Yamaha presents advanced solutions for maximum home theatre enjoyment.
Yamaha has taken home theatre audio technologies to new levels of achievement. Long
Here’s a brief introduction to our major technologies.
Highest Sound Quality
Highest Picture Quality
Advanced Facilities
Best Surround Realism
Highest Sound Quality
Yamaha has a genuine commitment to providing absolutely the finest sound quality possible in every component we create. With over a century of experience in sound production (we made our first reed organ in 1887) and our status as a world leader in acoustic and electronic musical instruments, we are passionate about creating and reproducing sound in the most beautiful and natural way. Over the years, with each new series of receivers, we have improved and refined audio performance, and Yamaha Digital Home Theatre Receivers maintain this tradition with an impressive array of technology and features.
Digital ToP-ART Concept
Digital
Purity Audio Reproduction
Technology) is a Yamaha
product development philosophy that combines advanced digital engineering and circuit design to maximise audio signal purity. It is used in three
sections of the receiver, the High Performance Digital Circuitry and High Current Amplification (explained below) and the High Definition CINEMA DSP circuitry (explained on p.16), each of which employs the world’s highest grade parts and most sophisticated LSIs. Digital
High Performance Digital Circuitry (RX-Z9)
This section exemplifies the Digital
digital bass and treble tone controls have turnover frequencies for the front L/R and centre channels.
High Current Amplification
Although power rating is often the first thing people look at in a receiver, high power output does not necessarily mean good sound. High current level is a much more important factor, so Yamaha developed the High Current Amplification system, which overcomes two problems common to ordinary receivers. The first is a difference in voltage between the power supply and amplifier circuits caused by current fluctuations. This was solved by using
|
|
|
|
| Direct Stereo |
|
|
|
| DIR | SEL |
|
|
| |
Digital |
|
|
|
|
|
| |
Input |
|
|
| Decoder | CINEMA DSP | YPAO |
|
|
|
|
|
| |||
|
|
|
|
| and HiFi DSP | (Yamaha |
|
|
|
|
|
| Parametric |
| |
|
|
|
|
|
| Room Acoustic |
|
|
| 96 kHz/ |
| Optimiser) |
| ||
|
|
|
| ||||
Multi (8)- |
|
|
|
|
| ||
ADC |
|
|
|
|
| ||
Channel |
|
| Minimal |
|
|
|
|
Input |
| Analogue |
|
| |||
|
|
| Processing |
| |||
|
|
|
|
|
|
Selector
i.LINK
| High Performance | High Current | ||
| Digital Circuitry | Amplification | ||
SEL | DAC | VOL | • Front L | |
• Front R | ||||
|
|
| ||
SEL | DAC | VOL | • Centre |
SEL | DAC | VOL | • Surround L | ||
• Surround R | |||||
|
|
|
| ||
SEL | DAC | VOL | • Surround Back L | ||
• Surround Back R | |||||
|
|
|
| ||
|
| DAC | VOL | • Presence L | |
|
| • Presence R | |||
|
|
|
| ||
SEL | DAC | VOL | • Subwoofer L | ||
• Subwoofer R | |||||
|
|
|
| ||
|
| 192 | Accurate Touch Volume Control | ||
|
| ||||
|
| DACs for |
| ||
|
|
| |||
|
| 11 Channels |
relays, copper circuit boards, and so on. To avoid this problem, we used an
Choice of Signal Paths for Optimum Quality
Yamaha receivers give you a choice of specialised
signal paths, ensuring that you can obtain the
12