of tape running.
2 CD player keys
Control compact disc player. * DISC is applicable only to compact disc changer.
SPEAKER BALANCE ADJUSTMENT
This procedure lets you adjust the sound output level balance between the main, center, and rear speakers using the built-in test tone generator. When this adjustment is performed, the sound output level heard at the listening position will be the same from each speaker. This is important for the best performance of the digital sound field processor and the Dolby Pro Logic Surround decoder.
PROGRAM TEST EFFECT PROLOGIC ENHANCED ON/OFF VCR VIDEO 2CH /6CH DIR A DIR B REC/PAUSE PLAY
Select the main speakers to be used.
Set to the position.
* If you use two main speaker systems, press both the A and B switches.
Turn the power on.
Set to the 0 position.
Select the center channel output mode suitable for your speaker configuration. (Refer to SPEAKER CONFIGURATION on page 7.)
Turn up the volume.
On the feature of each mode, refer to the Note shown below.
You will hear a test tone (like pink noise) from the left main speaker, then the center speaker, then the right main speaker, and then the rear speakers, for about two seconds each. The display changes as shown below.
Main (L) Note In step 6, when you select a center channel output mode, note the following. For 5 speaker configuration) NORMAL: Select this mode when you use a center speaker that is smaller than the main speakers. In this mode, the bass tone will be output from the main speakers. WIDE: Select this mode when you use the center speaker approximately same sized as the main speakers. For 4 speaker configuration) PHANTOM: Select this mode when you do not use the center speaker. The center sound will be output from the left and right main speakers. *
Rear (L and R)
TV/DBS DVD/LD TV/DBS DVD/LD
TAPE/MD MON 2CH/6CH TAPE/MD MON 2CH/6CH
Switching this unit to the 6ch mode will input no signal to this unit if there is no connection to the 6CH DISCRETE INPUT terminals of this unit.
TO RECORD A SOURCE TO TAPE (OR MD)
Select the source to be recorded.
Begin recording on the tape deck (or MD recorder etc.) or VCR connected to this unit. If the tape deck (or MD recorder etc.) is used for recording, you can monitor the sounds being recorded by pressing TAPE/MD MONITOR (MON) so that the TAPE MON indicator lights up on the display. RX-V393RDS
RX-V493RDS Play the source and then turn the VOLUME control up to confirm the input source. (For detailed information on the tuning operations, refer to the page 29.)
Notes The settings of DSP and the VOLUME, BASS, TREBLE and BALANCE controls have no effect on the material being recorded. q In step 1, do not make an input source selection so that 6ch appears on the display. Signals input to this units 6CH DISCRETE INPUT terminals cannot be recorded by a tape deck, MD recorder or VCR.
Selecting the SPEAKER system
Because one or two speaker systems (as main speakers) can be connected to this unit, the SPEAKERS switches allow you to select speaker system A or B, or both at once.
Adjusting the BASS and TREBLE controls
BASS 0 l TREBLE 0 l l 4
: Turn this clockwise to increase (or counterclockwise to decrease) the low frequency response.
Adjusting the BALANCE control
Adjust the balance of the output volume to the left and right speakers to compensate for sound imbalance caused by speaker location or listening room conditions.
TREBLE : Turn this clockwise to increase (or counterclockwise to decrease) the high frequency response. Note These controls are effective only for the sound from the main speakers.
Note This control is effective only for the sound from the main speakers.
RX-V493RDS only Adjusting the subwoofer output level RX-V493 only
If your audio system includes a subwoofer, and an amplifier driving the subwoofer (or a subwoofer system including an amplifier) is connected to the SUBWOOFER OUTPUT terminal on the rear of this unit, you can adjust the subwoofer output level on this unit.
If you want to store the first station received by the automatic preset tuning to a desired preset station number.
If, for example, you want to store the first received station to C5, select C5 by using the A/B/C/D/E button and the preset station number selector buttons after pressing the MEMORY button in step 2. Then press the TUNING button. The first received station is stored to C5, and next stations to C6, C7. sequentially. If stations are stored up to E8, the automatic preset tuning is finished automatically.
EXCHANGING PRESET STATIONS
You can exchange the places of two preset stations with each other as shown below.
Example) If you want to shift the preset station on E1 to A5, and vice versa.
Recall the preset station on E1 (by following the method of To recall a preset station on page 30).
Next, recall the preset station on A5 by following the same method with step 1.
Shows the exchange of stations is completed. Flashes.
In areas where RDS broadcasts cannot be received, the RDS broadcast functions do not operate. (The procedures from page 33 to page 37 are not necessary.)
RECEIVING RDS STATIONS
RDS (Radio Data System) is a data transmission system gradually being introduced by FM stations in many countries. Stations using this system transmit an inaudible stream of data in addition to the normal radio signal. RDS data contains various information, such as PI (Program Identification), PS (Program Service name), PTY (Program Type), RT (Radio Text), CT (Clock Time), EON (Enhanced Other Networks), etc. RDS function is carried out among the network stations. * This unit utilizes PI, PS, PTY, RT, CT and EON to receive RDS broadcast stations.
Displaying RDS data
SLEEP NORM ms dB STEREO WIDE kHz PHANTOM l20 MHz EFFECT OFF PRO LOGIC CONCERT MONO DISCO ROCK CONCERT ENHANCED VIDEO MOVIE STADIUM CONCERT HALL
This unit can be turned into the following five modes to display RDS data.
PS (Program Service name) mode:
Displays the name of the RDS station now being received instead of the frequency.
CT (Clock Time) mode:
Displays current time. This signal comes from the RDS station now being received.
PTY (Program Type) mode:
Displays the type of the program on the RDS station now being received. There are 15 program types to classify RDS stations. Refer to the next page for details.
EON (Enhanced Other Networks) mode:
Automatically receives a program of the designated program type when its broadcast starts, in place of the program now being received. When the broadcast of the called program ends, the previously received program (or another program on the same station) is recalled.
RT (Radio Text) mode:
The name of the station being received is displayed. If the station does not employ the PS data service, this mode will not be selected.
The type of the program on the station being received is displayed. If the station does not employ the PTY data service, this mode will not be selected. (You can make this unit search for a station which is broadcasting a program of your desired program type. For details, refer to the next page.)
Information about the program on the station being received is displayed. Information is displayed by a maximum of 64 Roman Alphabets including umlaut sign. If other characters are used on the RT data, they are displayed with under-bars. If the station does not employ the RT data service, this mode will not be selected.
Current time is displayed in the following form. The CT data from the station being received changes every minute.
If the data is accidentally cut off, CT WAIT may light up. If the station does not employ the CT data service, this mode will not be selected.
Frequency display mode
The frequency of the station being received is displayed.
Notes RDS data service cannot be utilized by this unit if the received signal is not strong enough. Especially, the RT (Radio Text mode) needs much data to be received, so it may occur that RT mode cannot be displayed even if other RDS modes (PS, PTY, etc.) are displayed. There may be a case that RDS data reception is not possible due to poor reception conditions. If so, press the TUNING MODE button so that the AUTO indicator goes off from the display. Though the reception mode is changed to monaural by this operation, when you change the display to an RDS mode, RDS data may be displayed. If the signal strength gets weakened by external interference during receiving an RDS station, the RDS data service may be cut off suddenly and.WAIT will light up on the display.
Calling a program of your desired program type from among preset RDS stations (PTY SEEK)
By designating a program type, the unit automatically searches all preset stations for an RDS station which broadcasts a program of that program type. * There are 15 program types to classify RDS stations. For details, refer to page 34.
Turn the unit into the PTY SEEK mode.
Begin searching all preset RDS stations.
Flashes. * The program type of the station now being received or NEWS flashes on the display.
AUTO PTY HOLD
PS PTY RT CT
Select the desired program type.
Flashes. * The PTY HOLD indicator lights up on the display.
If a station which broadcasts a program of the program type is found, the unit stops at the station and the program type lights up. If the called station is not the desired one, press the PTY SEEK START button once more. The unit begins searching for another station which brodcasts a program of the same program type. To stop the search, press the PTY SEEK START button once more.
To cancel this function
If the PTY SEEK MODE button is pressed once more, the PTY SEEK mode is canceled.
Making this unit call a program of your desired program type automatically when its broadcast starts
This function uses the EON (Enhanced Other Networks) data service on the RDS station network. By only selecting a desired program type (NEWS, INFO, AFFAIRS or SPORT), this unit automatically searches all preset RDS stations for a station that broadcasts a program of that program type in the background, and, if found, receives a program when its broadcast starts in place of the program now being received. * This function can be used only when an RDS station that employs the EON data service is received. (When such a station is received, the EON indicator lights up on the display.)
Make sure that the EON indicator is illuminated on the display.
When the broadcast of the called program ends, the previously received program (or another program on the same station) is recalled.
PTY RT CT EON
* If the EON indicator is not illuminated on the display, receive an (or another) RDS station so that the EON indicator lights up on the display.
Press the EON button once or more, so that no program type name lights up on the display.
Select a desired program type, NEWS, INFO, AFFAIRS or SPORT.
PTY RT CT EON NEWS
Press once or more.
The search is performed among all preset RDS stations in the background. If a program is found, the program is automatically received when its broadcast starts.
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 Pro Logic Surround decoder for multi-channel sound reproduction of sources encoded with Dolby Surround. The operation of the Dolby Pro Logic Surround decoder can be controlled by selecting a corresponding DSP program including a combined operation of the Yamaha DSP and the Dolby Pro Logic Surround.
By continuously pressing the + or side of the TIME/LEVEL button, the level value changes continuously. The value stops changing momentarily at the preset point (0 dB).
Note This adjustment is useful only when the digital sound field program DOLBY PRO LOGIC or DOLBY PRO LOGIC ENHANCED is selected.
Control range: MIN, 20 to +10 dB
Adjustment of the REAR LEVEL
If desired, you can adjust the sound output level of the rear speakers even if the output level is already set in SPEAKER BALANCE ADJUSTMENT on page 24. RX-V493RDS Notes q This adjustment can be made only when the built-in digital sound field processor is on.
Once the output level is adjusted, the level value will be the same in all the digital sound field programs.
Press once or more so that REAR appears on the display.
Note If no digital sound field program is used, this adjustment is useless. Adjustable
Adjustment of DELAY TIME
You can adjust the time difference between the beginning of the sound from the main speakers and the beginning of the effect sound from the rear speakers. The larger the value, the later the effect sound is generated. This adjustment can be made to all programs individually. RX-V493RDS
Press once or more so that DELAY appears on the display.
PRO LOGIC PRO LOGIC ENHANCED CONCERT VIDEO MONO MOVIE STADIUM DISCO ROCK CONCERT CONCERT HALL
: from 15 to 30 milliseconds (Preset value: 20 milliseconds) : from 15 to 30 milliseconds (Preset value: 20 milliseconds) : from 1 to 100 milliseconds (Preset value: 28 milliseconds) : from 1 to 100 milliseconds (Preset value: 20 milliseconds) : from 1 to 50 milliseconds (Preset value: 45 milliseconds) : from 1 to 100 milliseconds (Preset value: 14 milliseconds) : from 1 to 100 milliseconds (Preset value: 17 milliseconds) : from 1 to 100 milliseconds (Preset value: 30 milliseconds)
By continuously pressing the + or side of the TIME/LEVEL button, the value changes continuously. The value stops changing momentarily at the preset point.
Adjustable Notes When the TIME/LEVEL button is pressed, sound is momentarily interrupted. q Adding too much delay will cause an unnatural effect with some sources.
RX-V393RDS This adjustment can be made by only using the remote control transmitter.
Adjustable Note Adding too much delay will cause an unnatural effect with some sources.
This unit is in the standby mode.
Minimum RMS Output Power per Channel (Power Amp. Section) Main L, R 8 ohms, 20 Hz to 20 kHz, 0.04% THD <RX-V493RDS>...65W+65W <RX-V393RDS>...50W+50W Center 8 ohms, 1 kHz, 0.04% THD <RX-V493RDS>...65W <RX-V393RDS>...50W Rear 8 ohms, 1 kHz, 0.04% THD..20W+20W Dynamic Power per Channel (by IHF Dynamic Headroom measuring method) <RX-V493RDS> 8/6/4/2 ohms..95/115/145/165W <RX-V393RDS> 8/6/4/2 ohms..80/100/120/135W DIN Standard Output Power per Channel 4 ohms, 1 kHz, 0.7% THD <RX-V493RDS>...95W <RX-V393RDS>...75W IEC Power 8 ohms, 1 kHz, 0.1% THD <RX-V493RDS>...80W <RX-V393RDS>...60W Power Band Width <RX-V493RDS> 8 ohms, 30W, 0.1% THD...10 Hz to 50 kHz <RX-V393RDS> 8 ohms, 25W, 0.1% THD...10 Hz to 50 kHz Damping Factor (SPEAKERS A) 8 ohms, 20 Hz to 20 kHz...80 or more Input Sensitivity/Impedance <RX-V493RDS> PHONO MM..2.5 mV/47 k-ohms CD/TAPEMD/DVDLD/TVDBS/VCR.170 mV/47 k-ohms 6CH DISCRETE INPUT DVD/LD TV/DBS MAIN L/R...170 mV/56 k-ohms CENTER..170 mV/40 k-ohms REAR L/R..100 mV/40 k-ohms SUBWOOFER...170 mV/40 k-ohms <RX-V393RDS> PHONO MM..2.5 mV/47 k-ohms CD/TAPEMD/VIDEO/VCR..170 mV/47 k-ohms 6CH DISCRETE INPUT VIDEO MAIN L/R...170 mV/56 k-ohms CENTER..170 mV/11 k-ohms REAR L/R..100 mV/11 k-ohms SUBWOOFER...170 mV/40 k-ohms Maximum Input Signal <RX-V493RDS> PHONO MM 1 kHz, 0.5% THD..100 mV or more CD/TAPEMD/DVDLD/TVDBS/VCR (EFFECT OFF) 1 kHz, 0.5% THD..2.5V or more <RX-V393RDS> PHONO MM 1 kHz, 0.5% THD..100 mV or more CD/TAPEMD/VIDEO/VCR (EFFECT OFF) 1 kHz, 0.5% THD..2.5V or more Output Level/Impedance REC OUT..170 mV/2.5 k-ohms CENTER to PRE OUT..2V/1.2 k-ohms REAR to PRE OUT..1.2V/1.2 k-ohms SUBWOOFER (EFFECT OFF)..4V/1.2 k-ohms Headphone Jack Rated Output/Impedance Output Level (8 ohms, 0.04% THD)..0.45V Impedance...330 ohms Frequency Response (20 Hz to 20 kHz) <RX-V493RDS> CD/TAPEMD/DVDLD/TVDBS/VCR..00.5 dB <RX-V393RDS> CD/TAPEMD/VIDEO/VCR..00.5 dB RIAA Equalization Deviation PHONO MM...00.5 dB Total Harmonic Distortion (20 Hz to 20 kHz) <RX-V493RDS> PHONO MM to REC OUT 1V...0.02% or less CD/TAPEMD/DVDLD/TVDBS/VCR to SP OUT 30W/8 ohms..0.03% or less <RX-V393RDS> PHONO MM to REC OUT 1V...0.02% or less CD/TAPEMD/VIDEO/VCR to SP OUT 30W/8 ohms..0.03% or less Signal-to-Noise Ratio (IHF-A Network) <RX-V493RDS> PHONO MM to REC OUT (5 mV Input Shorted)..80 dB or more CD/TAPEMD/DVDLD/TVDBS/VCR to SP OUT (150 mV Input Shorted, EFFECT OFF).93 dB or more <RX-V393RDS> PHONO MM to REC OUT (5 mV Input Shorted)..80 dB or more CD/TAPEMD/VIDEO/VCR to SP OUT (150 mV Input Shorted, EFFECT OFF).93 dB or more Residual Noise (IHF-A Network) MAIN L/R...140 V or less
lobal Manufacturing System Strengthened
July 1998 will surely be regarded as an epoch-making month in the Yamaha Groups long history. Two new local subsidiaries, P.T. Yamaha Musical Products Indonesia (YMPI) and P.T. Yamaha Music Manufacturing Asia (YMMA), whose facilities have been under construction, celebrated their start of operations with commemorative ceremonies on the 20 and 21, respectively. At a separate event on July 21, P.T. Yamaha Music Manufacturing Indonesia (YMMI) held a special ceremony to mark the production of its one millionth acoustic guitar.
Seven hundred staff and guests gather to celebrate the sta r t o f o pe rat ions at Y MMA. YMMAs Clavinova asse mbly w orkshop Th e n ew w ind inst rume nt f act ory (Y MPI) The flute assembly and tuning workshop at the YMP I fa c to ry At the ceremony to mark YMMIs production of its one millionth acoustic guitar, Yamaha Co r p o r a tio n S e nior Managing Dire ct or Mr. It o ( left) a n d t he ve nt ure s Indone sian part ne r, E xGeneral Hoegeng, sign a commemorative plaque.
amaha Lays Groundwork for Global Expansion
With the establishment of new manufacturing facilities in Indonesia, Yamaha has now expanded its network in that country to four manufacturing ventures and one distributor with a Music Foundation. Through these developments, the Yamaha Group expects production outside of Japan to reach 24% of total
output. Indonesia is now seen as a particularly important part of the global strategy, accounting for 15% of the Groups overall overseas production. In the future, increased benefits are forecast to accrue from operations in this region, through such measures as purchasing common components, tax
exposure minimization, implementation of production control systems, and the establishment of an online information system. To fully exploit such opportunities, all staff divisions are supporting the efforts of the five local Group companies as they examine the issues from a region-wide perspective.
P.T. Yamaha Indonesia
Established: 1974 Capital: US$21 million Location: Pulogadung Industrial Estate, Jakarta Employees (as of 8/98): 275 Business Areas: Manufacture of pianos
Medan Kuala Lumpur Ho Chi Minh City
P.T.Yamaha Musical Products Indonesia
Established: 1997 Capital: US$9.5 million Location: Pasuraruan, East Java Employees (as of 8/98): 212 Business Areas: Manufacture of wind instruments (flutes) and accessories, Pianicas
Ujungpandang Jakarta Surabaya
P.T. Yamaha Music Indonesia (Distributor)
Established: 1990 Capital: US$10 million Location: Jakarta Employees (as of 8/98): 67 Business Areas: Sales of musical instruments
Manufacturing Asia Y M M A P.T. Yamaha Music
Yayasan Music Indonesia
(Indonesia Music Foundation)
Established: 1997 Capital: US$30 million Location: Bekasi, West Java Employees (as of 8/98): 594 Business Areas: Manufacture of electronic instruments
P.T. Yamaha Music Manufacturing Indonesia
Established: 1989 Capital: US$13.136 million Location: Pulogadung Industrial Estate, Jakarta Employees (as of 8/98): 1,050 Business Areas: Manufacture of guitars, drums, recorders, and Pianicas
SP-A1 Wins Prestigious European Award
The DSP-A1 audiovisual amplifier has been named the European Home Theater Amplifier of the Year 1998/99. The award was conferred by the European Imaging and Sound Association (EISA), which represents 40 prominent Photo, Video, Audio or Home Theater magazines from up to 19 European countries. Each year EISA announces awards for the best products released in each category. The DSP-A1 is a seven-channel AV amplifier that was launched in Japan in December last year, and in the European market in April this year. It features the new industry-leading DTS surround format for Cinema DSP with sound field processing technology. The main unit and remote control both feature the most advanced amplifier functions and technology available, to achieve superior acoustic qualities. Apart from this award, the DSP-A1 has received the HIVI Grand Prix Gold Medal in Japan and numerous other awards from around the world.
amaha Exhibits at Cebit Home 98 in Hannover
Cebit Home 98 in Hannover, a major computer and multimedia exhibition attracting nearly 200,000 visitors, was held in the northern German city from the 26 to 30 of August. This year saw Yamahas second exhibition at the show, exhibiting a range of multimedia products. On display was a full selection of Yamahas hottest new items, from the CD-Recorder, to a speaker system for PCs, and the WF192 Sound Card, with the Yamaha area attracting the attention of thousands of visitors to the show. In particular, the CRW4260 and CRW4261 CD-RW Drive became feature items, with many visitors fascinated by the Live Recording demonstration, How to burn CD. Another favorite was the DJX (PSRD1) dance techno keyboard which lets anyone try their hand at composing dance tracks, even if they cant read musical scores. As teenagers took their turns on the demonstrator model, excitement in the area soared.
Yamaha products draw a lot of attention at Cebit Home 98 in Hannover.
The DSP-A1: winner of the European Home Theater Amplifier of the Year and numerous other awards
EISA praises the award-winning DSP-A1.
lsace Production Surpasses One Million Units
The Audio Video Divisions first overseas manufacturing base, Yamaha Electronique Alsace S.A. (YEA) recently surpassed one million units produced, and held a special ceremony on July 21 to mark the occasion. The ceremony opened with an address from YEA President Mr. Takuaki Kato. Displayed before the audience was the factorys first model when production began in 1990, the CDX-530E CD player, and the one millionth product to roll off the line, the RX-V393RDS AV receiver. Following Mr. Kato, Yamaha Corporation Board Member and Audio Video Division Director Mr. Kunihiro Maejima expressed his deep gratitude to the staff and distributors for their efforts, and said he looked forward to future developments at the company. Mr. Weil, vice-president of the local sales subsidiary, Yamaha Electronique France S.A. (YEF), also spoke of his determination to use the excellence of Yamaha products as his main weapon to move sales to an even higher level. Gathered for the ceremony to mark this momentous occasion were over 100 guests, including the entire staff, distributors and representatives from Yamahas headquarters in Japan.
ew Product Seminars in South America
From July 26 to August 4 the Steve Smith Digital Workshop Latin America Tour Part 2 hit the road, covering cities in Uruguay, Chile, Colombia and Venezuela. The seminar tour was organized with the aim of facilitating the smooth introduction of new digital products into the South American market, and at the same time to make a strong appeal for Yamaha products among key users. The workshops were put on by Yamaha de Panama S.A. (YDP), with Mr. Steve Smith, affiliated to the headquarters International Marketing Division, taking on the role of demonstrator. Mr. Smith gave demo performances of the 01V digital mixer, the EX series synthesizers and other equipment, and gave explanations for each product. The seminars were attended by a total of 550 people, including sales people, studio engineers and general users. Despite a tight schedule, Mr. Smith managed to fit in two or three sessions in each country. The main attraction for studio engineers was the range of digital mixers, headed by the 01V, which are fast becoming the de facto standard in their area. Musicians also had the chance to try the sampling function and other advanced capabilities of the synthesizers. All the sessions drew a number of lively questions from the floor, with much excitement generated throughout the tour.
Steve Smith responds to an audience question at one of the workshops.
The one millionth receiver is displayed in front of the audience, as Mr. Maejima extends his greetings.
uropean Audiovisual Marketing Strategy Conference
From July 2022, a European Audiovisual Marketing Strategy Conference was held at YEA by the local AV products sales subsidiaries. At the meeting venue, a banner bearing the European markets sales slogan E100 was hoisted. Ahead of major developments in the European market, such as monetary union, it is now even more crucial than in the past to adopt strategies that are based on close observation of subtle market changes. At the conference, which had the theme of a pan-European marketing strategy, lively discussions were held involving production staff, distributors, and head office personnel, that will help shape AV Division strategies, pan-European sales strategies and pan-European product strategies. In particular, intense debate focused on how to achieve the AV Divisions goal of becoming #1 manufacturer in the home theater category, which is now driving sales worldwide. Joining the discussion were managers from YEA, one of the divisions production linchpins. The conference served as a strong starting point for an operating mode that forms a close fit between the manufacturing and marketing sides of the business.
Lively views are exchanged at the European Strategy Conference.
Did you know that a Yamaha piano made an appearance in the hit movie As Good As It Gets, starring Jack Nicholson and Helen Hunt, who both won Oscars for their lead performances? The films main character is a bestselling romance novel writer, played by Nicholson, who hates being around other people, and he even despises the dog next door. Nicholson begrudgingly agrees to look after the neighbors dog when its owner gets injured, but the dog fails to eat the food he offers it. At this point, the writer gives up, turns toward his piano, and proceeds to play his favorite
number, whereupon the dog surprisingly starts to eat the food. In one scene, where dog-hater and dog have a meeting of hearts, the Yamaha acoustic and Disklavier piano makes its appearance. In one scene, where Nicholson turns to look at the dog, there is a shot of the piano keyboard and can clearly see the six letters YAMAHA. Another recent movie in which Yamaha gained attention, in this case with its wind instruments, was the British film Brassed Off.
The scene with Jack Nicholson playing his favorite number in the company of the dog
How to Nurture a Good Ear
What we find out from a medical check-up of our ears is whether our ears are functioning correctly. In actual fact, there is no way to scientifically test how good your ears are. That is because the definition of a good ear is quite subjective, and thus varies from person to person. For example, to someone whose vocation involves music, or for a music-lover, a good ear can correctly differentiate between sounds, and lets the listener feel the beauty of a musical piece. On the other hand, for someone studying a foreign language or a person who has begun living in a foreign country, an ear that can correctly pick up the different sounds of a language they are not yet accustomed to hearing might fit their definition of a good ear. In this way, what constitutes a good ear changes in response to the particular needs of each person and/or their situation. Nevertheless whether we are talking about music, language or sounds of the environment hearing, comprehending and feeling sounds is the job of the brain. Rather than being innate, these capabilities tend to be ones fostered and cultivated from a very early age, through a combination of exposure to environmental influences and training. In other words, if you have the desire to nurture a good ear for music, exposure to a large amount of music and nourishing refined sensibilities to music are important. Another factor uncovered during research for this article is the importance of having a state of mind or attitude of wanting to hear. As pointed out in our previous issue, we subconsciously filter and sort the sounds that enter our ears. Even if a sound enters
In our previous issue, we presented fundamental knowledge about the entranceways for sound our ears. Let us now move on to the next step, after having jogged our memories about the complex structure of the ear and the way in which sound is transmitted. In Part 2, we learn about what constitutes a good ear, and what it takes to nurture one. First of all, lets check your good ear level.
An Ear Performance Test
How much confidence do you have in your ears? Lets investigate your good ear level using the Yes/No test given below. Remember though, that a good ear is not defined simply from a biological point of view, but involves the ability to differentiate between sounds and depends a great deal on your breadth of sound experience. Of course, this Yes/No test should be seen as just one form of reference for you to enjoy. 10 points 0 points
If you listen separately to the voices of 20 or more acquaintances, can you correctly match which voice belongs to whom? Can you tell the difference between a hall with good acoustics and one with bad acoustics? Can you pick out the content of what two people are saying when they are speaking at the same time? Do you regularly clean your ears properly? Can you correctly pick out the different notes in a musical scale? Do you often ask someone to repeat what they have said? Do people often tell you that youre talking too loudly? Can you tell whether a car, TV, or audio system is malfunctioning just by listening to it? Do you become disturbed by nearby noise, making it difficult for you to concentrate? Can you pick out a perfectly ripe watermelon by the sound it makes when you tap it?
our ears, it may disappear before reaching the brain if our mood or attention is not directed towards it. The desire to hear and feel good music, wanting to understand a foreign language, wishing to experience the sounds of the environment. By being strongly motivated towards such goals, it could be said that you are already on the road to nurturing a good ear.
The Ears of Machines
If it is the role of ears to sense and make us aware of sound, is it possible then that machines too might have ears? If machines had ears and mouths, by conversing with humans they could understand our wishes and help us. For such purposes, speech recognition research is being pursued in a wide range of fields. Take, for example, car navigation systems. If a driver says his destination out loud, the navigation system would then automatically display a map on a screen, showing the way to the destination. Since it is not possible to simultaneously type into a keyboard and drive, it is clear that speech recognition becomes the key technology to practical use of this system. The number of machines with ears we encounter in everyday situations is slowly increasing. These include telephones that are pre-programmed to dial a specific number when you say the name of the person you wish to call, or railway station vending machines that will sell you the right ticket just by saying the name of your destination. Personal computers that allow the input of commands and text via speech recognition capabilities are already a reality. Peoples voices are each unique in some way. Language, dialect, accent and gender differences are but a few of the difficulties that must be overcome by artificial recognition systems. A very large vocalized vocabulary must be programmed in advance, and the closest match to the pattern being spoken must be searched for and retrieved. Though technology has advanced by leaps and bounds, the ears of machines are limited to handling only as much as they have been programmed with. In contrast, the human ear is able to use prediction and guesswork to correct and comprehend what it has heard, as it is listening to the source. There is no doubt that our ears operate on an extremely sophisticated level.
So, how well did your ears score?
Cooperation: Yamaha Corporation, Acoustic Research Laboratories L&H Japan Inc.
Denis Matsuev Inspires with His Dynamic Virtuosity
with such a majestically spirited performance gave the audience the special feeling that they were witnessing the birth of a future virtuoso. The special characteristics of the performances from the solidly built 192 cm tall 23-year-old are the rich variation in volume and an exciting dynamic quality to his playing. He says he feels no nervousness at being onstage, that on the contrary, he finds performing in front of people thrilling, and cant wait to let the audience hear his performance. In his private time he is a diehard soccer fanatic, and even as he waited to go onstage at the Tchaikovsky competition, he watched the World Cup on television and kicked around a soccer ball, a sign of how completely relaxed he felt. A t an interview in Toky o o n A ugus t 30, Mr. Matsuev had the following to say about Yamaha pianos. It has been my dream since childhood to win the Tchaikovsky competition. I was first introduced to Yamaha pianos in 1995, at the Rubinstein Competition. The earlier CFIIIS models were well-suited to the delicate pieces, but with the latest CFIIIS, I also feel absolutely no limitation to the strong, powerful forte sound I want to get at the climax of a piece. There is nothing holding back my expressiveness. it gives me a feeling of satisfaction that I can release everything that I want to. High praise indeed for the power of the CFIIIS from Mr. Matsuev.
Russian pianist Denis Matsuev, winner of the 11th International Tchaikovsky Competition performing on a Yamaha CFIIIS Concert Grand, gave a concert at Tokyo Opera City on August 28. The program included the two piano concertos played at the Tchaikovsky Competition; a Liszt concerto and a Tchaikovsky concerto. The dynamic musicality brought out of the CFIIIS
Yamaha Devotee Lito Vitale Performs in Japan
Well-known Argentine musician, composer and producer Lito Vitale recently toured Japan for the first time, performing concerts in Tokyo, Kyoto and Nagoya in early August. The concerts were billed as a festival of Argentine music, and were divided into two separate parts, a tango concert and a folklore concert. Mr. Vitale performed on a Yamaha piano. In between concerts, Mr. Vitale had the chance to visit the Yamaha Ginza Store in Tokyo, and test out Yamaha grand pianos and Clavinovas. Even before Yamaha Music Argentina was established, Mr. Vitale went to the trouble of privately importing Yamaha pianos and synthesizers. He is particularly fond of the CFIII, CP80 and GranTouch. He says that Yamaha products have a warm sound and are more comfortable to play than other instruments. He feels they are the perfect instruments for his musical expression. He is also involved in various promotional activities as part of his contract with Yamaha Music Argentina, which includes using Yamaha pianos and synthesizers when performing on television, and playing Yamaha instruments at concerts with famous Argentine singing stars. As a matter of fact, all of Mr. Vitales recordings have been done with Yamaha acoustic pianos, and when sound quality and levels are good under amplification, he mainly uses Yamaha keyboard products for stage concerts.
YAMAHA CORPORATION Public Relations Division 2-17-11, Takanawa, Minato-ku, Tokyo 108-8568, Japan Tel: 81-3-5488-6601 Fax: 81-3-5488-5060 http://www.yamaha.co.jp Printed in Japan on recycled paper
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