SP2 PREAMP/PROCESSOR, Decoded, Enabled

SP2 PREAMP/PROCESSOR

●. ON: DTS. -ES .Matrix .will .be .forced .on . for .all .DTS .5.1 .channel .input .bit- streams, .if .the .back .channels .are . enabled.

. ● . AUTO: DTS. -ES .Matrix .will .be .decode .if .the . incoming .DTS .bitstream .is .flagged . as .having .DTS-ES .encoded .con- tent, .and .if .the .back .channels .are . enabled.

Enabling THX Surround EX™ Decoding

THX .Surround .EX™ .processing .creates .back .chan- nel .material .from .material .contained .in .the .sur- round .channels .of .Dolby .Digital .5.1 .bitstreams. . Some .Dolby .Digital .material .has .been .formatted . so .that .THX .Surround .EX™ .processing .is .applied, . specific .material .will .be .placed .on .the .back .chan- nels, .while .other .specific .material .remains .on .the . surround .channels. .To .control .when .THX .Surround . EX™ .processing .will .be .applied, .change .the .EX . Control .setting .as .follows: .

. 1: First. .enter .the .main .menu .by .pressing .on .any . one .of .the .menu .buttons .(< .- .> .or .SELECT) .

2: Next. .move .the .cursor .to .“OS”. .Hit .‘SELECT’; . you .are .now .in .the .‘Other .Settings’ .menu.

. 3: Move. .the .cursor .to .“EX”. .Hit .‘SELECT’; .you .can . now .change .the .EX .Control .setting. .

The .options .available .in .this .menu .are: .

. ● . DISABLE: THX. .Surround .EX™ .will .not .be .

decoded .

●. ON: THX. .Surround .EX™ .will .be .forced . on .for .all .Dolby .Digital .5.1 .channel . input .bitstreams, .if .the .back .chan- nels .are .enabled.

●. AUTO: THX. .Surround .EX™ .will .be .decod- ed .if .the .incoming .Dolby .Digital . bitstream .is .flagged .as .having . THX .Surround .EX™ .encoded .con- tent, .and .if .the .back .channels .are .

enabled. .

For .more .information .on .THX .Surround .EX™, .visit . www.thx.com .

Changing Dolby PLII Music Settings

Dolby .Pro .Logic .II .is .the .next .generation .in .Dolby . Surround .decoding. .It .is .designed .specifically .

to .decode .all .existing .Dolby .Surround .programs . and .provide .improved .spatiality .and .directional- ity .of .sounds. .Through .the .use .of .an .elegant .new . approach .to .matrix .surround .decoding .and .the . decoding .of .stereo, .full-bandwidth .surround .out- puts, .Pro .Logic .II .decoding .effectively .bridges .the . gap .between .Pro .Logic .and .discrete .Dolby .Digital . 5.1 .soundtracks. .

Pro .Logic .II .is .also .designed .for .use .with .unencod- ed .stereo .music .recordings. .The .listener .is .drawn . into .a .three-dimensional .space, .rather .than .hearing .

a.flat, .two-dimensional .presentation. .This .not .only . helps .develop .a .more .involving .soundfield, .but .also . solves .the .narrow .“sweet .spot” .problem .of .conven- tional .stereo .reproduction. .All .of .these .benefits .are . provided .using .the .same .“3/2” .speaker .configura- tion .consumers .have .been .using .with .Pro .Logic . since .1988. .

Pro .Logic .II .follows .in .the .footsteps .of .Pro .Logic . and .Dolby .Digital .5.1 .channel .decoding. .In .many . key .respects, .Pro .Logic .II .fits .into .this .environment . seamlessly. .Electrically, .the .parameters .of .head- room, .reference .level, .channel .calibration, .output . trim .controls, .noise .sequencer, .and .master .volume . control .are .all .unchanged .relative .to .a .Pro .Logic . decoder .within .a .5.1 .channel .Dolby .Digital .decoder. .

The .main .difference .is .that .besides .the .stereo .sur- round .outputs, .Pro .Logic .II .provides .some .new, . optional .modes .to .enhance .music .playback. .

PLII Film: . This .is .the .preferred .decoding . method .for .watching .movies .with .matrix .surround . encoding. .The .centre .width .and .dimension .vari- ables .are .set .and .optimized .for .this .application, . and .cannot .be .adjusted. .No .filters .are .present .on . the .surround .channels, .and .auto-balance .is .opera- tional. .

PLII Music: . This .mode .can .enhance .normal .ste- reo .music .recordings, .offering .a .wider .soundstage . and .enhanced .spatial .effects. .This .offers .user .con- trol .over:

. 1: .Center Width Control allows .variable .adjust- ment .of .the .center .image .so .it .may .be .heard . only .from .the .center .speaker, .only .from .the . left/right .speakers .as .a .“phantom” .center . image, .or .various .combinations .of .all .three . front .speakers. .For .home .users, .it .allows . improved .blending .of .the .center .and .main . speakers, .or .to .control .the .sense .of .image . width, .or .“weight.” .

. 2: Dimension. Control .allows .the .user .to .gradu- ally .adjust .the .soundfield .either .towards .the . front .or .towards .the .rear. .This .can .be .useful .to . help .achieve .a .more .suitable .balance .from .all . the .speakers .with .certain .recordings.