PAV Audio/ Vide o Pre a mplifie r
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Imp orta nt Sa fe ty Instruc tions
Please read all instructions and precautions carefully and completely before operating your PAV audio/video pream-
plifier.
1. ALWAYS disconnect your entire system from the AC mains before connecting or disconnecting
any cables, or when cleaning any component.
2. This product is equipped with a three-conductor AC mains power cord which includes an earth
ground connection. To prevent shock hazard, all three connections must ALWAYS be used. If your
electrical outlets will not accept this type of plug, an adapter may be purchased. If an adapter is
necessary, be sure it is an approved type and is used properly, supplying an earth ground. If you
are not sure of the integrity of your home electrical system, contact a licensed electrician for assis-
tance.
3. AC extension cords are not recommended for use with this product. If an extension cord must be
used, be sure it is an approved type and has sufficient current-carrying capacity to power this
product.
4. NEVER use flammable or combustible chemicals for cleaning audio components.
5. NEVER operate this product with any covers removed.
6. NEVER wet the inside of this product with any liquid.
7. NEVER pour or spill liquids directly onto this unit.
8. NEVER block air flow through ventilation slots or heatsinks.
9. NEVER bypass any fuse.
10. NEVER replace any fuse with a value or type other than those specified.
11. NEVER attempt to repair this product. If a problem occurs, contact your Proceed® retailer.
12. NEVER expose this product to extremely high or low temperatures.
13. NEVER operate this product in an explosive atmosphere.
14. ALWAYS keep electrical equipment out of the reach of children.
15. ALWAYS unplug sensitive electronic equipment during lightning storms.
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Ta ble of Conte nts
Ma ximizing the Va lue of Your Purc ha se ..................................................... 7
Se nd in tha t wa rra nty c a rd !............................................................................... 7
Unp a c king a nd Pla c e me nt ........................................................................ 8
Unp a c king .......................................................................................................... 8
Insta lling Ba tte rie s in the Re m ote Co ntro l ......................................................... 8
Pla c e m e nt .......................................................................................................... 8
Ve ntila tio n ........................................................................................................... 8
Op e ra ting Volta ge ...................................................................................... 9
A Word Ab out Insta lla tion ..........................................................................10
Home The a te r a nd the Proc e e d PAV......................................................... 11
PAV syste m d ia g ra m ................................................................................... 11
Movie Sound a nd the PAV ................................................................................ 11
Dolby Pro Lo g ic ™ Sourc e s ................................................................................12
THX Cine m a Sourc e s .........................................................................................12
Music a nd the PAV ............................................................................................12
Subwo ofe rs a nd Surround Mo d e s .................................................................... 12
Front Pa ne l .................................................................................................. 13
Vie wing Simulc a sts ........................................................................................... 13
Re a r Pa ne l ..................................................................................................18
IR inp ut tip p o la rity .................................................................................... 20
Le a rning Re mote Control .......................................................................... 24
Pla nning Your Insta lla tion .......................................................................... 28
Cho o sing The Eq uip me nt ................................................................................ 28
Pla nning Your Eq uip m e nt Pla c e m e nt ............................................................. 28
The “Corre c t” Size fo r Yo ur Te le vision Sc re e n .................................................. 29
The Powe r Amp lifie rs ........................................................................................ 29
The Le ft, Ce nte r a nd Rig ht (LCR) Front Sp e a ke rs ............................................ 29
to e -in of le ft & rig ht sp e a ke rs ................................................................... 30
The Subwo ofe r(s) .............................................................................................. 30
The Surround Sp e a ke rs ...................................................................................... 31
d ip o la r surround p la c e me nt ..................................................................... 31
c onve ntiona l surround p la c e m e nt .......................................................... 32
The Wiring .......................................................................................................... 32
e xa mp le wire le ng ths c ha rt ..................................................................... 32
Wo rking in Unusua lly La rg e Ro om s ................................................................. 32
Syste m Pla nning Guid e ............................................................................. 33
Vid e o Pla c e m e nt ............................................................................................. 33
Ele c tro nic s Pla c e m e nt ..................................................................................... 33
Sp e a ke r Pla c e me nt ......................................................................................... 33
Ad d itiona l Note s on Sp e a ke r Pla c e m e nt ....................................................... 34
Syste m Se tup & Ca lib ra tion ...................................................................... 35
Op e ra ting the On Sc re e n Me nus with the Re mote ....................................... 35
Op e ra ting the On Sc re e n Me nus fro m the Front Pa ne l ................................ 35
Se tting Up .......................................................................................................... 36
Se t Sp e a ke rs...................................................................................................... 36
Pha ntom Ce nte r Cha nne l ........................................................................ 37
Physic a l Se tup ................................................................................................... 37
Te sting Fo r Prop e r Pha sing ............................................................................... 37
Inp ut Leve l Ca lib ra tio n ..................................................................................... 38
Outp ut Le ve l Ca lib ra tion .................................................................................. 39
set leve ls m e nu .......................................................................................... 39
Se tting the Surround De la y .............................................................................. 40
4
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Se tting Inp ut De fa ults ........................................................................................ 41
Pro g ra mming a Ne w On Sc re e n Alia s ............................................................. 41
c d 1 me nu .................................................................................................. 42
a lia s m e nu ................................................................................................. 42
Pro g ra mming Inp ut Offsets .............................................................................. 42
inp ut le ve l offset m e nu ............................................................................. 43
Pro g ra mming De fa ult Mo d e s .......................................................................... 43
d e fa ult surround m o d e me nu .................................................................. 44
Pro g ra mming Vid e o Inp uts .............................................................................. 44
vid e o inp ut d e fa ults me nu ....................................................................... 44
Mo d e De fa ults .................................................................................................. 45
Se tting Mo d e De fa ults...................................................................................... 45
Pro g ra mming the IR Inp ut ................................................................................ 47
Cha ng ing the PAV’s IR Ad d re ss ........................................................................ 48
Config uring the Re m ote Trig g e r outp ut .......................................................... 48
Using the PAV ............................................................................................. 49
Se tting the Volum e ........................................................................................... 49
Ho me THX c ine m a ........................................................................................... 49
Dolby Pro Lo g ic Surro und ................................................................................. 49
Ste re o Surro und ................................................................................................ 49
Mo no Surround ................................................................................................. 50
Surround Off ...................................................................................................... 50
Mo no ................................................................................................................. 50
The Op e ra te Me nu ........................................................................................... 50
The Disp la y Pre f Me nu .......................................................................................51
Progra mming the Re mote Control ........................................................... 52
Pro g ra mming Othe r Comp o ne nts’ Func tions ................................................ 52
te a c hing the PAV re m ote c ontro l ne w c o mma nd s ................................ 53
Pro g ra mming PAV Func tions ............................................................................ 54
re m ote only me nu ..................................................................................... 55
surround, p a th a nd misc c o ntrol m e nus.................................................. 55
Pla nning Your Re mote Control .................................................................. 57
The Pro c e e d Ba nk: Le ft .................................................................................... 57
The Pro c e e d Ba nk: Ce nte r .............................................................................. 57
The Pro c e e d Ba nk: Rig ht ................................................................................. 57
Ba nk 2: Le ft ........................................................................................................ 58
Ba nk 2: Ce nte r .................................................................................................. 58
Ba nk 2: Rig ht ..................................................................................................... 58
Room Ac oustic s ......................................................................................... 59
Ro om Reve rb e ra tion ........................................................................................ 59
The Bound a ry Effe c t ......................................................................................... 59
Ro om Mo d e s .................................................................................................... 60
Your Syste m Se tting s ................................................................................... 61
Op e ra te Me nu Setting s ..................................................................................... 61
Se t Sp e a ke rs Setting s ........................................................................................ 61
Se t Le ve ls ............................................................................................................ 61
(more on next page)
5
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Se t De la y ............................................................................................................ 61
vc r 1 Inp ut De fa ults ............................................................................................ 61
vc r 2 Inp ut De fa ults ........................................................................................... 61
la se rd isc Inp ut De fa ults ..................................................................................... 61
tv/ a ux Inp ut De fa ults......................................................................................... 61
c d 1 Inp ut De fa ults............................................................................................ 62
c d 2 Inp ut De fa ults ........................................................................................... 62
ta p e 1 Inp ut De fa ults ........................................................................................ 62
ta p e 2 Inp ut De fa ults........................................................................................ 62
b a l/ a ux Inp ut De fa ults ..................................................................................... 62
tune r Inp ut De fa ults .......................................................................................... 62
THX Cine m a Surround De fa ults........................................................................ 62
Pro Lo g ic Surround De fa ults ............................................................................. 62
Ste re o Surro und De fa ults .................................................................................. 62
Mono Surround De fa ults .................................................................................. 62
Surround Off De fa ults ....................................................................................... 62
Mono De fa ults .................................................................................................. 62
PAV Me nu Struc ture (p a rtia l) ..................................................................... 63
Troub le shooting ......................................................................................... 64
Ca re a nd Ma inte na nc e ............................................................................ 65
U.S. a nd Ca na d ia n Wa rra nty .................................................................... 66
90-Da y Limite d Wa rra nty .................................................................................. 66
Five Ye a r Exte nd e d Wa rra nty ........................................................................... 66
Obta ining Se rvic e ..................................................................................... 67
Dime nsions ................................................................................................ 68
Sp e c ific a tions ............................................................................................ 69
Insta lla tion Note s ....................................................................................... 70
6
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Ma ximizing the Va lue
of Your Purc ha se
Congratulations on choosing a superb product. Your Proceed PAV is designed to
give you many years of outstanding performance, and we are confident you will
be happy with it.
We value our relationship with our customers, and often are in a position to help
you enjoy your home entertainment system even more—if we have some way of
contacting you.
Se nd in tha t wa rra nty c a rd ! Sending in your warranty card registers your product with us so that warranty
service in the U.S. and Canada (see the warranty policy on page 70) can be ob-
tained easily and quickly even if you have lost your original sales slip. (And how
many of us are organized enough to retain all those sales slips?) Moreover, send-
ing in the card automatically extends the warranty from 90 days to five years, at
no cost to you. Please send it in soon, before you forget.
But there are even more benefits to sending in your registration card, including
services for people outside the U.S. and Canada.
✓ software update notices
✓ performance upgrade notices
✓ free subscription to Madrigal’s QuarterNotes newsletter
We have occasionally offered software updates to our products that provide new
features and control options (for example, to facilitate their inclusion in custom
installations, or that automate customer preferences to greater degrees than previ-
ous software versions). These updates are generally a matter of changing out a
socketed EPROM. If they include features you would like to have, you can get
them—if you know about them.
We also try to offer performance upgrades and/or conversions to make upgrading
within a family of products as cost-effective as possible for our customers. For
example, people who already owned the Proceed DAP digital processor when
the HDCD process became available were able to upgrade their unit to HDCD™
for an extremely nominal price. While not all upgrades can be inexpensive, they
all represent excellent values—if you know about them.
One of the best ways we have of communicating with the large number of cus-
tomers we have around the world is through our company newsletter,
QuarterNotes. This newsletter contains information on industry developments,
new products, software updates and upgrades, as well as general interest articles
on recommended music and movies, and occasional profiles of customers and
industry personalities. QuarterNotes is a service we provide to help keep open
our lines of communication with our customers, and it is free—if we know
where to send them.
So p le a se, ta ke a few minute s to fill out the wa rra nty
re gistra tion c a rd, a nd d rop it in the ma il.
7
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Unpa c king a nd Pla ce me nt
Unp a c king Unpack your Proceed® PAV audio video preamplifier and keep a ll pa cking ma -
ter ia ls for future tra nspor t. Locate and remove all accessory items from the
cartons. Accessories include:
1 AC power cord
1 PAV remote control
4 alkaline batteries for the remote control
Imp orta nt!
Your PAV ha s b e e n ship p e d with softwa re p re -insta lle d tha t
e na b le s it to work se a m le ssly with a Proc e e d PDSD a s p a rt of
a high p e rforma nc e, two-p ie c e m ultic ha nne l c ontrolle r. If you
ne e d to use the PAV by itse lf (without a PDSD), your d e a le r
must insta ll the e nc lose d EPROM found in a sma ll b la c k a nti-
sta tic b ox. Do not a tte mpt to insta ll this yourse lf, a s only
qua lifie d te c hnic ia ns ma y op e n the unit without void ing the
wa rra nty!
Insta lling Ba tte rie s in Turn the remote control over and slide the battery compartment cover up and
the Re mote Control away from the body of the remote. Insert the four alkaline batteries found in the
Accessories kit, being careful to follow the polarity indications given on the inside
of the battery compartment. Replace the battery cover.
Pla c e me nt Place the PAV near the source equipment, thus keeping interconnecting cables
reasonably short. It may be placed on a shelf or in a cabinet where it’s conve-
nient to operate.
Note that adequate clearance for the AC cord and connecting
cables must be left behind the PAV. We suggest leaving at least
three inches of free space behind the PAV to allow all cables
sufficient room to bend without crimping or undue strain.
Ve ntila tion It is normal for your PAV to run quite warm. Be sure to allow 2 to 3 inches of
clearance above the PAV to allow heat dissipation through air circulation. The
vents on both the bottom and the top of the PAV must be kept free from any ob-
struction which would reduce the flow of air through the unit. The best rule of
thumb is this: if the top of your PAV is too hot to touch, it needs better ventila-
tion. If so, consider drilling holes in the supporting shelf under the PAV to pro-
mote flow-through ventilation, or use fans to increase air circulation. Avoid place-
ment on soft surfaces that would restrict airflow (such as carpeting).
Mechanical drawings are included in this manual to facilitate special installations
and custom cabinet work (see “Dimensions” at the end of this manual).
8
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Ope ra ting Volta ge
The PAV preamplifier is factory-set for 100V, 120V, 200V, 220V, or 240V AC mains
operation at either 50 or 60Hz, according to the country for which the unit was
manufactured. (230V only in European Union countries, in compliance with CE
regulations.) Make sure that the label on the bottom of the PAV indicates the cor-
rect AC operating voltage for your location. The operating voltage cannot be
changed by the user, and any attempt to do so will void the warranty.
If the voltage indicated does not match what is supplied to your area, see your
Proceed dealer.
9
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A Word About Insta lla tion
Every effort has been made to make the Proceed PAV simple and straightforward
to install and use. We also know of no other product which offers this level of
performance and flexibility. Still, we have no way to evaluate many other variables
such as the size and shape of your room, its acoustics, and the associated equip-
ment you have chosen to use with your PAV. All of these factors influence the ul-
timate performance of your system. Moreover, the PAV incorporates many system-
specific adjustments which enhance its performance with the widest possible
range of associated components.
For this re a son, we strongly e nc oura ge you to ha ve your
syste m insta lle d a nd c a lib ra te d by your d e a le r, whose
exp e rie nc e, tra ining, a nd sp e c ia lize d e q uip me nt c a n ma ke a
p rofound d iffe re nc e in the fina l p e rforma nc e of the syste m.
The PAV features the ability to “remember” the carefully calibrated settings chosen
by your installer. You may adjust any or all of these settings to suit your taste for
a particular recording, either from the front panel or from the remote control.
When you want to return to the calibrated settings (which most accurately repro-
duce the widest variety of program material), simply press re c a ll on the remote
control or on the front panel.
10
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Home The a te r a nd
the Proce e d PAV
Perhaps the most exciting development in home entertainment in recent years is
the much-discussed “marriage of audio and video.” Movies are available in high
quality formats such as laserdisc, and big-screen televisions have improved vastly
over the dim, fuzzy pictures many people remember from a few years ago. Com-
bined with sound reproduced via several loudspeakers and (perhaps) a
subwoofer, it has become possible to have movie excitement in the home which
far exceeds that available in most local theaters.
Unfortunately, many people found these “home theaters” sadly lacking when it
came to their performance with more traditional music sources. Although some
were capable of shaking the walls with explosions and sound effects, few were
capable of reproducing the nuances of a string quartet, a big band, or a well-re-
corded vocalist.
The Proceed PAV is designed for people (like ourselves) who desire to “have it
all.” The PAV offers the musical refinement, control flexibility and movie excite-
ment of both a dedicated high end music system and a full-blown home theater
system, all in one simple package. With its introduction, there is no longer a need
to compromise on either music or movies. A single system can do it all.
LS
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Liste ning Ro o m
Movie Sound a nd the PAV Unlike traditional stereo sources, Dolby Stereo™ movie soundtracks contain four
channels: Left, Center, Right and Surround. The three speakers in the front of the
room (L, C, and R) provide precise localization of sounds, or imaging, while the
surround channel is intended to be reproduced in a diffuse manner to the sides
and behind the audience—to literally “surround” that person in the ambient
sounds of the environment shown on the screen. Normally, a correctly operating
Surround channel would be so diffuse and enveloping as to be almost sublimi-
nal. Its purpose, after all, is to draw you into the movie, not to distract you from
it.
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Dolby Pro Log ic ™ Sourc e s The PAV accurately decodes the Dolby Stereo™ soundtracks available in virtually
all modern film soundtracks, many television shows, and even some music re-
cordings. It does so by employing carefully optimized Dolby Pro Logic circuitry,
for superior performance and accuracy. Use the p ro log ic mode whenever listen-
ing to most surround-encoded television shows, MTV (most of which is now sur-
round encoded), and other surround-encoded program material which has been
created for general distribution.
THX Cine ma Sourc e s In addition, the PAV incorporates Home THX® audio processing to help movie
soundtracks make the transition from large movie theaters into the home. This
extra step is necessary because the acoustics of movie theaters and living rooms
are so different. Some adjustments are necessary in order to achieve the same
subjective effect in your home as in the finest movie auditoriums. These “adjust-
ments” are precisely what Home THX offers. Use the THX c ine ma mode for
Dolby Stereo movies which were created for theatrical release—meaning virtually
all movies made since the late 1970’s.
Music a nd the PAV When it is time to enjoy some of your favorite music, the PAV gives you several
simple options, any of which may be selected by pressing the mod e button to
cycle through the choices.
The ste re o surround mode uses ambient cues contained in your normal stereo
recordings to create a realistic, full-bodied soundfield using all available speakers.
It has been carefully tuned to enhance stereo playback, and can be expected to
be relatively subtle rather than dramatic. (As with attending a live concert, one’s
attention should rarely be called to the characteristic sound of the “hall.” The
acoustics of the space in which the music is performed should enhance the musi-
cal experience without becoming an end unto themselves.)
The mono surround mode can be used to give acoustically “dry” mono record-
ings a sense of spaciousness. This mode can be used for historical monophonic
music recordings as well as for older movie classics which were recorded in
mono. This mode is particularly helpful when watching older, mono movies on a
big-screen television, where the disparity between aural and the visual size would
otherwise be a distraction to the movie experience.
The surround off mode returns your system to two-channel stereo.
Finally, we have provided a “true mono” mode which reproduces both the Left
and the Right signals through the center channel speaker (and subwoofer) only.
The mono mode is sometimes desirable when listening to noisy monophonic
music recordings or movie soundtracks. Since noise tends to be random in na-
ture, much of it cancels out when L+R are mixed together, as they are in this
mode.
Subwoofe rs a nd If a subwoofer is connected to the sub outputs, it will normally be given the
Surround Mod e s deepest bass (below 80 Hz) at all times, independantly of the surround mode or
input selected. Whether or not the three front speakers are also given the deepest
bass information (below 80 Hz) to reproduce is determined by the settings of
the se t sp e a ke rs menu during setup. (See System Setup & Calibration for more
information).
12
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1
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PR O C E E D
17
16
15
14 13 12 11
10 9
Front Pa ne l
1
VIDEO SOURCE SELECTION BUTTONS
These four buttons select both the video and associated audio signals from
any of the four A/V inputs. To use these Selection Buttons, choose the ap-
propriate p a th (see p a th, below). (For your music/home theater room,
“ma in” would be appropriate.) Then make your selection. The sophisticated
switching system employed in the PAV allows simultaneous, independent
routing of both audio and video signals along any or all of three paths:
ma in, re mote and re c ord .
2
AUDIO SOURCE SELECTION BUTTONS
These six buttons select audio signals from among the six audio-only
inputs. (Note that both c d 1 and b a l/ a ux are balanced inputs which use
precision XLR connectors.) To use these selection buttons, choose the ap-
propriate p a th (see p a th, below), and then make your selection.
Viewing Simulc a sts
Selecting any audio source after having selected a video source will cause
the newly-selected audio signal to “override” the audio portion of the video
selection (leaving the video signal unaffected). Thus, to enjoy a simulcast,
merely select the desired picture followed by the desired sound. To revert
to the sound of the video input, just press the video input button again.
3
MAIN DISPLAY
The ma in d isp la y provides information pertaining to the operation of the
PAV including relative volume levels, and is used in conjunction with the
buttons which surround it. At all volumes above a relatively quiet back-
ground level, and in all modes, the volume control enjoys a resolution of 0.5
dB. Thus a change of 10 decibels would be indicated by a change of 20 in
the display.
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The main display indicates the master volume by default, or the following
offsets when chosen: balance, center, rear, subwoofer. In addition, it can also
display the input level (used in calibrating the Dolby Pro Logic circuitry to
the source material) and the rear channel delay (in milliseconds). Right-
and Left-facing arrows are provided to indicate the direction of the balance
offset. Finally, the infrared receiver and transmitter for the remote control are
positioned on the left side of the main display.
4
5
VOLUME +/ –
These up/down buttons are used to make adjustments on the PAV, apart
from source and path selection. While the volume +/ – buttons normally
control the master volume of the music/home theater system (ma in path),
they can be used in concert with other buttons to control almost any as-
pect of system performance (as indicated below).
MASTER
When the indicator above this button is lit, any adjustment made with the
volume +/ – buttons will be applied to all loudspeakers equally, including
Center, Rears, and Subwoofer(s), thus raising or lowering the overall volume
without changing the relative balance of the various speakers. This is the
default mode of operation for the volume control, to which the PAV auto-
matically returns after you make other adjustments.
6
BALANCE
Pressing this button followed by the volume +/ – buttons will alter the rela-
tive volume of the Front Left and Front Right speakers. The direction of the
perceived image shift is indicated by the green arrowhead indicators in the
main display, as well as by the on sc re e n d isp la y. Pressing volume + in the
balance mode will shift the image to the right (in a “positive” direction);
pressing volume – will shift the image to the left (in a “negative” direction).
7
CENTER
Pressing this button followed by the volume +/ – buttons will alter the vol-
ume of the Center speaker relative to all others. The resulting offset will be
indicated in the ma in d isp la y, as well as by the on sc re e n d isp la y, until the
volume control reverts to its normal ma ste r mode. As an example, increas-
ing the center channel volume by three steps would result in a 3 being dis-
played until the volume control reverted to normal operation, at which
point the display would again indicate the overall volume setting.
8
REAR
Pressing this button followed by the volume +/ – buttons will alter the rela-
tive volume of the Rear speakers relative to all others. The resulting offset
will be indicated in the ma in d isp la y, as well as by the on sc re e n d isp la y.
14
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9
MUTE
Pressing the mute button will reduce the main output level of the preampli-
fier by a user-modifiable amount, ranging from 2.5 to 55 decibels (5 to 110
in the main display). Pressing the mute button a second time without ad-
justing the volume will return it to its previous setting. If you adjust the vol-
ume with either the front panel buttons or the remote control while in the
mute mode, the preamplifier will adjust its volume from the muted volume
and disengage the mute function. The factory default setting of the mute
circuit is -20 dB (a change of 40 units in the Main Display). (See Using the
PAV for information on changing the factory default setting.)
10 SUB
Pressing this button followed by the volume a djustme nt b uttons will alter
the volume of the Subwoofer(s) relative to all other speakers. The resulting
offset will be indicated in the main display, as well as by the on sc re e n d is-
p la y.
11
REFERENCE LEVEL INDICATOR
This LED indicator is lit when the PAV is playing at Home THX reference
level (normally calibrated during initial setup—see Output Level Calibra-
tion, p. 36).
12 RECALL BUTTON
Pressing the re c a ll button restores the PAV to its calibrated reference set-
tings for the relative output of all speakers. This is especially helpful after
having experimented with various settings of b a la nc e , c e nte r, re a r, or sub ,
or when comparing a modified surround default to “flat” balance, since one
touch of a button will restore your preamplifier to its original state (as de-
termined by the setup calibrations stored in memory; see System Setup &
Calibration and Using the PAV for more details).
13 DELAY BUTTON
Pressing this button allows you to adjust (using the volume adjustment but-
tons) the d e la y introduced to the signal being sent to the rear channels,
between 15 and 30 milliseconds (mS). (See Setting the Surround Delay,
page 37, for more details.)
14 INPUT LEVEL BUTTON & INDICATOR
Pressing this button adjusts the inp ut leve l (or offset) on the main signal
path. Together with the inp ut leve l ind ic a tor in the main display immedi-
ately above it, it may be used to compensate for variations in level among
sources. This adjustment is important primarily for movie sources (since
Dolby Pro Logic circuitry is level-sensitive by its nature). When the Input
Level is set correctly, the green indicator LED should be on most or all of
the time during loud passages, but should never turn red (which would in-
dicate an overload condition).
If overload should occur, pressing the inp ut leve l button followed by the
volume – button will reduce the input level. Do so until the indicator re-
mains green during even the loudest passages.
15
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Conversely, if you rarely see the green LED illuminate during loud passages,
you should increase the Input Level to compensate for the relatively low
level of the source. Press the inp ut leve l button, followed by the volume +
button to increase the input level.
15 SURROUND MODE SELECTOR
Pressing this button cycles among the various surround modes of the PAV:
•
•
THX c ine ma — for movies which were mixed for theatrical re-
lease; both THX c ine ma and p ro log ic indicators are lit, confirm-
ing that Pro Logic is in use whenever the THX cinema mode is
selected.
p ro log ic — for all other surround-encoded material, such as
many TV shows and some music recordings; only the p ro logic
indicator is lit.
•
•
ste re o surround — for enjoying two-channel stereo recordings
using all loudspeakers; the ste re o surround indicator is lit.
mono surround — for monophonic recordings which would ben-
efit from some degree of additional ambience or spaciousness,
such as many classic movies and some sporting events; the mono
surround indicator is lit.
•
•
surround off — to return the system to two-channel stereo; the
surround off indicator is lit.
mono —a “true” mono, reproduced only through the center chan-
nel speaker and subwoofer. Noisy mono soundtracks often enjoy
significant noise reduction by being reproduced in this mode;
both mono and off indicators are lit to denote the fact that the
surround circuitry is disengaged, leaving you with a “true” mono.
16 PATH SELECTOR
Pressing this button cycles among your various signal path options:
•
ma in — the home theater; this path determines which video and
audio sources are sent to the Main outputs on the back of the
PAV. Sources selected for the main path are indicated in yellow on
the front panel LEDs. (If the LED blinks red, it is indicating a
ta p e loop condition caused by the same source having been se-
lected on the re c ord path; deselect the source on the re c ord path
first, then reselect your ma in source.)
•
•
•
re mote — determines which video and audio sources are sent to
the Remote outputs on the back of the PAV, to be sent to another
system elsewhere in the house. These sources are indicated in
green on the front panel LEDs. The remote path may also be
used as a secondary Record Output path if necessary.
b oth — the audio and video signals for both main and remote
paths may be selected at the same time, for your convenience; as
when entertaining, perhaps, for whole-house background music.
Sources selected for “both” main and remote paths will be indi-
cated by yellow LEDs (the same as for the main signal path).
re c ord — determines which video and audio sources are sent to
the various record output jacks. The source selected for the
record path is indicated on the front panel in red LEDs. As a
safety measure, the PAV will prevent the selection of any record-
able device as its own source (to avoid feedback loops). If such a
selection is attempted, the PAV will cause the appropriate LED to
16
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flash yellow on the front panel, indicating a conflict on the ma in
path. The PAV will also display the words ta p e loop on screen as
a warning.
Tip :
To a void a ny p ossib ility of running into a “Ta p e Loop” p rob le m
(whe re the PAV p reve nts you from c hoosing wha t you wa nt, in
ord e r to p rote c t the syste m from p ossib le d a ma ge ), simp ly
se le c t a non-re c ord ing sourc e suc h a s TV on the re c ord p a th.
17
STANDBY BUTTON
Pressing this button places the PAV in sta nd by mode, turning off the display,
disengaging all control functions, and turning off all outputs. The internal
circuitry remains on in order to maximize performance on demand by vir-
tue of all circuits remaining thermally stable. Lest you think this wasteful,
you should know that the PAV draws less than power than a typical light
bulb, whether in sta nd by or fully on. The benefits of having it always
warmed up and ready to go (and always able to respond to remote control
commands) far outweigh the small amount of power used. We recommend
using the rear panel power switch only when you will be away from the
house for extended period of time, such as during a vacation.
There is another good reason for using the PAV’s sta nd by mode. The PAV
will generate a full-frame black video signal at its video outputs during
standby, rather than passing no signal at all. This is particularly helpful with
many projections televisions, since it gives the projector a “sync” signal to
lock onto without calling for any light to be generated. This feature allows
the projector to remain fully warmed up at all times without risking dam-
age to the phosphors which create the projected light.
17
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1
2
3
4
la se r
d isc
tv
a ux
c d 1
b a l/ a ux
vc r1
vc r2
ta p e 1 ta p e 2
c d 2
tune r
PUSH
PUSH
PUSH
PUSH
la se r
d isc
tv
a ux
vc r1
vc r2
2
1
2
1
2
1
2
1
3
3
3
3
i
n
p
u
t
s
c e nte r re a r
sub surro und re m o te m a in
m a in
re m o te
vc r1
vc r2
ta p e 1 ta p e 2
m a in
re m
vc r1
vc r2
1
2
1
2
1
2
1
2
3
3
3
3
r
e
m
o
t
e
o
u
t
p
u
t
s
R
i. r.
turn-o n
p
a
v
b y MADRIG AL AUDIO LABO RATO RIES
PR O C E E D
12
10
13
11
9
8
7
6
5
Re a r Pa ne l
Ca ution!
Disc onne c t a ll a ssoc ia te d e q uip me nt from the AC ma ins
BEFORE ma king a ny sig na l c onne c tions a nd a p p lying p owe r
to the PAV.
1
SINGLE-ENDED AUDIO INPUTS (8)
Accepts right-channel and left-channel audio signals from source equipment
with single-ended (RCA) outputs. Single-ended audio inputs are provided
for a total of eight components, designated: vc r1, vc r2, ta p e 1, ta p e 2, a
la se rd isc player, your tv (or auxiliary component), a c d 2, and a tune r. Note
that the video portion of the signal from any video source (VCR, laserdisc,
TV) would be connected on the right side of the rear panel in the Video
Input section. (See below.)
Connect the right-channel and left-channel single-ended outputs of your
various source components to the corresponding inputs on the PAV.
2
BALANCED AUDIO INPUTS (2)
Accepts right-channel and left-channel signals from source equipment with
balanced outputs. Provisions are made for two balanced signals via high
quality XLR connectors, designated c d 1 and b a l/ a ux.
The pin assignments of these XLR-type female input connectors are:
PUSH
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
2
1
3
Connector ground lug: chassis ground
18
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These pin assignments are consistent with the standards adopted by the
Audio Engineering Society. Refer to the operating manuals of your bal-
anced-output line-level sources to verify that the pin assignments of their
output connectors correspond to the PAV. If not, wire the cables so that the
appropriate output pin connects to the equivalent input pin.
Connect the right-channel and left-channel balanced outputs of your source
components to the corresponding balanced inputs on the PAV.
Note: If you do not have balanced sources and need more single-
ended inputs, it is possible to fabricate a cable to connect line-
level sources with single-ended output to these balanced inputs:
1
2
ground
3
signal +
22-gauge
buss wire
Male RCA
(connect to source)
Male XLR
(connect to PAV)
3
VIDEO INPUTS (4)
Four video inputs are provided in the PAV, designated: la se rd isc , tv/ a ux,
vc r1, and vc r2. These inputs may be configured for use with either com-
posite or S-video (Y/C) signals during setup. Composite video inputs use
RCA connectors. S-video inputs utilize “S” connectors:
S-video connector
The PAV does not provide for “cross-feeding” of S-video and composite sig-
nals. Any signal entering the PAV in either format will be output in the same
format only. We str ongly recommend standardizing on one or the other
throughout the system for maximum ease of use. In addition, using both
the composite and the S-video inputs simultaneously may result in a loss of
video signal quality.
Connect the video outputs of your video components to the corresponding
video inputs on the PAV. (See System Setup and Calibration for more infor-
mation on programming these inputs for either composite or S-video use.)
Insta lla tion Note :
S-vid e o (Y/ C) signa ls a re m ore susc e ptib le to d e gra d a tion
ove r long wire runs. The qua lity of wire use d ma ke s a
signific a nt d iffe re nc e, b ut re ga rd le ss, it is g e ne ra lly
ina d visa b le to run S-vid e o c a b le s more tha n six or e ight fe e t
(2–2.5 me te rs). Comp osite vid e o signa ls hold up b e tte r ove r
longe r runs, e sp e c ia lly whe n hig h qua lity 75Ω c a b le suc h a s
Ma d riga l MDC-2 is use d.
19
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4
AC POWER SWITCH AND AC POWER INPUT
An AC power switch is provided which disconnects the PAV from the wall
outlet’s AC power. The PAV is designed to be left in Standby when not in
use, rather than completely “off.” Being in Standby allows it to respond to
commands from the remote control and maintains a stable operating tem-
perature at all times for optimal performance and longevity.
Plug the supplied three-prong power cord into the AC Power Input
recepticle provided before plugging the power cord into the wall. If a
longer AC power cord is required for your application, be sure to use a
three-conductor power cord which conforms to IEC standards.
The Proc e e d PAV ha s b e e n sa fe ty-te ste d a nd is d e signe d
for op e ra tion with a thre e -c ond uc tor p owe r c ord. Do not
d e fe a t the “third p in” or e a rth g round of the AC p owe r c ord.
Beside the power switch you will find a communications port. This is re-
served for future use (communicating with the PAV's companion piece, the
Digital Surround Decoder). Do not insert anything into this port other than
the communications cable from a “DSD.”
5
REMOTE IR AND REMOTE TURN-ON
A 1⁄8" “mini” jack labeled re mote ir. in the lower right corner of the rear
panel provides direct access to the infrared control circuitry of the PAV. It
may be configured during setup (in an on screen menu) to interpret in-
coming signals in either of two ways:
•
Re mote : when in Remote mode, the PAV will interpret any com-
mand entering through the remote IR jack as being intended to
affect the re m ote p a th only. This feature allows easy access to all
sources connected to the PAV from elsewhere in the house with
the addition of any commercially-available IR repeater.
Loc a l: when in the Local mode the remote IR jack replaces the
infrared receiver in the main display of the front panel. This
mode is most often used with an IR repeater when the PAV and
other components are placed inside of cabinets (preventing the
normal IR receiver from receiving remote commands). Setting the
remote IR jack to loc a l will disable the IR receiver in the main
display to avoid inconsistent operation which might be caused by
interference between the two. (See Programming the IR Input,
page 47.)
•
The incoming signal for the remote IR input should conform to widely-ac-
cepted IR repeater standards: that is, the signal present should be between
3-15 volts DC at less than 100 mA current, with a positive tip polarity, as
shown below:
IR inp ut tip p ola rity
– +
3-15 volts @ less
than 100 mA
20
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Your Proceed dealer can help you take advantage of these design features
to maximize your system’s versatility.
The re mote turn-on output to the right of the re mote ir input (as seen from
the rear) can be used to toggle Proceed power amplifiers between sta nd by
and op e ra te in concert with the operational status of the PAV. This output
normally provides a 300 msec long, 8 volt positive pulse whenever the PAV
turns on, and a 600 msec long, 8 volt positive pulse whenever the PAV turns
off. (Alternatively, the PAV may be configured to provide a level control volt-
age that can be used by certain Niles controllers and similar products. See
System Setup and Calibration for more information.)
To enable the PAV to control the turn-on and turn-off of the associated Pro-
1
ceed amplifiers, connect a wire terminated with a ⁄8" “mini” plug at both
ends (available in various lengths at electronics supply stores such as Radio
Shack, or may be custom made to length by your installing dealer) be-
tween the remote turn-on output of the PAV and the remote turn-on input
of the AMP. If more than one Proceed amplifier is being used, simple “Y-
adapters” may be used to daisy-chain the turn-on signal for up to three
AMPs’ turn-on inputs.
6
VIDEO OUTPUTS
Four video outputs are provided in the PAV: ma in, re mote , vc r1, and vc r2.
S-video (Y/C) outputs utilize four-conductor “S” connectors, while the com-
posite video outputs use RCA connectors.
The ma in output should be connected to your video monitor in the main
home theater system. The re mote output can be used to feed video signals
to another system elsewhere in the house. The remaining vc r1 and vc r2
outputs are used for making recordings on those decks via the PAV, much
as you would make audio cassette recordings with a traditional preamplifier
or receiver. Connect them to the corresponding inputs on the back of those
video tape recorders.
Insta lla tion Note :
S-vid e o (Y/ C) signa ls a re m ore susc e ptib le to d e gra d a tion
ove r long wire runs. The qua lity of wire use d ma ke s a
signific a nt d iffe re nc e, b ut re ga rd le ss, it is g e ne ra lly
ina d visa b le to run S-vid e o c a b le s more tha n six or e ight fe e t
(2–2.5 me te rs). Comp osite vid e o signa ls hold up b e tte r ove r
longe r runs, e sp e c ia lly whe n hig h qua lity 75Ω c a b le suc h a s
Ma d riga l MDC-2 is use d.
The PAV does not provide for “cross-feeding” of S-video and composite sig-
nals. Any signal entering the PAV in either format will be output in the same
format only. For most people, it is simplest to standardize on one format or
the other throughout the system. While it is possible to use a combination
of both types of signal, this setup would require manual switching of in-
puts on the video monitor whenever the monitored video source changed.
In addition, using both the composite and the S-video outputs simulta-
neously may result in a loss of video signal quality.
21
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7
REMOTE BALANCED OUTPUTS
If the system being used in the remote zone is equipped with balanced
(sometimes called “differential”) inputs, it is best to use these balanced out-
puts on your PAV. A balanced signal from preamplifier to power amplifier
will offer the highest possible performance with the best immunity from
common-mode noise, such as electromagnetic interference (EMI) or radio
frequency interference (RFI). This characteristic immunity is particularly im-
portant when using long cable runs, as may be expected when sending a
signal to a remote location. The balanced output signal is made available by
way of precision male XLR connectors (requiring female XLRs on the PAV
end of the interconnecting cable).
The pin assignments of these XLR-type male outputs are:
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
1
2
3
Connector ground lug: chassis ground
Refer to your amplifier’s operating manual to verify that the pin assignments
of its input connectors correspond to the PAV. If not, wire the cable so that
the appropriate output pin connects to the equivalent input pin.
Connect the right-channel and left-channel b a la nc e d re mote outputs of
the PAV to the appropriate balanced inputs of the remote system.
8
MAIN BALANCED OUTPUT
If the power amplifier being used to drive the Front Left and Front Right
speakers is equipped with balanced (sometimes called “differential”) inputs,
it is best to use the balanced main outputs on your PAV. A balanced signal
from preamplifier to power amplifier will offer the highest possible perfor-
mance with the best immunity from common-mode noise, such as radio
frequency interference (RFI). The balanced output signal is made available
by way of precision male XLR connectors (requiring female XLRs on the
preamplifier end of the interconnecting cable).
The pin assignments of these XLR-type male outputs are:
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
1
2
3
Pin 3: Signal – (inverting)
Connector ground lug: chassis ground
Refer to your power amplifier’s operating manual to verify that the pin as-
signments of its input connectors correspond to the PAV. If not, wire the
cable so that the appropriate output pin connects to the equivalent input
pin.
Connect the right-channel and left-channel b a la nc e d ma in outputs of the
PAV to the appropriate balanced inputs of the remote system.
9
SINGLE-ENDED MAIN OUTPUTS
Single-ended (“unbalanced”) outputs are provided for compatibility with a
wide range of associated components.
22
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If you use the single-ended main outputs, connect them to the correspond-
ing inputs of the amplifier being used to drive the Front Left and Front
Right speakers.
10 SINGLE-ENDED REMOTE OUTPUTS
Single-ended (“unbalanced”) outputs are provided for compatibility with a
wide range of associated components, including power amplifiers and elec-
tronic crossovers.
If you use the single-ended remote outputs, connect them to the corre-
sponding inputs of your remote amplifier (or other device).
11
REAR SURROUND OUTPUTS (SINGLE-ENDED)
Connect these outputs to the input of the power amplifier being used to
drive the surround speakers, which are normally located at the sides or the
rear of the room.
12 CENTER & SUBWOOFER OUTPUTS (SINGLE-ENDED)
The upper of these two RCA jacks should be connected to the amplifier
channel which will drive your center channel speaker; the lower RCA jack
should be connected to the amplifier channel which will drive your
subwoofer(s).
If you have two channels of amplification driving multiple subwoofers, sim-
ply wire them in parallel from this output, using a Y-adapter. The output
circuitry of the PAV can easily handle the extra amplifier without any loss of
performance.
Ple a se Note :
If your syste m d oe s not ha ve a subwoofe r, le a ve the sub
outp ut e mpty. Also b e sure the c rossove r is turne d off d uring
Se tup in ord e r to g ive your front loud sp e a ke rs a full-ra nge
signa l. (Se e Syste m Se tup & Ca lib ra tion for more d e ta ils.)
13 RECORD OUTPUTS (SINGLE-ENDED)
Four audio record outputs are provided, which are designed to work in
concert with their corresponding inputs. For example, you would connect
the vc r1 outputs to the audio input jacks on the video tape recorder you
had connected to the vc r1 input. The record outputs are: vc r1, vc r2, ta p e 1,
ta pe 2.
23
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1
2
3
use / learn
R
ready to learn
PR O C E E D
p a v
learned / sending
error / low battery
e
f
g
h
std b y
2
5
a
b
c
d
ff
vc r 1
1
vc r 2
2
l.d .
m e nu
m o d e
b a l
d e la y
sub
d isp la y
inp ut
3
4
sto p
re w
p re v.
p la y
tv/ a ux
4
c d
1
c d
2
5
6
inp ut
p o we r
re c
p a use
ne xt
ta p e
7
1
ta p e
8
2
b a l/ a ux
9
o n sc re e n
p a th
m ute
tune r
e nte r
re a r
c ntr
+
vo lum e
a d just
c h-
c h+
re c a ll
m a ste r
–
6
7
8
Le a rning Re mote Control
1
INDICATOR LEDS
These indicators provide visual feedback on the operation of your PAV
learning remote control.
•
•
re a d y to le a rn: when in the Learning mode, this LED lights to
indicate that the PAV learning remote is ready to learn new com-
mands, either from the PAV itself or from another remote control.
It is illuminated only in the Learning mode, and it turns off
briefly each time a command is successfully learned.
le a rne d / se nd ing : when in the Learning mode, this LED lights to
indicate that the PAV learning remote is ready to learn new com-
mands, but needs you to select the button which you would like
to program. This LED will blink briefly after a command has
been learned to confirm success.
During normal operation, this LED indicates when the remote
control is sending an infrared command.
•
e rror/ low b a tte ry: when in the Learning mode, this LED lights to
indicate that the remote did not “understand” the command you
gave it (error—try again). During normal operation, this LED indi-
cates when the batteries need to be replaced, or that a button has
been pressed that has not had a command assigned to it.
For more information on the Learning mode, see Programming the Remote
Control.
24
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2
BANK SWITCH
The PAV learning remote has two complete “banks” of settings which may
be stored for your use. As delivered from the factory, many but not all of
the buttons in the “Proceed” bank (the one in use when the sliding switch
is under the Proceed logo) have been preset to control the PAV. The re-
maining buttons in the Proceed bank are available to operate your primary
source component(s). In this way, you should rarely have to switch to the
second bank of controls.
Still, some home theater systems involve many remote-controlled compo-
nents and may require more remote functions than a single bank of but-
tons can easily provide. Sliding the switch to the “2” position gives you a
“clean slate” of buttons in which to store more remote control functions. All
of the settings in Bank 2 are left unprogrammed, ready for you to set up for
whatever uses you see fit.
For more information on the teaching your remote control new functions,
see Programming the Remote Control.
3
USE/ LEARN BUTTON
This button is recessed to prevent accidental use, and must be accessed
with the tip of a pencil or similar pointed object.
Ca ution:
This b utton a llows you to a lte r the re mote c ontrol c om ma nd s
store d in the PAV re mote’s me mory. Ple a se re a d the se c tion of
this ma nua l e ntitle d “Prog ra m m ing the Re m ote Control”
c omp le te ly b e fore e nga ging the use / le a rn b utton.
When engaged, the use / le a rn button will toggle the remote control be-
tween normal, day-to-day operation and the Learning mode. When in the
Learning mode, the re a d y to le a rn indicator LED will be lit. If you have in-
advertently entered the Learning mode, press the use / le a rn button again to
return to normal operation and the re a d y to le a rn indicator LED will be
extinguished.
For more information on the teaching your remote new functions, see Pro-
gramming the Remote Control.
4
a , b, c, d BUTTONS
These “extra” buttons are provided for your convenience and may be pro-
grammed with any function you wish (above and beyond the other, more
specifically-labeled buttons on the remote control). For example, if your
cable-TV converter box uses both A and B trunks, you might program a
and b accordingly to select the incoming cables. Alternatively, you may wish
to program all four buttons to directly access the different signal paths
(ma in, re mote , b oth, re c ord ) without having to cycle through the choices.
The PAV can teach such “Direct Access” commands directly to your remote
control. For more information, see Programming the Remote Control.
25
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5
e, f, g, h, std by BUTTONS
The first four of these buttons are simply more “extras” provided for your
convenience, as with a through d above. You may want to program them
for direct access to your favorite surround modes (THX c ine ma , p ro log ic ,
ste re o surround, surround off), for example. The PAV can teach such “Direct
Access” commands directly to your remote control. For more information,
see Programming the Remote Control.
The std by button will place the PAV into sta nd by mode. As with all but-
tons on the learning remote, this button can be “programmed over” if you
wish. For example, you may decide to leave the PAV “on” all the time and
use the std by button to turn your television on and off instead.
6
TRANSPORT BUTTONS
This section of the PAV learning remote control groups the most-used fea-
tures of a source component together, be it a CD player, a VCR, or a laser-
disc player. This design allows you to put one or more of the remote con-
trols in your coffee-table collection away in a drawer, leaving only the single
PAV remote to provide all of the day-to-day commands you require.
For more information on the teaching your remote new functions, see Pro-
gramming the Remote Control.
7
INPUT SELECTION AND NUMERIC KEYPAD
This section of the PAV learning remote control does double duty:
• When in the Proceed bank, it normally provides direct access to
the inputs printed above the various buttons. In addition, it pro-
vides for channel increment and channel decrement (c h+ and
c h–) for your television tuner (a function that will need to be
programmed into the remote) without having to change banks.
• By sliding the Remote Bank Switch to position 2, however, you
may “teach” the learning remote to operate as a conventional nu-
meric keypad such as you might have on the remote controls of
your cable decoder or television.
This feature allows you to put yet another remote control from your coffee-
table collection away in that drawer.
8
PAV OPERATIONAL CONTROLS
This section of the learning remote contains the most often used controls
for the Proceed PAV.
•
me nu: when the on screen menu is not displayed, pressing this
button will bring up the ma in me nu. Once in the menu screen,
pressing me nu will exit your current level without making any per-
manent changes, returning you to the next-higher level. Repeated
pushes of me nu will ultimately take you out of the menu system.
mode : pressing this button cycles the PAV through the various sur-
round modes, indicated both on the front panel and on screen.
on sc re e n: pressing this button will turn the on screen display off
to avoid the distraction of status updates whenever you adjust the
volume, change surround modes, etc. Pressing the on sc re e n but-
ton again will restore the normal on screen function.
•
•
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•
•
p a th: pressing this button will cycle the PAV through the various
signal paths. Having selected a particular path, subsequent source
selections affect only that path (e.g., ma in, re mote , b oth, or
re c ord ).
re c a ll: pressing this button restores the various channel offsets to
their calibrated, most accurate settings (set up during installation
and calibration). You can experiment with adjusting the levels of
the subwoofers, center channel, surrounds, etc. to suit your prefer-
ence or a particular recording, knowing that a single press of re -
c a ll will restore the PAV to its calibrated settings.
•
•
b a l: pressing this button temporarily allows the volume +/ – keys
to affect the balance of the left front and right front speakers
rather than the overall volume.
d e la y: pressing this button temporarily allows the volume +/ –
keys to adjust the amount of time the rear channel signals are
delayed when in the various surround modes. This time delay
may be adjusted between 15–30 mS in 1 mS increments.
sub : pressing this button temporarily allows the volume +/ – keys
to affect the level of the subwoofer relative to the rest of the sys-
tem.
re a r: pressing this button temporarily allows the volume +/ – keys
to affect the level of the rear (surround) speakers relative to the
rest of the system.
c ntr: pressing this button temporarily allows the volume +/ – keys
to affect the level of the center front speaker relative to the rest of
the system.
•
•
•
•
ma ste r: pressing this button allows the volume +/ – keys to affect
the overall volume of the system, maintaining any relative settings
between the various loudspeakers. This is the default mode for
the volume +/ – keys, to which the PAV will return after a few sec-
onds of inactivity.
•
•
d isp la y: pressing this button will turn off the front panel display
of the PAV to facilitate listening to music or watching movies in a
darkened room without visual distractions. The PAV’s display will
turn back on momentarily when adjusting the unit’s operation in
order to acknowledge the changes. The display may be returned
to its normal, always-on mode by pressing the d isp la y button
again.
inp ut: pressing this button temporarily places the volume +/ –
keys in inp ut leve l mode, allowing you to fine-tune the input sen-
sitivity of each particular input for proper Pro Logic calibration.
This control also allows you to adjust the relative volumes of the
various source components to avoid abrupt changes in volume
when switching between inputs.
•
•
m ute : pressing this button duplicates the function of the m ute
button on the front panel, reducing the volume of the ma in sys-
tem by a user-selectable amount.
volume +/ –: these buttons normally adjust the overall system vol-
ume, although they are also used in conjunction with other but-
tons and/or menu items to vary most of the available system ad-
justments.
For more information on the teaching your remote new functions, see Pro-
gramming the Remote Control.
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Pla nning Your Insta lla tion
The information contained within this section is intended to help get someone
started who wishes to design and install their own sophisticated A/V system built
around the Proceed PAV. However, it cannot be considered a substitute for the ex-
perience, expertise and specialized training of an audio/video installation profes-
sional. (See A Word About Installation, page 9.)
Choosing The Eq uip me nt The list of equipment needed for a full home theater system based on the PAV is
fairly straightforward:
• The Proceed PAV
• At least six channels of amplification (Left, Center, Right, two Sur-
rounds, and one or more Subwoofers)
• Additional amplification (with volume control) and loudspeakers if
a re mote zone is to be used. (Alternatively, this output may be
used in conjunction with a third-party multi-room system.)
• Left, Center and Right (LCR) front speakers with appropriate stands
or mounting brackets
• One or more subwoofers (required with THX speaker systems;
otherwise optional, but recommended)
• A pair of Surround speakers with appropriate stands or mounting
brackets
• Assorted appropriate interconnecting cables, speaker wires, etc.
Of course, you will also need at least one source and a display system. The best
consumer video sources, in order of quality, are:
• Laserdisc
• Direct Broadcast Satellite link (DBS, DSS)
• a good cable-TV or antenna signal
• Super-VHS tape
• Hi-8 mm videotape
• regular VHS videotape
Pla nning Your The “light pollution” created by some components can be significant and distract-
Eq uip me nt Pla c e me nt ing. Ideally, all equipment should be conveniently located for operation, but any
lights and other indicators should be out of your direct field of vision when
viewing the television picture. The various indicator lights, though essential for
proper operation, can be distracting when listening to music or watching a movie.
While the PAV’s display may be turned off (with the d isp la y button on the re-
mote control) to eliminate this problem, other components are unlikely to have
this feature.
Care should also be taken that any mechanical noise created by VCRs, laserdisc
players, etc. does not intrude on the viewing experience. Placing the equipment
behind opaque doors, inside a cabinet addresses both light and noise concerns.
Should this option be chosen, a hard-wired re mote IR input is provided on the
PAV’s rear panel to replace the IR input which would normally be received
through the receiver in ma in d isp la y. Alternatively, locating the components well
away from the field of vision can be effective (if mechanical noise from trans-
ports, etc. is not a problem).
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Attention should be paid to the accessibility of the infrared control signal to the
components. Most people instinctively aim remote controls at the screen, without
thinking about the location of the equipment. It is a good idea to locate a small
infrared “repeater” in the vicinity of the screen, set up to relay the signal into the
equipment area and/or the PAV’s re mote IR inp ut. This is especially true if the
equipment has been isolated from plain view, inside cabinetry.
The “Corre c t” Size for Video images will often be displayed on some sort of projection system, since
Your Te levision Sc re e n the increased size will give you a more film-like experience. There may be situa-
tions where a 31"–35" direct-view television is appropriate (in smaller rooms, for
example). But do not give in to this temptation too easily—part of the theater
experience is the visual impact of having your field of vision dominated by the
size of the image on the screen. A good rule of thumb is to use a
1
1
diagonal screen size of approximately ⁄2 to ⁄4 the planned viewing distance. Thus,
if your seating is 12 feet from the screen, you would like to use a television with
a 3 to 6 foot (36"-72") diagonal screen measurement. In this case, a 35" direct-
view television might be just adequate. A larger screen would be preferable, espe-
cially if you plan to watch many letterboxed movies. If your video system in-
cludes a line doubler for enhanced resolution, take advantage of the improved
picture clarity by using a larger screen (closer to the one-half-the-distance figure).
The Powe r Amp lifie rs Given the dynamic range of modern soundtracks and people’s expectations of
their home theater systems, at least 100 w/ch is recommended for all six chan-
nels, with few exceptions. Still more power may be required in unusually large
rooms.
A common misconception is that the center and surround speakers have lower
power requirements than do the rest. This is proven untrue by the mathematics
of Dolby Pro Logic processing. The center channel is the hardest-working speaker
in a movie soundtrack’s mix. You should also be forewarned that the surrounds
are working harder than your first impression might indicate. While they may re-
quire less power on average, there are moments during which they are the loud-
est speakers in the room (as when an aircraft seems to fly overhead, for ex-
ample). Prudent system design requires that the surround channels have enough
power to reproduce their signals without amplifier clipping, even under such a
worst-case scenario.
The Le ft, Ce nte r a nd Rig ht The goal of the front speakers is to accurately recreate the sounds that would be
(LCR) Front Sp e a ke rs coming directly at you in real life situations. It is important that they be accurate
in terms of tonal balance, dynamic capabilities, and imaging precision if they are
to recreate a convincing soundstage (whether of music or film soundtracks). They
also need to be well-matched to one another—do not skimp on the center chan-
nel speaker, as it is the most important loudspeaker in the entire system when it
comes to movie reproduction.
Ideally, all three Front speakers would be at the height of the screen. Of course,
the center channel speaker would then obscure the screen, so placement above
or below the screen is usually required. All three speakers should be close to the
same height, however, to avoid distracting changes in apparent altitude as sound
is panned across the screen.
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to e -in of le ft & rig ht sp e a ke rs
L sur
sub
L
C
R
R sur
Some toe-in of the Left and Right speakers toward the main listening area (see
above) will help minimize side wall reflections and balance the sound for people
at the extreme edges of the viewing area. Placing the center speaker at the same
distance as the left and right is also important (note the arc in the diagram
above).
If possible, it is usually desirable to have the side walls between the front speak-
ers and the listener be acoustically absorptive to further minimize early side wall
reflections. Plush drapes, wall hangings, and various commercially-available mate-
rials can do the trick nicely. (Consult with your dealer for further ideas.)
The Subwoofe r(s) The Proceed PAV is designed to use a common-bass subwoofer, meaning that the
low frequency information from the controller is summed to a single channel.
This can be done without degrading the stereo effect because the human ear
cannot readily localize sounds below about 120 Hz. In addition, virtually all pro-
gram material (music and movies) is monophonic below 100 Hz. As a result,
there is a great deal of flexibility in the placement of the subwoofer(s). The pri-
mary goal is to have bass which can deliver visceral impact without becoming
boomy or distorted. In order to achieve this, attention must be paid to room
placement to minimize the “room modes” (or standing waves).
A good rule of thumb is to place your subwoofer(s) asymmetrically in the room,
at “odd fractions” (1⁄3, 1⁄5, 2⁄5, etc.) of the room’s length or width.
L sur
sub
1
⁄3
L
C
R
R sur
You may also want to try to keep your subwoofer(s) within three feet (one
meter) of the circle formed by anchoring a string at the main listening position
and swinging the other end through the front speakers. (Doing so minimizes and
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phase-induced irregularities at the crossover frequency of 80 Hz.) Of these two
guidelines, the first is usually more significant sonically, as it tends to minimize
the audibility of the room’s modes. Avoid corner placement, as this typically in-
creases bass quantity at the expense of bass quality (by stimulating every room
mode supported by the room).
The actual number of subwoofers used in an installation will depend on both
the size of the room and on the manufacturer’s design. Of course, having multiple
subwoofers enhances the maximum level at which they will play. Additionally,
there is an advantage to having more than one subwoofer in the room. Smoother
bass may be obtained by placing two subwoofers asymmetrically in the room,
since different sets of room modes would then be excited by each. The peaks of
one set of room modes could offset the valleys of the other one to some degree.
The Surround Sp e a ke rs Ideally, the rear speakers will create a diffuse, non-localizable soundfield which
envelopes the listener. Creating this effect depends in part on the loudspeakers
chosen for the job.
If THX-certified dipolar surround speakers are used, they should be located high
and to the sides of the listening area, firing to the front and the rear of the room.
(See diagram, below.) This placement ensures that the audience will not be able
to localize them as sources of sound, but rather will be enveloped in a diffuse
soundfield. They should be at least two feet above ear level when seated. Ideally,
they would be placed somewhat above ear level even when standing, so that they
are unlikely to be localized as people walk around the room.
d ip ola r surro und p la c e me nt
L sur
sub
L
C
R
R sur
If more traditional speakers are used, they should be placed such that their out-
put is scattered across the rear of the room. (See diagram, next page.) Often, the
best results will be obtained by placing them relatively high and slightly behind
the listener, cross-firing across the rear wall so as to create a large number of re-
flections with relatively little direct sound arriving at the listening position.
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c o nve ntio na l surround
p la c e m e nt
sub
L
C
R
L sur
R sur
The Wiring Low impedance speaker wire must be used throughout the system. This ensures
the most efficient transmission of power from the amplifiers to the speakers,
which minimizes several forms of audible distortion. Surprisingly, not all speaker
wires (including some of the audiophile variety) meet the necessary criteria. As
always, your best source of advice is your trained dealer/installer. However, the
table below may be used as a worst-case general guide. When in doubt, use a
thicker (heavier gauge) wire than is specified below.
e xa mp le wire le ng ths c ha rt
Example Wire Lengths
Length
(in Feet)
AWG Size
& Stranding
16 gauge
(19/29)
up to 12'
up to 18'
up to 29'
up to 51'
14 gauge
(19/27)
12 gauge
(65/30)
10 gauge
(105/30)
Working in Unusua lly Large rooms (in the 4000-6000 cubic feet range) have so much air to move that
La rge Room s they may benefit from having additional subwoofers for greater bass impact. The
PAV’s subwoofer output can easily drive several power amplifiers—simply split its
output with Y-connectors.
Another technique for large rooms involves the construction of risers for the seat-
ing area in a dedicated home theater. Risers tend to enhance the visceral effect of
deep bass by providing a resonant platform for the couches and chairs, thereby
transmitting structural as well as airborne vibrations to the audience. This ap-
proach can be used alone or in conjunction with extra subwoofers. If both tech-
niques are used, consider building one or more subwoofers into the riser, which
both conceals the subwoofer’s bulk and maximizes the vibrations being transmit-
ted to the listener’s chair. (Action movies will never be the same.…)
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Syste m Pla nning Guide
Experience shows that almost any reasonable amount of time spent in the plan-
ning stages will pay for itself two to three times over during the installation—
more if the installation crew includes two or three people. With the background
provided in the previous sections, the planning process can be boiled down to a
checklist which will ensure that you do not overlook anything important.
Vid e o Pla c e me nt
■ The primary seating area should be perpendicular to the picture.
■ Be aware of the trade-off between screen size and perceived clar-
ity. The resolution of NTSC requires a seating distance of at least 4
times the diagonal screen size for maximum perceived clarity (this
is why small screens seem so sharp). Yet larger images have greater
visual impact. You may want to go for a seating distance of as little
as 2 times the screen size to increase visual involvement (although
this is probably only realistic if you have a line-doubled television).
■ Stray ambient light should be minimized. (Drapes, dimmers, light
placement)
■ Leave room for the Left, Center, and Right (LCR) speakers up front,
flanking the screen itself, placed with reasonable symmetry with
respect to adjacent walls, and all at the same distance from the pri-
mary viewing area.
■ The screen should be well away from side walls, since you want to
minimize side wall reflections from the front (LCR) speakers.
Ele c tronic s Pla c e me nt
■ Cabinetry is generally preferred to conceal the distracting LEDs on
the equipment. (An infrared repeater system may be needed in
this case.)
■ The ideal system would have invisible, yet readily accessible equip-
ment and an IR repeater to relay the user’s commands from the
area of the screen to the concealed electronics.
■ People tend to aim their remote controls at the screen, regardless
of where the equipment is. In the absence of IR repeaters, placing
the electronics near the screen makes the system’s operation more
intuitive.
■ Ample ventilation for the power amplifiers must be provided, pref-
erably through convection (to avoid fan noise).
Sp e a ke r Pla c e me nt
■ Can the speakers be used as designed? (Wall-mounting speakers
designed to be used in free space may create a mid-bass bump in
the response—consult with the manufacturer of your speakers as
to their best use.)
■ The Left and Right speakers often should be closer to the edges of
the screen than you may think best initially. There is some cogni-
tive dissonance (disorientation) when sound appears to come from
well away from its apparent visible source.
■ The Center speaker should be centered on the screen, directly
above or below it (unless you have an acoustically transparent
screen, in which case it may be directly behind the center of the
screen). Try to keep its tweeters as close to the level of the tweet-
ers in the L&R speakers as possible, so that pans do not involve
noticeable changes in altitude. Make sure that the Center speaker is
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the same distance from the main listening area as the Left and
Right speakers.
■ If THX-certified LCR speakers are used and must be either above
or below ear level when seated, aim them down (or up) into the
listening area. They are intentionally quite directional in the vertical
plane, to improve dialog intelligibility and localization.
■ Placing the LCRs below the screen is generally preferable to place-
ment above.
■ The subwoofers do not have to be extremely close to the LCRs—
anywhere in the room is all right, but placement will affect the
consistency of the low bass. Experimentation is in order.
■ Dipolar surrounds should be located high and to the sides of the
listeners instead of behind them, in order to place the audience in
the surround speakers’ null. If the viewing area is more than one
row deep, place the surrounds halfway back within the seating
area.
■ If architectural constraints prevent ideal placement of dipolar sur-
rounds directly to the sides of the listening area, it is generally best
to err on the side of being a bit further to the rear of the room.
■ When using traditional speakers for the surround channels, the
speakers should be located high and somewhat behind the listen-
ers, with the speakers’ output directed toward the rear wall rather
than at the listeners.
■ The surrounds should be relatively high, often near the ceiling for
the best results. And they should be located equally distant from
their adjacent walls/ceilings, or else one will have more mid-bass
than the other.
Ad d itiona l Note s on
Sp e a ke r Pla c e me nt
• Some allowance must be made for those installations involving
relatively small screens, such as 35" direct-view televisions. Placing
the speakers immediately beside televisions of this size may reduce
the stereo separation to unacceptable levels. Some experimentation
is in order, but as a rule of thumb, try to have the L and R speakers
spread apart by no more than approximately 1.5 times the width of
the screen to avoid cognitive dissonance from the apparent conflict
between visual and aural images.
• With regard to subwoofer placement, it is important to leave your-
self some leeway during final installation for minor movements to
minimize room modes. Corner placement will yield the most deep
bass, but it will usually be lumpy and irregular, as this placement
excites the maximum number of standing waves.
• Use multiple subwoofers if more bass output is needed. This also
has the advantage of allowing one subwoofer to fill the other’s
“holes” created by room modes, while reducing distortion by giving
each subwoofer an easier task.
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Syste m Se tup & Ca libra tion
The PAV uses on screen menus to make the initial setup of this sophisticated
control center as simple as possible. In addition, there are a few on screen menus
which can be used occasionally, if you change your preferences as to how the
system should operate.
Op e ra ting the On Sc re e n There are five keys on the remote control which are used to “navigate” through
Me nus with the Re mote the on screen menu system.
•
me nu: when no on screen menu is displayed, pressing this button will
bring up the ma in me nu. Once within the menu hierarchy, pressing
me nu will exit the level you are currently on without making any per-
manent changes, returning you to the next-higher level (much like “Can-
cel” on a computer). When at the top level, or ma in me nu, the me nu
button will take you out of the on screen menu system.
•
•
•
ma ste r: conveniently placed adjacent to the volume +/ – buttons, the
ma ste r button serves the “select” function when in the on screen menus.
Pressing the ma ste r button will move the cursor indicating the currently-
selected menu item on to the next item in the list. At the end of a list,
ma ste r will move you back to the first item on the list.
volume + and volume –: once a menu item has been selected by the
ma ste r button, pressing either of these buttons will act upon that menu
item. These actions will either increment a setting up or down directly,
or take you to the next level of the menu structure so that further action
can be taken.
e nte r: any changes made to the settings within the on screen menu sys-
tem must be explicitly entered in order to be saved for future use. This
extra step minimizes the chance of unintended changes being made by
those who are casually exploring the menu system. If a change is made
and not entered, the PAV will display la st c ha nc e to sa ve d c ha ng e d
ite m s on screen. Press e nte r to save your change, or me nu to exit with-
out saving any changes.
Op e ra ting the On Sc re e n All of the above functions can also be accessed from the front panel of the PAV
Me nus from the Front Pa ne l (especially helpful if the remote control is not available).
•
re c a ll: the me nu function is provided by the re c a ll button. In order to
activate the on screen menus rather than simply recalling the reference
level settings, press and hold the recall button until the front panel lights
are turned off (about five seconds). From this point on until you exit the
menu system, the re c a ll button will perform exactly as the me nu button
on the remote control would.
•
ma ste r: the front panel m a ste r button is also conveniently placed adja-
cent to the volume +/ – buttons, and serves the same purpose as the one
on the remote control.
•
•
volume +/ –: the front panel volume +/ – buttons also operate in the
same fashion as their counterparts on the remote control.
sta nd by: the e nte r function is provided by the sta nd by button on the
front panel (when the PAV is in menu mode). It is deliberately set apart
from all of the other menu-related buttons to make permanent changes
of system parameters a deliberate act.
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Se tting Up All surround processors require a certain amount of setup before they can per-
form correctly. This fact is also true for audio/video preamplifiers such as the PAV
which incorporate surround processing as part of their design. Briefly, and at a
minimum, you must “inform” the PAV about the nature of the loudspeakers with
which it is working, and you must calibrate the various outputs so that all the
loudspeakers can operate on a “level playing field” despite variations in sensitivity
and room placement. For an overview of the process, see the flowchart below.
Se t Sp e a ke rs Once the physical installation of the PAV is complete, the next step is to configure
the PAV for the specifics of the particular system.
1.
ENTER THE SETUP MENU
SET
SPEAKERS
This is accomplished by pressing me nu once to reach the main PAV menu,
then pressing ma ste r to select se tup , and then pressing either
volume +/ – to access the next menu down. The on screen display should
now show the se tup me nu.
SET LEVELS
SET DELAY
SETUP
2.
SELECT “SET SPEAKERS,” AND TURN THE CROSSOVER ON OR OFF, AS
NEEDED.
Turning this control on introduces an 80 Hz, 12 dB/octave high pass filter
to the three front channels (attenuating their lowest frequencies). If you are
using the PAV’s electronic crossover to drive a subwoofer in your system,
the subwoofer will handle everything from 80 Hz down.
INPUT
DEFAULTS
MODE
DEFAULTS
REMOTE
CONTROL
If you are not using a subwoofer in the system or have any other reason for
wanting to drive the main front outputs full range, make sure the crossover
is off. Note that the subwoofer output is normally available for use regard-
less of this setting, and has a 24 dB/octave low pass filter with a turnover
frequency of 80 Hz on its output. Its signal is derived from all three front
channels (L, C, R).
Either of the volume +/ – keys will toggle between on and off.
3.
SELECT LARGE, SMALL, OR NONE FOR YOUR CENTER SPEAKER.
The PAV has the ability to remove bass information from the Center channel
and “split” it out to the Left and Right speakers (which are presumed to
have better bass reproduction capabilities). Informing the PAV that you have
a la rge center speaker (e.g., one which can reproduce bass) will pass a full
range signal on to the center channel. Using the volume +/ – keys to toggle
to sma ll will split frequencies below 120 Hz out to the Left and Right chan-
nels.
CROSSOVER:
ON/OFF
SET
SPEAKERS
CENTER
SPKR:
LARGE/SMALL
/NONE
Note that this function operates independently of whether or not you have
a subwoofer. For example, THX-certified LCR speakers operate to 80 Hz,
below which it is assumed you would have a THX-certified subwoofer. Be-
cause of this, the LCRs are considered “la rg e ” speakers—they can repro-
duce everything that would ever be required of them.
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Pha ntom Ce nte r Cha nne l
If your system does not include a center channel speaker, choose “none .”
Doing so will place the PAV into a “phantom” center channel mode wherein
the information which would normally be directed to the center speaker by
the Pro Logic circuitry will instead be sent equally to both left and right
speakers. This process creates an illusion of a center channel speaker for
those sitting on the centerline between Left and Right speakers. (Having a
real center channel makes seating arrangements far more flexible than is
the case with only a “phantom” center.)
4.
SAVE YOUR CHANGES (IF ANY) BY PRESSING ENTER.
It is not necessary to press e nte r if you have not made any changes, In-
stead, you may press me nu to move you back to the se tup me nu without
making any changes.
Note that these adjustments apply only to the ma in (home theater) path.
Neither of these settings has any effect on either the re mote or the re c ord
signal paths.
Physic a l Se tup Proper setup and calibration of your new system is essential to its performance.
There are several items which should be checked before making the various sys-
tem adjustments.
Te sting For Prop e r Pha sing You must be certain of having the proper phasing throughout the system before
level calibration can be established accurately and reliably. Accurate phasing of the
loudspeakers in the system is also essential for precise localization of images and
deep bass response. Ensuring proper phasing is made more complicated than it
might seem at first glance if amplifiers of different types are used in the system,
since some amplifier designs invert the phase of their output relative to their in-
put. Speakers attached to these amplifiers must be connected so that their phase
is inverted again to get it back where it belongs.
The simplest way to ensure proper phasing in your home theater is to use only
non-inverting amplifiers (such as Proceed® and Mark Levinson® power amplifiers)
throughout the system and be extremely careful while making all amplifier/
speaker connections. If this approach is not practical, or if you have lingering
doubts about the relative phase of your loudspeakers, compare each speaker to a
single speaker which will be used as the reference. We will use the Left front
speaker as the reference in our example.
•
Re la tive Subwoofe r Pha sing : if multiple subwoofers are used, it is
important to have their phase with regard to each other correct.
Reverse the polarity of one of the two subwoofers while program
material with deep bass is playing (being careful not to momen-
tarily short the two speaker leads to one another). The slow low
frequency sweep “rattle test” on Lucasfilm’s WOW! laserdisc (Chap-
ter 16) can be used for this purpose, or any of the below-80 Hz
warble tones on the Stereophile Test CD. You will immediately no-
tice either a loss or an increase in bass. The correct polarity is the
one which exhibits the most bass.
•
L–R Pha sing : check Left-Right phasing by listening to mono pink
noise (such as the pink noise on Chapter 6 of WOW! or Track 4 on
the Stereophile Test CD) in the surround off mode. Listen for a solid,
stable center image. If in doubt, reverse the leads on the Right
speaker only and compare the results. Out-of-phase speakers will
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have a poorly-defined image smeared all over their end of the
room.
•
•
L–C Pha sing : check Left-Center phasing in the Home THX mode
by repeating the L-R Phasing test after having moved the intercon-
nect from the Right speaker’s amplifier input to the Center
speaker’s amplifier input. Don’t forget to move the interconnecting
cables back where they belong when you are done.
Ab solute Subwoofe r Pha sing : it is also important for both sub-
woofers to have the correct phase with regard to the rest of the
system. Now that the LCR speakers are all matched, play the 80 Hz
warble tone from the Stereophile Test CD. Alternatively, listen for the
“body hits” (when Indy gets slugged) in WOW! (These body hits
have a lot of energy at approximately 80 Hz.) Reverse the polarity
of all subwoofers (if using more than one) and listen again. The
polarity with the greatest bass output in this vital region is correct.
Surround Pha sing : using the p ro log ic mode (not the THX c ine ma
mode), stand halfway between and at some distance from the sur-
round speakers with them facing you. With strong surround pro-
gram material (such as Chapter 11 on WOW!, or the out-of-phase
pink noise test on the Stereophile Test CD), you should hear a solid
center image hanging between the surround speakers. (“Absolute”
phasing of the surrounds with regard to the front speakers is rela-
tively unimportant, since the delay used to take advantage of the
precedence effect destroys any front-to-back phase integrity.)
•
A few minutes of extra attention paid to phasing at this stage of the installation
pays off handsomely in improved localization and in optimal bass performance.
This is particularly true if the amplifiers used are not identical.
Inp ut Leve l Ca lib ra tion It is necessary to adjust the input level of sources in order to get the best results
from the system when used in either THX c ine ma or p ro log ic modes. This is be-
cause Dolby Pro Logic employs a modified version of Dolby B noise reduction,
which needs to be calibrated in order to ensure accurate tracking and decoding
of the soundtrack. This adjustment yields the best dynamic range from the sur-
round decoder circuitry, and ensures accurate tracking of the steering circuitry in
Dolby Pro Logic. While not hyper-critical in the PAV, thanks to its extraordinary
signal-to-noise and headroom performance, adjusting it accurately will squeeze
the last bit of performance from your system.
A simple test tone can be used in conjunction with the front-panel level indicator
to calibrate the system. (Ch. 5 on Lucasfilm’s WOW! test laserdisc, or a copy
thereof for your VCR; Track 1 of the first Stereophile Test CD also has a suitable -
20 dBFS, 1 kHz test tone.) Lower the master volume to “background” music levels
and then turn on the test tone. Adjust the input level until until the green LED
just above the input level button just turns on.
If no test tone is available, you can still calibrate the system with reasonable accu-
racy by turning up the input level control until the green LED is on most of the
time during loud passages in movies, but so as to prevent it from turning red at
any time (which would indicate the onset of clipping in the Dolby Pro Logic cir-
cuitry). Various movies are dubbed at slightly different levels, so you may want to
touch up this adjustment occasionally. Expect to see a 1-3 dB variation among
various film transfers.
Default input level settings may be set for each input in the PAV. Setting these de-
faults for each source in the system will have the effect of transparently eliminat-
38
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ing differences in level between various sources (some of which may seem
“louder” than others without such a correction).
Outp ut Leve l Ca lib ra tion The PAV also incorporates level controls for each output. These allow you to
compensate for differences in amplifier and speaker sensitivities and for place-
ment variations in different rooms. These adjustments a re essentia l for re-
pr oducing pr oper soundsta ging a nd ima ge loca liza tion. Fortunately, they
LEFT FRONT
are normally a one-time adjustment during setup, and only need to be revisited
if amplifiers or speakers change.
CENTER
The simplest and best way to adjust the output level controls is by using a dB
Sound Pressure Level (SPL) meter and the internal test tone generator. The goal is
RIGHT
FRONT
INTERNAL
to set the volume at the primary listening position to read 75 dB SPL (C-weight-
SET LEVELS
RIGHT REAR
LEFT REAR
SUBWOOFER
ing, slow mode) from each speaker in sequence, using the individual output level
controls. You should point the meter at the ceiling so as to avoid inadvertently
favoring one speaker over another. (Note that if the tones in Chapters 8-11 of the
WOW! test disc are used, the meter should read 85 dB SPL, since these tones are
recorded at a level 10 dB higher than those generated by the internal generator. If
external tones such as these are used, you must also be certain that the input
level calibration has been done accurately prior to calibrating the output levels.)
EXTERNAL
In the absence of a dB SPL meter, it is possible to set the output level controls by
ear. Use the built-in pink noise generator in the PAV to adjust all volumes to
sound the same as they cycle around the various speakers. (This signal is band-
width-limited pink noise to minimize the problem of timbre shifts influencing
the setting of levels.) The system will then be reasonably well balanced, although
of course it is not “calibrated.”
1
ENTER THE SET LEVELS MENU
Select se t leve ls in the se tup me nu and press volum e +/ –. Then select inte r-
na l (to use the internal noise generator) and press volume +/ –. You will
then see a screen which should look something like the following:
set leve ls m e nu
NOISE SETUP MODE
LEFT FRONT
CENTER
RIGHT FRONT
RIGHT REAR
LEFT REAR
SUBWOOFER
83
83
83
83
83
83
2
RAISE OR LOWER THE LEFT FRONT SPEAKER’S VOLUME TO 75 DB SPL AS
MEASURED AT THE PRIMARY LISTENING POSITION
Remember that you should be using the “C” weighting curve and the “Slow”
ballistics of the SPL meter in order to get an accurate reading.
39
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3
REPEAT THIS PROCESS FOR EACH SPEAKER IN TURN
Pressing ma ste r will move the cursor (and the noise) on to the next
speaker. When adjusting the subwoofer level, be sure to get up and walk all
around the listening area, watching for the magnitude of the variations in-
troduced by room modes at low frequencies. If more than 3-4 decibel
variations are seen within the listening area, consider re-locating your
subwoofers for more consistent results. (See Planning Your Installation for
specific suggestions on subwoofer placement.)
4
5
MAKE A NOTE OF THESE SETTINGS UNDER “YOUR SYSTEM SETTINGS” IN
THE BACK OF THIS MANUAL
Having these settings handy will prove helpful should anyone ever tamper
with your careful calibrations. Of course, you should re-calibrate the system
whenever changing amplifiers and/or speakers, or when something has a
noticeable effect on room acoustics (such as re-arranging the furnishings).
PRESS ENTER TWICE TO SAVE YOUR CHANGES
Since these settings are critical to achieving optimal performance from your
PAV, the on screen display will ask you whether you are sure you want to
make these changes, and tell you to press me nu to escape without saving
those changes. Assuming that you do wish to save your changes, press e nte r
a second time to confirm and save the changes.
Se tting the Surround De la y All Dolby Pro Logic decoders incorporate a delay to the rear speakers. This delay
takes advantage of the precedence effect, whereby we tend to localize on the first
sound we hear when being confronted with several similar sounds (as in the
case of surround sound, or a visit to a reverberant concert hall). The rear signal is
delayed somewhat to ensure that we never hear any potential leakage of the front
channels into the surround speakers, despite the fact that the latter are often
closer to the seating area than are the main speakers. This delay gives the sound
coming from the front speakers a chance to reach the viewer before the sur-
rounds are heard. It can be varied from 15 to 30 milliseconds.
The best setting depends on the distance between the main seating area and the
front speakers, and the distance between the main seating area and the surround
speakers. (See below.)
1
MEASURE THE DISTANCE IN FEET FROM THE FRONT SPEAKERS TO THE
PRIMARY LISTENING POSITION
This number represents an approximate measure of the time it takes for the
front speaker sound to reach the listener, in milliseconds. (Since the speed
of sound at sea level is 1130 feet per second, sound travels approximately
one foot per millisecond—close enough for this sort of work, anyway. Simi-
larly, people using the metric system may use the approximate conversion
of 3 feet = 1 meter.)
2
SUBTRACT THE DISTANCE (IN FEET) FROM THE LISTENER TO THE REAR
SPEAKERS
This difference represents the time “advantage” the rear speakers have over
the front speakers, measured in milliseconds. Since they are usually closer
to the listener than the front speakers, it is important for their signal to be
delayed.
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3
4
ADD 15 TO THE NUMBER OBTAINED IN STEP #2 AND SELECT THIS SUM IN
THE SET DELAY MENU
For example, if your rear speakers are 7 feet closer to you than the front
speakers, add 7 to 15 to get 22 msec, which is the optimum delay for your
system. Use the volum e +/ – keys to set this value in the se t d e la y menu.
MAKE A NOTE OF THESE SETTINGS UNDER “YOUR SYSTEM SETTINGS” IN
THE BACK OF THIS MANUAL
Having these settings handy will prove helpful should anyone ever tamper
with your careful calibrations.
Don’t be overly concerned about this setting—by its very nature, it does not have
to be exact. The goal is to delay the rear speakers enough to make them be per-
ceived as secondary sources of sound, without introducing so much delay that
they sound like echoes of the original. In most systems, anything from 20–25
msec or so will perform just fine.
Se tting Inp ut De fa ults Although not really necessary for proper operation of the Proceed PAV, the input
defaults section of the setup menu allows you to customize certain aspects of
your PAV’s behavior.
The video portion of the input defaults menu also tells the PAV whether a par-
ticular video input is using the composite or the S-video connectors. This is im-
portant because it necessitates a change in the way on screen messages are gen-
erated. (If set incorrectly, the blue field against which the characters are normally
displayed may be gray. No real harm is done, but you may wonder why the pic-
ture keeps losing its color momentarily when on screen messages are displayed.)
Before adjusting your input defaults, we suggest turning the master volume down
to a relatively low level on your PAV (since you will be using strong signals to
calibrate the system’s input levels and don’t want to endanger your loudspeakers).
Then place the PAV into either THX c ine ma or p ro log ic mode (which engages
the reference level LED in the main display). The following sections outline the
various input defaults you may customize.
Tip :
You c a n go d ire c tly from norma l op e ra tion to the inp ut
d e fa ult me nu for a p a rtc ula r inp ut by p re ssing a nd hold ing
the inp ut b utton for a b out five se c ond s. Whe n finishe d,
p re ssing me nu onc e will ta ke you b a c k to norma l op e ra tion
without ha ving to d o a ny furthe r na viga tion of the m e nu
syste m.
Prog ra mm ing a New The PAV allows you to re-name its inputs for the purposes of the on screen
On Sc re e n Alia s menus, for greater clarity and simplicity of subsequent use. These “aliases” (alter-
native, on screen names) may be up to five characters long.
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1
ENTER THE INPUT DEFAULTS MENU, SELECT AUDIO INPUTS, THEN CD 1,
THEN ALIAS
This can be accomplished by moving the cursor to inp ut d e fa ults and then
pressing either of the volume +/ – keys four times in succession. (For our
example, we will concern ourselves with the c d 1 input. The other inputs
operate in the same fashion.) You should then see a screen which looks
something like this:
c d 1 m e nu
INPUT DEFAULTS
ALIAS CD1
ALIAS
OFFSET
MODE
CD1
0
NONE
OFFSET 0
CD1
MODE
NONE/THX/
etc.
2
GIVE THE INPUT A MORE SPECIFIC ON SCREEN ALIAS
When you use the volume +/ – keys to select a lia s, the first character will
automatically be selected (indicated by an arrow). Use the volume +/ – keys
again to scroll through the available list of characters until you see what you
need. Then use the m a ste r button to move on to the next character. Con-
tinue until you are finished with this alias. For example, setting the cd 1
alias to “CDP” and then moving the cursor on with the ma ste r button
would result in a screen which looked like this:
a lia s m e nu
ALIAS
CDP
↑
3
PRESS ENTER TO SAVE THE NEW ALIAS
From now on, the on screen display will refer to this input as your “CDP”
(or whatever else you spelled out).
Repeat these programming steps in turn for any inputs which will be used in
your system’s configuration.
Progra mming Inp ut Offse ts Having created a new alias for an input, pressing e nte r returns you to the
inputs defaults menu for that input. Pressing ma ste r moves the cursor on to the
input offset default for that source. The PAV will automatically load this number as
the inp ut leve l whenever this particular input is selected.
The primary purpose for this feature is to eliminate the level differences between
various source components, in order to give the Dolby Pro Logic circuitry a more
consistent signal strength with which to work. For example, you may discover that
your CD player’s output is stronger than your laserdisc player’s output. The best
course is to set the input level adjustment for the laserdisc, since it will often play
surround-encoded material; then adjust the relative volume of the CD player to
match that of the laserdisc (in order to avoid abrupt changes in volume when
switching between inputs). While not especially critical to the operation of the
PAV, fine-tuning the input levels of the source components will yield some im-
provements in both dynamic range and signal to noise performance of surround-
encoded material.
To adjust your default input offsets, access the input default menu for the selected
input by pressing and holding its button for about five seconds, then:
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1
UNDER THE INPUT DEFAULTS MENU FOR THE CHOSEN INPUT, SELECT
OFFSET AND PRESS EITHER OF THE VOLUME +/ – KEYS
You will see a screen which looks like the following:
inp ut le ve l offset m e nu
INPUT DEFAULTS
OFFSET 0
2
USING AN APPROPRIATE TEST SIGNAL ON THE SOURCE COMPONENT,
ADJUST THE INPUT LEVEL OFFSET UNTIL THE REFERENCE LED IN THE MAIN
DISPLAY JUST ILLUMINATES
Appropriate test signals may be found on: Chapter 5 of Lucasfilm’s WOW!
laserdisc; Track 1 of the Stereophile Test CD; or copies of either of these
sources made on your tape decks or VCRs. (Note that the meters of analog
tape decks such as cassette decks should read -20 dB when recording and
playing back this signal.) Using the volume +/ – buttons, adjust the input
level offset up and down as needed until you find the setting at which the
LED first illuminates.
3
PRESS ENTER TO SAVE YOUR NEW DEFAULT INPUT LEVEL OFFSET.
This setting will automatically be used whenever you select this input. You
are, or course, still free to adjust it manually should you run across a re-
cording which was made at an unusual level.
Repeat these programming steps in turn for any inputs which will be used in
your system’s configuration.
Prog ra mm ing De fa ult Mod e s The PAV also allows you to set up a preferred surround mode for each input,
which will be engaged automatically whenever that input is selected. For ex-
ample, you might want to use ste re o surround for most of your music listening.
As such, it would make sense to set that as your default surround mode for your
CD player and other music sources. Similarly, you would probably choose THX
c ine ma as your default for a laserdisc player. By doing so, you will automatically
be in the most appropriate surround mode the majority of the time, without hav-
ing to pay any attention to it yourself.
NONE
THX CINEMA
PRO LOGIC
Any surround mode may be assigned to each input. In addition, there is also a
choice given for none , which will leave the PAV in whatever surround mode it
happens to be in at the time of the input selection. (Note that none is not the
same as surround off which will force the PAV into two-channel stereo operation.)
When the PAV leaves the factory, all inputs use “none” as their default surround
mode, which leaves the PAV in the same mode all the time until you change it
manually.
DEFAULT
SURROUND
STEREO
SURROUND
MONO
SURROUND
SURROUND
OFF
MONO
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To change your default surround mode:
1
UNDER THE INPUT DEFAULTS MENU FOR THE SELECTED INPUT, SELECT
“MODE” AND PRESS EITHER OF THE VOLUME +/ – KEYS
You should then see a screen which looks something like this:
d e fa ult surro und m o d e me nu
DEFAULT SURROUND MODE
NONE
2
USE THE VOLUME +/ – BUTTONS TO CYCLE THROUGH THE AVAILABLE
SURROUND MODES UNTIL YOU SEE THE ONE YOU WOULD LIKE TO HAVE
AS A DEFAULT FOR THIS INPUT.
For example, for your CD player you may want to select the stereo sur-
round mode, as shown below.
DEFAULT SURROUND MODE
STEREO SURROUND
3
PRESS “ENTER” TO SAVE THIS DEFAULT SURROUND MODE FOR THIS INPUT.
Repeat these programming steps in turn for any inputs which will be used in
your system’s configuration.
Prog ra mm ing Vid e o Inp uts Video sources have the same input default options outlined above for audio
sources, with one addition: you need to tell the PAV whether you are using the
composite or the S-video inputs for each of your four video inputs. The very dif-
ferent nature of these two signals requires that on screen displays for each be
generated differently. (If set incorrectly, the blue field against which the characters
are normally displayed will be gray; also, color video will turn black and white
for the duration of on screen messages. No real harm is done, but you may won-
der why you occasionally lose color.)
All video inputs are set to c omp osite when they leave the factory. We str ongly
recommend that you standardize on either composite or S-video and use your
choice consistently throughout the system. To use the S-video connection on the
PAV for a particular video input:
1
FROM THE SETUP MENU, SELECT INPUT DEFAULTS, FOLLOWED BY VIDEO
INPUTS, FOLLOWED BY THE INPUT YOU WOULD LIKE TO PROGRAM.
Assuming you have already performed the adjustments outline above, your
on screen menu might look something like the following (the specifics will
vary, of course):
vid e o inp ut d e fa ults me nu
INPUT DEFAULTS
ALIAS LASER
OFFSET -4
MODE THX
VIDEO COMPOSITE
44
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2
3
USING THE MASTER BUTTON, MOVE THE CURSOR DOWN TO VIDEO;
THEN PRESS EITHER OF THE VOLUME +/ – KEYS TO TOGGLE TO S-VIDEO
PRESS ENTER TO SAVE YOUR CHANGE.
Repeat these programming steps in turn for any inputs which will be used in
your system’s configuration.
Mod e De fa ults The PAV also allows you to customize its default configuration for each surround
mode. Although the most accurate reproduction will be achieved by leaving these
adjustments disabled, their inclusion does allow you the option of tailoring the
sound of various surround modes to suit your individual taste. For example, if
you find yourself turning up the rear speakers whenever you watch a movie, and
then turning them back down to their normal, calibrated setting for music, you
may want to set the defaults for THX c ine ma and ste re o surround accordingly.
We recommend living with the PAV and using it in its calibrated
settings for a while before changing these defaults. There is an ad-
justment period people go through when their system is upgraded
during which it is difficult to make an accurate decision about
sound quality. The best-known example of this is when someone
first owns a high quality subwoofer: the tendency is to turn it up
too loud initially (so one can “hear it”); as time goes by, most
people find themselves gradually turning it down until it is ad-
justed to a more accurate level that blends appropriately with the
rest of the system. Similarly, there is a tendency to exaggerate the
bass and surround channels in surround systems before one ad-
justs to the multichannel experience.
Remember that ad hoc adjustments (to compensate for a poor recording, for ex-
ample) on the PAV are easy to make. Simply touch the button for the speaker(s)
you wish to adjust, and then raise or lower the volume. These offsets from the
calibrated settings remain active until you deliberately change them, or until you
press re c a ll to restore the PAV to its calibrated settings.
The surround mode defaults simply automate this process. For each of the six
surround modes of the PAV, you may create default offsets for c e nte r, re a r, and
sub channels. The PAV will simply enter these default settings for you as it
switches from one surround mode to the next. As always, you may alter these set-
tings as you see fit from the front panel or from the remote control. You may also
return to the calibrated (no offsets) setting by pressing re c a ll.
In addition, you may elect to automate the sub on/ off toggle described in the
section Programming the Remote Control. (Briefly, this toggle switches between
the speaker setup described in the se t sp e a ke rs menu and one in which the
front speakers are given a full range signal and the subwoofer is turned off.)
Se tting Mod e De fa ults To change the default offsets for your various surround modes, you must first en-
able this special feature for all six surround modes, then alter each as you like:
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1
FROM THE SETUP MENU, SELECT “MODE DEFAULTS” AND ENABLE THE
FEATURE
After selecting mod e d e fa ults from the se tup me nu, you will see a screen
that looks like this:
**DISABLED/
ENABLED**
MODE DEFAULTS
THX CINEMA
PRO LOGIC
➔ --DISABLED--
THX CINEMA
PRO LOGIC
STEREO SURROUND
MONO SURROUND
SURROUND OFF
MONO
MODE
DEFAULTS
STEREO
SURROUND
MONO
SURROUND
You must first engage this feature by pressing volume +/ – to toggle
-- DISABLED-- to --ENABLED--. This extra step ensures that any automated
changes of output levels are consciously chosen and therefore less likely to
cause surprise. It also allows you to disable all the surround mode defaults
in one easy step should you decide at some future date to return to the
calibrated settings for all your routine listening.
SURROUND
OFF
MONO
2
SELECT THE SURROUND MODE YOU WOULD LIKE TO MODIFY
When you have selected the THX c ine ma mode, for example, you should
see a screen that looks something like this:
MODE DEFAULTS
SUB ON/OFF NONE
CENTER LVL
REAR LVL
SUB LVL
0
0
0
THX CINEMA
3
SELECT “NONE”, “ON”, OR “OFF” AS THE SETTING FOR YOUR SUBWOOFER
IN THIS SURROUND MODE
If you simply leave this setting as none for all your surround modes, the
PAV will always use the speaker settings from the se t sp e a ke rs menu. If you
prefer to add a subwoofer for movies and remove it when listening to mu-
sic, you should se t sp e a ke rs for a biamplified system (crossover on), set the
movie-related surround modes for sub on, and set the music-oriented sur-
round modes to sub off. This way, your subwoofer will automatically be en-
gaged or disengaged as you change between (for example) THX c ine ma to
ste re o surround .
4
ADJUST THE LEVEL OF CENTER, REAR AND SUB CHANNELS RELATIVE TO
THE FRONT LEFT AND RIGHT SPEAKERS TO SUIT YOUR PREFERENCE
Using the ma ste r button, move the cursor to the item you wish to adjust;
then adjust the setting with the volume ± buttons.
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5
PRESS “ENTER” TO SAVE YOUR CHANGES; REPEAT FOR ALL OTHER
SURROUND MODES AS NEEDED
Note that if you change only a single surround mode, the others will re-
mains at their factory default settings of no offset and sub = none . This will
cause even offsets entered at the front panel to be reset to all zeros when
surround modes other than the one you changed are selected. (All the
more reason to live with the system for a while before electing to customize
it in this way. You should know your preferences with a fair degree of cer-
tainty before automating them to this degree.)
Prog ra mm ing the IR Inp ut The infrared remote input jack on the rear panel of the PAV may be programmed
to respond to either loc a l commands (e.g., duplicating the functionality of the IR
receiver in the ma in d isp la y) or re mote commands (e.g., from an IR repeater, to
affect only the re mote signal path). Refer to p. 19, Remote IR and Remote Turn-on,
for more information.
The factory default setting is re mote . If your installation of the PAV prevents IR
commands from reaching the PAV (as when behind closed doors, for example),
and if you are using an IR repeater to pass IR commands to the PAV, you may
wish to set the IR input on the rear panel to loc a l, in which case you would also
want to “hard-wire” the PAV to your IR repeater (see IR Tip Polarity, page 19). To
make this software change, follow these steps:
1
ENTER THE REMOTE CONTROL MENU
This menu is accessed from the se tup me nu by moving the cursor to
re mote c ontrol (using the ma ste r button), and pressing the volume +/ – key
to select the menu item.
2
3
SELECT REAR IR JACK
Using the ma ste r button, move the cursor to re a r IR ja c k and press
volume +/ –.
TOGGLE THE MENU ITEM FROM REMOTE TO LOCAL
Press either of the volume +/ – keys to change the default setting of
re mote to loc a l.
Imp orta nt:
Note tha t this c ha nge will not ta ke e ffe c t until you b a c k out of
the on sc re e n me nus a nd re turn to norma l op e ra tion. This
d e la ye d re sp onse a llows you to c ontinue to use the IR
re c e ive r on the ma in d isp la y long e noug h to finish wha t you
a re d oing. It will b e turne d off in fa vor of the IR inp ut ja c k
onc e you le a ve the me nu syste m.
Once the rear IR jack is changed to local, the IR receiver in the main display is
deactivated in favor of the rear IR jack. If you do this unintentionally and are not
set up to “hard-wire” the commands into the rear IR jack, don’t worry. You can
always use the front panel buttons to operate the on screen menu system, turn-
ing the rear IR jack setting back to remote. Doing so reactivates the IR receiver in
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the ma in d isp la y. (See Operating the On Screen Menus from the Front Panel,
page 35.)
Cha ng ing the In some installations, you may discover that some other company is trying to use
PAV’s IR Ad d re ss the same infrared control codes used by the PAV, or vice versa. (This unfortunate
circumstance has become more common in recent years thanks to the explosion
of IR-controlled products in the home.) Fortunately, the PAV allows you to use any
of eight different sets of IR codes, which are accessed by changing the “IR ad-
dress” used by the PAV.
Imp orta nt!
If you c ha nge the IR a d d re ss of your PAV, your re mote c ontrol
will no longe r op e ra te the PAV until it is re -ta ught a ll of the new
c od e s! Do not c ha nge this se tting from its d e fa ult va lue of 5
unle ss you must, in ord e r to solve a c onflic t.
If you run into an apparent IR conflict where pushing one button on a remote
control affects something seemingly unrelated, we suggest that you contact your
dealer/installer for assistance. (The numbers 0 through 7 refer to Philips RECS80
addresses, a bit of engineering trivia your installer may need if your system is
already using several of the available addresses, including the one we normally
use in the PAV: 5.)
Config uring the The re mote trig ge r outp ut on the rear panel of the PAV is normally used to auto-
Re m ote Trig ge r outp ut matically turn the associated Proceed AMPs on and off with the PAV. This is par-
ticularly convenient when the amplifiers are located at some distance from the
PAV, as may be the case when they are placed near the speakers (for example). In
this application, you can simply leave it in its default setting, p ulse .
If you need to turn on and off a power amplifier that does not include remote
turn-on capabilities, the simplest solution is to use a product like the Niles IPC-6,
which is an intelligent AC-outlet strip that can turn AC power on and off to a set
of components based on the presence or absence of a level control voltage.
Ca ution!
If you use the re mote trig ge r outp ut of your PAV with non-
Ma d riga l p rod uc ts, it is imp orta nt tha t those p rod uc ts p rovid e
c urre nt-limiting a nd g round isola tion for this outp ut. This
isola tion ma y b e a c c omp lishe d with opto-c oup le rs or with
low-volta ge re la ys. Ple a se c onsult with your insta lle r p rior to
using the re mote trig ge r outp ut with p rod uc ts othe r tha n those
d e signe d by Ma d riga l.
Note that the remote trigger output of the PAV can support approximately 5 volts
at 30 mA current.
Having completed the calibration of your PAV system, you may also wish to con-
sider locking your settings to minimize the likelihood of someone inadvertantly
changing your setup. This menu item can be found under the op e ra te me nu,
which is found at the main PAV me nu. (See page 47 for more information.)
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Using the PAV
Se tting the Volume There are, in effect, two volume controls in the PAV. When in either THX c ine ma
or p ro log ic modes, the inp ut leve l control should be used to compensate for dif-
ferences between recordings, using its associated green LED as a guide. Adjust-
ments to allow for personal preferences, late-night listening, and the like should
then be made with the ma ste r volume control.
When in any of the other surround modes, the input level adjustment is signifi-
cantly less critical and can be largely ignored (particularly if input level defaults
were set up during installation).
Home THX c ine ma When the THX c ine ma mode is engaged, both the Dolby Pro Logic circuitry and
the proprietary Home THX audio processing circuits are in use. This is most ap-
propriate for film-based program materials made since the mid-1970’s, which have
in all likelihood been mixed in a standard dubbing stage environment. This set-
ting will provide the listener with the most accurate reproduction of the majority
of motion pictures available. In addition, many other video source materials are
produced in Dolby Surround using the industry standard response curves, and
are best enjoyed in the THX c ine m a mode. (Examples include Star Trek: Voyager
and The David Letterman Show, which are mixed in an environment which emu-
lates the dubbing stage used for film.)
Dolby Pro Log ic Surround Some program material does not conform to film industry standards, although it
may still be Dolby Surround encoded. Music videos on MTV, for instance, are of-
ten Dolby Surround encoded, but have soundtracks which are produced in non-
film studios. In fact, a growing number of music CDs are mastered with surround
sound. These sources and others which have surround encoding but which are
unlikely to have been mixed or re-mixed in industry-standard production facili-
ties should use the p ro log ic mode to avoid compensation where none is indi-
cated.
When in doubt as to whether THX c ine ma or p ro log ic is more appropriate, lis-
ten for a natural presentation of the treble. Films mixed for theatrical release ex-
hibit an elevated treble region when played back on a home system with flat re-
sponse. The THX c ine ma mode will correct this. Conversely, surround-encoded
programs without this high frequency emphasis might sound dull or lacking in
detail when (incorrectly) played in the THX c ine ma mode.
Ste re o Surround The ste re o surround mode has been carefully designed to extract real ambience
from your recordings rather than synthesizing something artificial that might be
quite alien to the music itself. The ambient cues found in the program material
are then used to provide appropriate information for the center and rear speakers.
The front Left and Right speakers are left unaffected by this mode, allowing you
to hear unadulterated stereo imaging with the addition of a genuine sense of hall
ambience.
Since this mode is based on the recordings themselves, it is normal to hear some
variation in the degree of the effect. Extremely “dry” recordings which lack any
significant ambience may not sound significantly different than when in surround
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off mode (e.g., two-channel stereo). You may find that increasing the level of the
rear speakers is necessary in order to bring what little ambience is in a “dry” re-
cording up to a more enjoyable level.
Mono Surround The mono surround mode can provide a sense of spaciousness and size to
monophonic program material such as some historical recordings and movie clas-
sics such as Casablanca or The Wizard of Oz. The mono surround mode makes
no effort to “electronically reprocess to simulate stereo” (a process which almost
always causes more harm than good). Instead, it uses sophisticated steering tech-
niques to create a sense of space in what would otherwise be a largely dimen-
sionless soundfield. It is particularly helpful when viewing mono program mate-
rial on a big screen, where a tiny mono image would simply sound wrong in
contrast to the big picture.
Surround Off The surround off mode is intended for music reproduction without any form of
surround enhancement. In this mode, the Left and Right speakers are active along
with the subwoofer(s), and reproduce the input without any processing other
than the electronic crossover needed for the subs.
Mono The mono mode sums the incoming Left and Right signals. The result is sent to
the center channel speaker, as well as the subwoofer(s). This mode is especially
useful for older, classic films or historical recordings which have noisy mono
soundtracks. Since much of the noise is likely to be random in phase, significant
noise cancellation can often be achieved by playing these mono sources in a true
mono mode.
The Op e ra te Me nu Those settings for which there is no “right” or “wrong” but which are purely a
matter of user preference are contained in the op e ra te me nu (accessed from out-
side the menu system by pressing me nu on your remote control twice). The op -
e ra te me nu is organized as shown at left, and is detailed below:
•
•
m ute leve l — the magnitude of volume reduction introduced by pressing
the mute key is user-definable from -5 to -110 in increments of 5 (-2.5 dB to
-55 dB in 2.5 dB increments). The factory preset is for -40 (-20 dB).
d isp la y p re f — the display preferences subheading groups together several
items which control the appearance of the on screen displays presented by
the PAV during use. We will cover to this menu item in detail on the next
page.
MUTE
LEVEL
DISPLAY
PREF
•
volume d isp la y — gives you the option of displaying your volume settings
on a scale of 0 (off) to 112 (extremely loud) or on a scale which is marked
off either plus or minus around the calibrated reference level established
during calibration. The former is called “a b solute ” while the latter is called
“re la tive .” As an example, if your calibrated reference level is 91, the display
would read 0 in the re la tive mode when it would read 91 in the a b solute
mode.
VOLUME
DISPLAY
OPERATE
VOLUME
SPEED
•
•
volume sp e e d — you may select either slow, me d ium , or fa st response for
the volume change when pressing and holding the volume +/ – keys. In all
cases, single taps of the volume keys result in single incremental steps in
volume. The volume speed chosen affects the amount of time it takes to reach
maximum speed while holding the volume +/ – button down.
se tup : loc ke d / unloc ke d — after having completed all setup adjustments,
you may wish to lock your settings to prevent accidental changes. Doing so
will disallow access to the main se tup me nu until unlocked.
SETUP:
UNLOCKED
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The Disp la y Pre f Me nu Returning to the subject of d isp la y p re fe re nc e s, selecting this menu item (by
pressing either volume +/ – while the cursor is pointing at it) presents you with a
sub-menu, outlined at left. The details of that submenu are as follows:
•
d isp la y p osition — the position of the on screen display of volume
changes, surround mode changes, etc., can be moved up or down to
suit the needs of your system. This flexibility allows you to place your
PAV’s on screen information where it won’t conflict with other on
screen information. As an example, you may place the on screen dis-
play in the black area under letterboxed movies.
DISPLAY
POSITION
DISPLAY
TIMEOUT
DISPLAY
PREF
•
•
d isp la y time out — controls the duration of these on screen “updates”
generated by the PAV as status reports when you change something.
(Remember that you can disable the on screen display using the on
sc re e n button on the remote control.)
CHARACTER
STYLE
c ha ra c te r style — on screen messages are normally displayed within
a black box when superimposed on live video signals. This display
method ensures legibility even against extremely bright backgrounds,
when white letters might otherwise be difficult to read. At your op-
tion, however, you may elect to have these superimposed messages
displayed with only a black fringe around them, which some may find
less intrusive than the black box. This method remains easily legible
in all cases except a few (relatively rare) examples of extremely bright
video. A case in point might be the seemingly endless pans across the
sky shown during broadcast golf tournaments. (Do they really think
we can see a tiny white ball flying across a cloudy sky?).
BACKGROUN
D COLOR
•
b a c kg round c olor — the default color for the screen when lacking a
live video signal to display is blue. This blue screen serves as a re-
minder that your television is on, when in fact you may prefer to turn
it off. However, some may prefer to leave their projection television on
in order to keep it warmed up and ready to use, in which case a
black screen might be more desirable. (A black screen would facilitate
listening to music in a darkened room, for example.) This menu item
allows you to choose the best mode for your system, either blue or
black.
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Progra mming the Re mote
Control
Prog ra mm ing Othe r The remote control provided with the PAV is capable of learning the commands
Comp one nts’ Func tions of almost any other remote control. This is true of any and all buttons on the re-
mote, including those that are pre-programmed from the factory to operate spe-
cific PAV functions. If you find that some other configuration of the PAV remote
control better suits your particular needs, you are free to assign any command to
any button.
Chances are you will want to leave the pre-programmed functions of the remote
control where they are. The first order of business will be to teach the remote
control the critical functions of your other remote controls so you can put them
safely away in a drawer somewhere (reducing the clutter on your coffee table).
Before teaching the PAV remote control new commands, it is a good idea to orga-
nize your thoughts regarding which commands you would like to teach it, and
which buttons are the most logical “locations” for those commands. (See Plan-
ning Your Remote Control, pp. 55-56.)
For example, you may want to group the commands for your most-used compo-
nents (perhaps your CD player and your TV) on the same bank as the PAV com-
mands. Doing so minimizes the need to switch to the other bank.
Once planned, actually teaching the PAV remote the new commands is simple.
Follow these steps:
1
USING A PEN OR SIMILAR OBJECT, PRESS USE/ LEARN.
This action places the remote control in the Learning mode, indicated by
the re a d y to le a rn and the le a rne d / se nd ing lights both being lit. Whenever
you wish to return to normal use mode, you may press the use / le a rn but-
ton again.
2
3
PRESS THE BUTTON WHICH IS TO RECEIVE A NEW COMMAND
This button becomes the “destination” for the command you are about to
“send” to the PAV remote control from the other component’s remote.
WITH THE OTHER REMOTE POINTING INTO THE PAV REMOTE CONTROL’S
IR WINDOW, PRESS AND HOLD THE COMMAND TO BE LEARNED FROM
THE OTHER REMOTE
Note that the PAV remote’s IR window is on the left side of its front surface
as seen from the normal user’s position. The PAV remote control will “re-
ceive” the IR command from the other remote and le a rn it, indicated by the
le a rne d / se nd ing LED lighting for a few moments. When this occurs, you
may release the button on your other remote.
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te a c hing the PAV re m ote
c ontrol ne w c omm a nd s
After the command has been successfully learned, both the re a d y to le a rn
and le a rne d / se nd ing LEDs will light once again, indicating that the PAV re-
mote control is ready to repeat the process.
4
5
REPEAT THE PROCESS OF “TEACHING” NEW COMMANDS TO THE
VARIOUS BUTTONS ON THE PAV REMOTE CONTROL UNTIL FINISHED.
You may, of course, add additional commands at any time. Just be careful
not to assign two commands to the same button (in the same bank), as
this will cause the second command to overwrite the first one, making it
unavailable for use.
PRESS “USE/ LEARN” AGAIN WHEN YOU ARE DONE, IN ORDER TO
RETURN TO NORMAL “USE” MODE
You may now use your PAV remote control in place of the one you just
used to teach the PAV remote its “new tricks.” In the normal use mode, the
PAV remote control will transmit the various commands it has been “taught”
to associate with particular buttons, allowing you to put away the other re-
mote.
6
TEST ALL YOUR NEW “LEARNED” COMMANDS TO ENSURE THAT THEY
WERE “LEARNED” CORRECTLY
As with all learning remote controls, it is sometimes possible for the PAV
remote control to learn either partial or multiple command bursts from the
original remote control. If you experience unexpected behavior when using
the PAV remote in lieu of the original, simply re-teach the offending com-
mand. You may want to try either a quick tap or a more extended press of
the original remote control’s button in order to get it to send a complete
(but not redundant) control signal for the PAV remote control to learn. Try
to avoid brightly lit areas, or areas lit by strong flourescent lights, when
teaching any learning remote control new commands. If it is impractical to
dim the lights a bit, provide some shade between the remotes by holding
this owner’s manual (or something similar) over the remote controls while
teaching new commands.
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Progra mming PAV Func tions If you inadvertantly overwrite one or more PAV commands in your PAV remote
control, never fear—you don’t have to obtain another PAV remote in order to re-
teach your own its PAV-specific commands. The PAV itself can send all of the nec-
essary IR commands from its ma in d isp la y window, enabling you to teach the
PAV remote both its pre-programmed commands and a few other, optional com-
mands which you might find useful.
When using the PAV itself to teach new commands to your remote control, your
remote will have to be in its learning mode (obviously). Therefore, you must
navigate the on screen menus by using the buttons on the front panel of the PAV.
The buttons on the front panel you need to use are as follows:
•
re c a ll: the me nu function is provided by the re c a ll button. In order
to activate the on screen menus rather than simply recalling the
calibrated output level settings, press and hold the recall button un-
til the front panel lights are turned off (about ten seconds). From
this point on until you exit the menu system, the recall button will
perform exactly as the menu button on the remote control would.
ma ste r: the front panel ma ste r button is also conveniently placed
adjacent to the volume +/ – buttons, and serves the same purpose
as the one on the remote control.
•
•
•
volume +/ –: the front panel volume +/ – buttons also operate in
the same fashion as their counterparts on the remote control.
sta nd by: the e nte r function is provided by the sta nd by button on
the front panel (when the PAV is in menu mode). It is deliberately
set apart from all of the other menu-related buttons to make per-
manent changes of system parameters a deliberate act.
1
2
3
ENTER THE SETUP MENU
PANEL
PRESS
BUTTONS
BUTTON
SELECT “REMOTE CONTROL,” AND THEN “TEACH REMOTE”
MENU
ENTER
TO RE-LEARN THOSE FUNCTIONS WHICH HAVE CORRESPONDING
FRONT PANEL BUTTONS, CHOOSE “PANEL BUTTONS”
REMOTE
ONLY
The on screen display will prompt you to press any button. Line up the IR
window of the PAV remote control with the center of the main display of
the PAV, at a distance of approximately 6"-12". Select the to-be-learned but-
ton on the remote, then press the corresponding button on the PAV. Notice
that a yellow LED in the main display lights up briefly after you press a
button. This LED indicates that the PAV is transmitting the command which
corresponds to the button you just pushed. You may repeat this process
until all buttons have been learned.
DISPLAY
ON SCREEN
SURROUND
PATH
TEACH
REMOTE
DIRECT
ACCESS
MISC
CONTROL
REMOTE
Tip: save the teaching of the re c a ll button for last, since its function
as the menu button’s “double” will result in the on screen display
reverting to the previous menu after it transmits its signal.
TRIG ON
REMOTE
TRIG OFF
RE-EQ
SPECIAL
ON/OFF
4
TO RE-LEARN BUTTONS WHICH EXIST ONLY ON THE REMOTE CONTROL,
CHOOSE “REMOTE ONLY”
From the teach remote menu, select remote only. The on screen display will
now look something like this (see next page):
DIRECT
VOLUME
SUB ON/OFF
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re m ote only m e nu
REMOTE ONLY
MENU
ENTER
DISPLAY
ON SCREEN
PANEL
BUTTONS
MENU
Press the appropriate button on the remote control (while in learning
mode), and then use the front panel ma ste r and volume +/ – buttons to se-
lect and “fire” the appropriate IR command from the ma in d isp la y of the
PAV into the remote control. Repeat as necessary.
ENTER
REMOTE
ONLY
TEACH
REMOTE
DISPLAY
ON SCREEN
DIRECT
ACCESS
5
TO LEARN COMMANDS THAT GIVE DIRECT ACCESS TO SURROUND
MODES, SIGNAL PATHS, AND POSITIVE CONTROL OVER TOGGLE
FUNCTIONS, SELECT “DIRECT ACCESS” ON THE TEACH REMOTE MENU
You may also teach special commands to the PAV remote control which al-
low direct access to the various surround modes, signal path and control
options. These may be assigned to any available button on the PAV remote
control, such as the a , b , c , d buttons.
SPECIAL
For example, you may find that you use the THX c ine ma , p ro log ic ,
ste re o surround and surround off modes most frequently. You could assign a
button to each of these and never have to cycle through the other options
again. Similarly, you could assign specific output paths to the e , f, g , and h
buttons to allow direct access from the remote control. Definite “on” and
“off” commands for sta nd by and mute (rather than toggles) offer improved
control over the PAV when operated from a remote zone.
The Surround, Path and Misc Control menus under the Direct Access
menus are as follows:
surround, p a th a nd
misc c ontrol me nus
SURROUND
PATH
MISC CONTROL
THX
PRO
STEREO
MONO S
S OFF
MONO
MAIN
REMOTE
BOTH
OPERATE
STANDBY
MUTE ON
MUTE OFF
RECORD
Press the appropriate button on the remote control (while in learning
mode), and then use the front panel ma ste r and volume +/ – buttons to se-
lect and “fire” the appropriate IR command from the ma in d isp la y of the
PAV into the remote control. Repeat as necessary.
6
TO LEARN OTHER SPECIAL COMMANDS, SELECT “SPECIAL ON THE
TEACH REMOTE MENU
Finally, the PAV provides several special commands that offer home enter-
tainment enthusiasts and home automation designers more specialized con-
trol over their systems.
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PANEL
Re mote Trig On and Re mote Trig Off make it possible to control the remote
turn-on trigger output on the rear panel of the PAV independently of the
PAV itself. For example, should you decide to use this trigger output to con-
trol amplifiers in the remote zone rather than the local amplifiers, learning
these IR commands would allow you to turn the remote amplifiers on and
off (even from across the house) without affecting the operational status of
the main home theater.
BUTTONS
REMOTE
ONLY
DIRECT
ACCESS
REMOTE
TRIG ON
TEACH
REMOTE
REMOTE
TRIG OFF
Re -EQ On/ Off allows the discerning movie buff to toggle the re-Equalization
circuitry on and off independently of the remaining THX cinema circuits
(decorrelation and timbre-matching, both affecting only the surround chan-
nels). Since a small number of movies have already had their boosted high
frequencies corrected in the transfer to video, toggling the Re-EQ circuit off
prevents redundant correction while retaining the surround-channel ben-
efits of THX.
RE-EQ
SPECIAL
ON/OFF
DIRECT
VOLUME
SUB ON/OFF
Dire c t Volume provides a method for directly accessing any two-digit vol-
ume setting, something that owners of home automation systems such as
AMX and Crestron can use in their macros. For example, a macro called
“Background Music” might be written that would
• select a particular music program on a 100-disc CD changer;
• select c d 1 on the PAV;
• select ste re o surround ;
• and change the volume setting to 45 (regardless of where the volume
had been set previously).
The format for giving the direct volume command is as follows: d ire c t vol-
ume , then two digits, then e nte r.
The sub on/ off feature will toggle between the configuration established
during initial setup and using the front three loudspeakers full-range, with-
out any help from the subwoofer(s). (Specifically, it turns off the crossover
and the subwoofer output when subwoofe r off is selected.) This feature
may be used to compare the performance of the system configured with
and without the subwoofer(s). (Note that pressing re c a ll will always return
the system to its calibrated setup configuration, regardless of its current sta-
tus.)
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Pla nning Your Re mote Control
For your convenience, we have included the following form on which you may
plan which additional functions you will assign to which buttons on the PAV re-
mote control. We suggest photocopying this page and then planning your pro-
gramming before getting into it too heavily. A little time spent planning can make
the teaching process go much more smoothly, and it provides you with a ready
reminder of which commands you placed where during the first day or two of
use. After that, you will probably find everything to be second nature, and you
may wonder how you ever got along without this “all-in-one” remote control. An
asterisk (*) indicates buttons normally used by the PAV.
The Proc e e d Ba nk: Le ft
a
c
_______________________
_______________________
_______________________
_______________________
b
d
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
stop /
re w/
p la y/
ff/
inp ut _______________________
p a use /
ne xt/
re c /
p rev./
_______________________
p owe r _______________________
a d just
_______________________
a d just
The Proc e e d Ba nk: Ce nte r
vc r 1/1 _______________________
l.d./ 3 _______________________
c d 1/ 5 _______________________
ta p e 1/7 _______________________
b a l/ a ux/ 9 _______________________
e nte r _______________________
c h– _______________________
vc r 2/ 2 _______________________
tv/ a ux/ 4 _______________________
c d 2/ 6 _______________________
ta p e 2/ 8 _______________________
tune r/ 0 _______________________
c h+ _______________________
The Proc e e d Ba nk: Rig ht
e
_______________________
_______________________
f
_______________________
_______________________
g
h
std by* _______________________
b a l* _______________________
m o d e * _______________________
inp ut* _______________________
sub * _______________________
p a th* _______________________
re c a ll* _______________________
ma ste r* _______________________
volum e +* _______________________
m e nu* _______________________
d isp la y* _______________________
d e la y* _______________________
o n sc re e n* _______________________
m ute * _______________________
re a r* _______________________
c ntr* _______________________
volume –* _______________________
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Ba nk 2: Le ft
a
c
_______________________
_______________________
_______________________
_______________________
b
d
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
stop /
re w/
p la y/
ff/
inp ut _______________________
p a use /
ne xt/
re c /
p re v./
_______________________
p owe r _______________________
a d just
_______________________
a d just
Ba nk 2: Ce nte r
vc r 1/1 _______________________
l.d./ 3 _______________________
c d 1/ 5 _______________________
ta p e 1/7 _______________________
b a l/ a ux/ 9 _______________________
e nte r _______________________
c h– _______________________
vc r 2/ 2 _______________________
tv/ a ux/ 4 _______________________
c d 2/ 6 _______________________
ta p e 2/ 8 _______________________
tune r/ 0 _______________________
c h+ _______________________
Ba nk 2: Rig ht
e
_______________________
_______________________
f
_______________________
_______________________
g
h
std by _______________________
b a l _______________________
m o d e _______________________
inp ut _______________________
sub _______________________
p a th _______________________
re c a ll _______________________
ma ste r _______________________
volum e + _______________________
m e nu _______________________
d isp la y _______________________
d e la y _______________________
on sc re e n _______________________
mute _______________________
re a r _______________________
c ntr _______________________
volum e – _______________________
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Room Acoustic s
The following information on room acoustics does not need to be considered in
every installation. Rather, it is provided for those who plan a dedicated listening
room, or for those who feel they have a problematic room and therefore need
ideas about how to improve their system’s performance further.
Once again, the value of your dealer’s experience should never be underesti-
mated. Many installers have been involved in dozens or hundreds of home the-
ater installations similar to yours, and have proven solutions to whatever problem
you might be experiencing. The information provided here is best used as a
starting point for your discussions with your dealer.
Room Reve rb e ra tion In a perfect world, your room would have no characteristic sound of its own, no
acoustical “fingerprint.” The ideal room would be perfectly neutral and would not
superimpose itself on the sound within it in any way. After all, any reverberation
or ambient sound which the director wished people to hear will be recorded in
the soundtrack. And much of the inherent ambience in music recordings will
normally be reproduced by the rear speakers (using the ste re o surround mode),
where such ambience belongs. Anything beyond this added by the room would
be redundant and would actually detract from the realism. In general, then, the
ideal listening room will be somewhat more “dead” acoustically than the average
living room. This goal can be accomplished through the use of drapes, plush car-
peting, or various acoustical treatments.
Note, however, that the surround speakers depend on reflecting sound to develop
the proper enveloping characteristic, and that they therefore need some reflective
surfaces. Ideally, these would be diffusive in nature, providing randomized reflec-
tions in many directions. Bookcases and other irregular surfaces provide diffu-
sion, as do some commercially-available wall treatments. If there is some degree
1
of choice in the matter, it is generally better to have the rear ⁄3 of the room be
2
reflective and diffusive, while the front ⁄3 of the room is relatively absorptive. Re-
sist the temptation to “go overboard,” however, lining the room with absorptive
material from floor to ceiling. It is possible to have too much absorption, resulting
in reduced subjective dynamic impact and therefore less excitement.
The Bound a ry Effe c t A well-known effect of room acoustics is the change in bass and mid-bass re-
sponse which results from moving a speaker near a wall. This so-called “Bound-
ary Effect” is the result of the reflection of the extremely long bass wave off the
wall being substantially in-phase with the direct sound radiated toward the lis-
tener. This in-phase reinforcement effectively “doubles-up” on the amplitude of
the bass relative to what would have been heard without the wall reflection. If a
speaker was originally designed to produce flat response when situated in the
middle of the room (not near any room surfaces), placing it on the floor or
against a single wall often makes it sound somewhat bass-heavy. Placing it where
the floor and the wall meet will produce even more bass, and placing it in the
corner (at the intersection of three room surfaces) is enough to make almost any
speaker sound congested and muddy, unless it was specifically designed for that
type of placement in the first place. (In practice, the actual difference you hear
may vary slightly from room to room, depending on how solidly the walls are
built. A light, flexible wall may “leak” bass into the next room, reducing the mag-
nitude of the effect.)
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The Boundary Effect is particularly important when it comes time to position the
front speakers. If they are not placed consistently with regard to adjacent room
boundaries, the tonal balance or timbre of sounds panned across the front may
change, weakening the illusion of a real object moving across the soundstage. The
front Left, Center and Right speakers should be the same distance from the wall
behind them, and there should be approximate symmetry of the Left and Right
speakers with respect to their respective side walls.
Room Mod e s Another acoustic property of concern is the concept of “room modes.” (These are
also sometimes called “standing waves.”) Bass frequencies have long wavelengths,
some of which are the same size as some dimension of the room itself. If the
sizes work out such that the reflection of the wave between two walls is in phase
with the original wave, that particular frequency will be over-emphasized. Simi-
larly, some frequencies will very nearly cancel out in certain parts of the room,
being out of phase with each other. This effect is much worse in rooms in which
two or more dimensions (width and length, for instance) are even multiples of
one another, since the same frequencies are then being affected no matter which
way they turn. The result is wildly irregular bass response in various parts of the
room, resulting in either an unnatural, boomy quality or a thin, lifeless character
to the sound depending on where you sit.
All rooms have room modes, but you can ameliorate their effect greatly. In the
case of new construction, where you may have some latitude specifying the final
room dimensions, make sure that no two dimensions of the room are even mul-
tiples of each other. (Consult with your dealer for more information.)
Most of the time, you will not have the luxury of specifying where walls should
go. The next best thing (and something to be tried even when you can move
walls) is mid-bass diffusion. Break up the reflections between parallel surfaces
with large pieces of furniture or almost anything else. The worst sounding rooms
are the ones which are almost empty, since the standing waves can bounce back
and forth unimpeded.
Another strategy to be tried in minimizing the audibility of standing waves is
speaker placement. The placement of the speakers in any home theater system is
somewhat restricted by the need to have the sound closely associated with the
screen, which in turn must be in a location convenient to the seating area. But
sometimes moving a speaker a bit can make a noticeable difference in the
smoothness of the mid-bass response, due to changes in the room’s modes. For-
tunately, the subwoofers can be moved with relative freedom, since they normally
will not be localized as sources of sound. Experiment with an ear toward having
the smoothest bass response and the best “splice” or transition to the LCRs.
Of course, there are various acoustical treatments which can be utilized—ask
your dealer. There is also electronic equalization, but this is best done after every-
thing else has been optimized. Electronic EQ is best for providing the finishing
touches to a room, rather than for doing major surgery. And in all cases, elec-
tronic EQ should be done by a trained professional with equipment having at
least one-third octave resolution. Anything less than that is likely to introduce as
many problems as it solves.
60
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Your Syste m Se ttings
The settings in your Proceed PAV are saved in non-volatile memory and should
normally survive power outages. Still, it is a good idea to write your preferred
settings down against the chance of an inquisitive neighbor or family member
changing them without your knowledge. Please use the following form to record
your system’s settings against such a possibility.
Op e ra te Me nu Se tting s
• Mute level
______
• Display Position
• Display Timeout
• Character Style
______
1 2 3 4 5 seconds (circle one)
Black box or Black Fringe (circle one)
• Background Color Blue or Black (circle one)
• Volume display
Relative (to THX reference level) or
Absolute (with 0 representing volume off)
Slow, Medium, or Fast (circle one)
• Volume Speed
• Setup: Unlocked or Locked (after you re-enter all other settings)
Se t Sp e a ke rs Se tting s
Se t Leve ls
• Crossover
• Center
On or Off (circle one)
Large, Small or None (circle one)
• Left Front
• Center
• Right Front
• Right Rear
• Left Rear
• Subwoofer
______
______
______
______
______
______
Se t De la y
• Set Delay
______ msec
vc r 1 Inp ut De fa ults
• Alias
______
• Offset
______
• Surround Mode
• Video
______
Composite or S Video (circle one)
vc r 2 Inp ut De fa ults
la se rd isc Inp ut De fa ults
tv/ a ux Inp ut De fa ults
• Alias
• Offset
• Surround Mode
• Video
______
______
______
Composite or S Video (circle one)
• Alias
• Offset
• Surround Mode
• Video
______
______
______
Composite or S Video (circle one)
• Alias
______
• Offset
______
• Surround Mode
• Video
______
Composite or S Video (circle one)
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c d 1 Inp ut De fa ults
c d 2 Inp ut De fa ults
• Alias
• Offset
• Surround Mode
______
______
______
• Alias
• Offset
• Surround Mode
______
______
______
ta p e 1 Inp ut De fa ults
ta p e 2 Inp ut De fa ults
b a l/ a ux Inp ut De fa ults
tune r Inp ut De fa ults
• Alias
• Offset
• Surround Mode
______
______
______
• Alias
• Offset
• Surround Mode
______
______
______
• Alias
• Offset
• Surround Mode
______
______
______
• Alias
• Offset
• Surround Mode
______
______
______
THX Cine ma Surround De fa ults
Pro Logic Surround De fa ults
Ste re o Surround De fa ults
Mono Surround De fa ults
Surround Off De fa ults
• Sub On/Off
• Center Lvl
• Rear Lvl
______
______
______
______
• Sub Lvl
• Sub On/Off
• Center Lvl
• Rear Lvl
______
______
______
______
• Sub Lvl
• Sub On/Off
• Center Lvl
• Rear Lvl
______
______
______
______
• Sub Lvl
• Sub On/Off
• Center Lvl
• Rear Lvl
______
______
______
______
• Sub Lvl
• Sub On/Off
• Center Lvl
• Rear Lvl
______
______
______
______
• Sub Lvl
Mono De fa ults
• Sub On/Off
• Center Lvl
• Rear Lvl
______
______
______
______
• Sub Lvl
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PAV Me nu Structure (pa rtia l)
MUTE LEVEL
DISPLAY
PREF
VOLUME
OPERATE
DISPLAY
VOLUME
SPEED
SETUP:
UNLOCKED
SET
SPEAKERS
PAV MENU
SET LEVELS
PANEL
BUTTONS
SET DELAY
REMOTE
ONLY
SETUP
TEACH
REMOTE
INPUT
DEFAULTS
DIRECT
ACCESS
MODE
DEFAULTS
SPECIAL
LOCAL
REMOTE
CONTROL
REAR IR
JACK
REMOTE
ADDRESS:
5
IR ADDRESS
REMOTE
TRIGGER
PULSE/LEVEL
NOTE: USE
63
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Trouble shooting
Your Proceed PAV has been designed to deliver many years of satisfaction. It has
also been designed to allow an unusual amount of “customization” so as to make
it suitable in a wide variety of (possibly changing) circumstances. This flexibility
necessitates a certain amount of setup before the unit can be expected to per-
form correctly—in effect, one must inform the PAV of its environment so it may
make the right “decisions” about what it should do. Once setup is completed, the
PAV is quite simple to use. But the setup is quite essential.
It has been our experience that most difficulties encountered with the PAV are
due to improper initial setup. Please review the relevant portions of this manual
for the details of the setup procedure.
THERE SEEMS TO BE TOO LITTLE (OR TOO MUCH) BASS.
✓ Is the crossover set correctly for your speaker configuration?
✓ Are the output levels set accurately, usinga dB SPL meter?
THE AURAL IMAGE SEEMS INCONSISTENT OR VAGUE
✓ Are the output levels set accurately, using a dB SPL meter?
✓ Are your speakers closely matched to one another in tonal balance
and dynamic performance?
THERE IS A PERSISTENT HUM IN THE SPEAKERS.
✓ If it exists only with a particular input, check that source compo-
nent and its interconnecting cables.
✓ If it exists on all sources, you may have a ground loop by having
multiple ground references in your system. We suggest you ask
your dealer for assistance in isolating this problem.
MY PAV’S ON SCREEN DISPLAY HAS INDICATED THAT IT HAS DETECTED
POTENTIAL AC PROBLEMS AND REFERRED ME TO THIS SECTION OF THE
MANUAL.
✓ If this is the first time you have seen the message, you probably
don’t have to do anything. If the PAV detects an electrical problem
that might affect its operating software (an unusually strong spike
on the AC line, for example), it posts this message and reinitializes
itself automatically. Your user settings, output levels and so forth are
retained.
✓ If you see this message with any regularity, you may have a persis-
tent, severe ground loop or other AC problem that should be fixed.
We suggest you ask your dealer for assistance in isolating this
problem.
I LEFT THE PAV ON, BUT JUST RETURNED AND FOUND IT IN STANDBY.
WHAT IS HAPPENING?
✓ There was probably a power outage while you were away from the
system. During a power failure, the PAV saves all of its critical set-
tings to non-volatile memory. When power is restored, it enters the
sta nd by mode and waits for your return.
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Ca re a nd Ma inte na nce
To remove dust from the cabinet of the PAV, use a feather duster. To remove dirt
and fingerprints, we recommend isopropyl alcohol and a soft cloth.
Ca ution!
Alwa ys a p p ly the isop ropyl a lc ohol to the soft c loth a nd the n
wip e the PAV with the d a m p e ne d c loth. Neve r p our or sp ra y
eve n sma ll a mounts of a ny liquid d ire c tly on the PAV, a s d oing
so m a y a llow the liquid to re a c h the c irc uitry insid e the unit.
Any liquid insid e the unit p ose s a ha za rd to b oth the use r a nd
to the unit, a nd must b e a void e d.
Make sure that the Remote sensor window on the front panel and the Remote
Control’s projection lens are kept clean and dust-free.
Fluorescent lighting and sunlight may interfere with the operation of the Remote
Control. Avoid placing the PAV near fluorescent lamps or in direct sunlight.
When the Remote Control’s batteries need to be replaced, use only AA batteries;
always replace both batteries at the same time. If you don’t plan to use the Re-
mote Control often, remove the batteries. When not used for an extended period,
even “leakproof” batteries can leak corrosive acids that will damage the Remote
Control (and will void the warranty).
65
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U.S. a nd Ca na dia n Wa rra nty
90-Da y Limite d Wa rra nty This Proceed® product is warranted to be free from defects in material and work-
manship under normal use for a period of ninety (90) days from the date of pur-
chase. To extend the warranty of this Proceed product, return the warranty registra-
tion card along with a copy of the original receipt of purchase to Madrigal Audio
Laboratories, Inc., P. O. Box 781, Middletown, CT 06457.
Five Ye a r Exte nd e d Wa rra nty The extended warranty for this Proceed product is five (5) years from the date of
purchase. During the warranty period, any Proceed component exhibiting defects
in materials and/or workmanship will be repaired or replaced, at our option,
without charge for either parts or labor, at our factory. The warranty will not apply
to any Proceed component that has been misused, abused or altered.
Any Proceed component not performing satisfactorily may be returned to the fac-
tory for evaluation. Return authorization must first be obtained by either calling
or writing the factory prior to shipping the component. The factory will pay for
return shipping charges only in the event that the component is found to be de-
fective as above mentioned. There are other stipulations that may apply to ship-
ping charges.
There is no other express warranty on this component. Neither this warranty nor
any other warranty, express or implied, including any implied warranties of mer-
chantability or fitness, shall extend beyond the warranty period. No responsibility
is assumed for any incidental or consequential damages. Some states do not al-
low limitations on how long an implied warranty lasts and other states do not
allow the exclusion or limitation of incidental or consequential damages, so that
the above limitation or exclusion may not apply to you.
This warranty gives you specific legal rights, and you may also have other rights
which vary from state to state. This warranty is applicable in the United States and
Canada only. Outside of the U.S. and Canada, please contact your local, autho-
rized Proceed distributor for warranty and service information.
66
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Obta ining Se rvice
We take great pride in our dealers. Experience, dedication, and integrity make
these professionals ideally suited to assist with our customers’ service needs.
If your Proceed component must be serviced, please contact your dealer. Your
dealer will then decide whether the problem can be remedied locally, or whether
to contact Madrigal for further service information or parts, or to obtain a Return
Authorization. The Madrigal Technical Services Department works closely with
your dealer to solve your service needs expediently.
Imp orta nt!
Re turn a uthoriza tion must b e ob ta ine d from Ma d riga l’s
Te c hnic a l Se rvic e s De p a rtme nt BEFORE a unit is ship p e d for
se rvic e.
It is extremely important that information about a problem be explicit and com-
plete. A specific, comprehensive description of the problem helps your dealer and
the Madrigal Technical Services Department locate and repair the difficulty as
quickly as possible.
A copy of the original bill of sale will serve to verify warranty status. Please in-
clude it with the unit when it is brought in for warranty service.
Wa rning !
All re turne d units must b e p rop e rly p a c ka ge d (p re fe ra b ly in
the ir origina l p a c king ma te ria l), a nd the p rop e r re turn
a uthoriza tion numb e rs must b e m a rke d on the oute r c a rton
for id e ntific a tion. If the p a c ka ging to p rote c t the unit is, in our
op inion or tha t of our d e a le r, ina d e qua te to p rote c t the unit,
we re se rve the right to re p a c ka ge it for re turn ship me nt a t the
owne r’s exp e nse. Ne ithe r Ma d riga l nor your d e a le r c a n b e
re sp onsib le for ship p ing d a ma ge d ue to imp rop e r (tha t is,
non-origina l) p a c ka ging.
Your dealer can order a new set of shipping materials for you if you need to ship
your component and no longer have the original materials. There will be a
charge for this service. We strongly recommend saving all packing materials in
case you need to ship your unit some day.
67
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Dime nsions
17.25"
43.8 c m
L
U
C
A
S
F
I
L
M
®
p
a
v
b a la nc
e
vc
r
1
vc
r
2
la se
r
d isc tv/ a ux
m a ste
r
c
e
nte
r
c
d
1
c
d
2
ta p e
thx
1
ta p e
p ro
2
b a l/
a
ux
o
tune
r
re
a
r
m ute
4.45"
11.3 c m
m a in re m ote b oth re
c
ord
c
ine m a
log ic
ste re
m ono
off
re f. le ve
l
sta nd b y
inp ut le ve
l
d e la
y
re
c
a
ll
sub
p
a
t
h
s
u
r
r
o
u
n
d
m
o
d
e
PR O
C
E
E
D
14.25"
36.2 c m
2.00"
5.08 c m
1.00"
2.54 c m
14.25"
36.2 c m
13.27"
33.7 c m
0.98"
2.49 c m
14.25"
36.2 c m
4.45"
11.3 c m
4.33"
11.0 c m
0.98"
2.49 c m
(no te tha t a d d itio na l sp a c e m ust b e a llo we d
fo r c o nne c tio ns b e hind the p a v)
68
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Spe c ific a tions
The correlation between published specifications and performance is unreliable. A
list of numbers reveals virtually nothing. All technical measurements must be sub-
ject to qualitative as well as quantitative interpretation.
Measurements of the PAV yield excellent results by any standards. However, only
those specifications that apply to its actual operation are included here.
■
■
Powe r c onsum p tion:
Ma ins volta g e :
less than 60 W
determined by the needs of country for which
the unit was manufactured; cannot be reset by dealer or user
■
■
■
Ove ra ll d im e nsions:
Ship p ing we ig ht:
Aud io Inp uts:
See “Dimensions”
27 lbs. (12.3 kg)
2 sets stereo balanced
8 sets stereo single-ended
■
Aud io Outp uts:
1 set balanced stereo main path L&R outputs
1 set balanced stereo remote path L&R outputs
6 single-ended main outs (L, C, R, Sub, LSur, RSur)
1 set single-ended remote path L&R outputs
4 sets record outputs (vcr1, vcr2, tape1, tape2)
4 composite video (vcr1, vcr2, laserdisc, tv/aux)
4 S-video (Y/C) (vcr1, vcr2, laserdisc, tv/aux)
4 composite video (vcr1, vcr2, main, remote)
4 S-video (Y/C) (vcr1, vcr2, main, remote)
■
■
Vid e o Inp uts:
Vid e o Outp uts:
1
■
■
■
■
Othe r Inp ut:
Ga in:
Ga in ra ng e :
Ga in re solution:
1 ⁄8" mini-jack for external IR repeater
14 dB (nominal)
-60 dB to +14 dB
0.5 dB steps above 18 in display,
gradually increasing step size at lower levels
greater than 2 V rms (0 dB output)
100kΩ (single-ended)
■
■
■
■
■
Inp ut ove rloa d :
Inp ut im p e d a nc e :
Outp ut im p e d a nc e :
Ma xim um outp ut (m a in outp uts):
Sig na l to Noise ra tio (m a in outp uts):
less than 20Ω
10 V rms, balanced
better than -80 dB (0 dB output)
For more information, see your Proceed dealer, or contact:
Madrigal Audio Laboratories, In c.
P.O. Box 781
2081 South Main Street (Route 17)
Middletown, Connecticut 06457 USA
Telephone (860) 346-0896
FAX
(860) 346-1540
http://www.madrigal.com/
If p urc ha se d in the Unite d Sta te s or Ca na d a , the wa rra nty on this Proc e e d
p rod uc t is owne r-tra nsfe ra b le. If your p rod uc t re q uire s se rvic e, you must obta in
a Re turn Authoriza tion b e fore ship p ing it to Ma d riga l. Ma d riga l re se rve s the
right to re p a c k a ny p rod uc t whic h a rrive s im p rop e rly p a c ke d for ship m e nt a nd
to c ha rge the owne r for the re q uire d p a c king ma te ria l. For wa rra nty
inform a tion a nd c ond itions on p rod uc ts p urc ha se d in othe r c ountrie s, c onta c t
your loc a l d e a le r or d istrib utor.
69
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Insta lla tion Note s
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Ma d rig a l Aud io La b o ra to rie s, Inc .
2081 So uth Ma in Stre e t, P.O. Bo x 781
Mid d le to wn, Co nne c tic ut 06457 USA
Te le p ho ne : (860) 346-0896
Fa x: (860) 346-1540
R
PR O C E E D
is a re g iste re d tra d e m a rk o f Ma d rig a l Aud io La b o ra to rie s, Inc .
a Ha rm a n Inte rna tio na l c o m p a ny
630288-1
© 6/ 1998 Ma d rig a l Aud io La b o ra to rie s, Inc . All rig hts re se rve d .
Printe d in U.S.A.
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