Sony STR-DE845 Training manual

Training Manual

Multi-Product Hi-Fi Technology and Troubleshooting

Course: A-124

Digital Board Hi-Fi Output

Model: STR-DE845 Troubleshooting

Switching Power Supply Super Audio CD

Model: DAV-700/900 New Technology

DAV-S500

HCD-S500

HCD-C700/900

S

Table of Contents

1. Introduction ..................................... 1

Purpose............................................................1

Receiver ...........................................................1

Layout ..............................................................1

2. Sound Fields.................................... 2

What is a Sound Field?....................................2

Sound Field Types............................................2

Virtual ...............................................................3

Cinema Studio..................................................6

Semi Cinema Studio.........................................6

Theater.............................................................6

Music................................................................6

Active Speaker Chart .......................................7

Table 2-1 - Input Software Format....................9

3. Digital Board Inputs ....................... 10

Analog Inputs ..................................................10

Digital Inputs....................................................10

Software Formats Illustrated ...........................12

4. Control Signal Block...................... 14

Input/Output Select ICs

Control Signal Block........................................14

Digital Processing ICs

Control Signal Block........................................15

5. Analog signal Block ....................... 19

Circuit Description ...........................................21

6. Digital Signal Block........................ 23

7. Mute Signal Block .......................... 25

8. Troubleshooting Block .................. 26

9. DAV-C700 Switching Type

Power Supply...................................... 28

Safety for You and the Circuit..........................28

Power Supply Operation .................................28

Regulation .......................................................32

How to Troubleshoot the Power Supply ..........33

Testing the Power Supply Unloaded ...............35

Troubleshooting Shortcuts ..............................36

10. Hi-Fi Output Troubleshooting

Overview ............................................. 37

11. Troubleshooting Driver

Amplifier & Bias Network Circuits.... 39

Protection light will not go off after replacing

Output transistors............................................39

Excessive Current Draw..................................40

12. Troubleshooting Audio

Protection Circuits ............................. 43

(+/-) Offset Protection Circuit...........................44

Over Current Protection Circuit .......................45

13. Super Audio CD............................ 46

Overview .........................................................46

The New Format for the Age of

Digital Pure Audio............................................46

The DSD Format: No Data Decimination

or Interpolation Required.................................48

Delta Signal Modulation and A/D Converter....49

Disc Features and Watermark Technology .....53

Appendix:

Individual IC

Functional Description ....................... i

IC1201 System Control .................................... i

IC1101 Digital Audio I/F Receiver (DIR) ........... i

IC1301 Digital Audio Decoder (DAD) ............... i

IC1401 Audio DSP ........................................... i

IC1503 Audio Codec ........................................ i

IC1403 SRAM (Static RAM) ............................. i

1

1. Introduction

Introduction

Purpose

The focus of this book is on the digital board operation in the sample receiver (STR-DE845) and covers the

following subjects:

•A working understanding of sound fields and what type of movie or music software should be used with

each sound field for optimal performance.

•Proper use of the digital board inputs.

•Which speakers receive actual audio while in various sound field modes.

•Simplified circuit diagram and operation of the digital board for troubleshooting.

To properly troubleshoot the Digital board, a good understanding of what sound fields are and how they affect

the input is essential. Once a good working knowledge of sound fields is obtained, the receiver can be better set

up to process the movie or music software for the best quality audio output. The information in this book will also

help the technician determine whether a customer’s problem is a receiver setup or an actual circuit defect.

Receiver

The main receiver used for demonstration throughout this book is the STR-DE845. The STR-V444ES digital

board will also be covered, showing the DSP circuit changes as compared to the STR-DE845 only. The overall

operation of the digital board in both models is the same.

Layout

Chapter 2 covers the theory and functional description of the various sound fields. Chapter 3 illustrates the

proper use of the receiver (digital board) inputs on the rear panel. Chapters 4, 5, 6 and 7 provide the technician

with block diagram descriptions of the four main systems found on the digital board. Chapter 8 describes a very

practical troubleshooting method for determining a defective component on the digital board. There is also an

appendix at the end of the manual that provides a brief description of the function of the main ICs on the digital

board.

2

2. Sound Fields

Sound Fields

Direct Soundwave

Early Soundwave

Reflection

Late Soundwave

Reflection

FIGURE 2-1 - Soundwave Reflection Diagram

STAGE

What is a Sound Field?

Each venue, be it a concert hall, cinema theater or small jazz club, has a characteristic “sound field” made up of

direct sounds and reflections from the surfaces of the environment. Some venues sound large and spacious,

others sound small and intimate. These characteristics are captured using special microphone pickup systems

placed in the actual venue. The microphone pickup system captures the acoustic blue print of the venue, which

contains all of the acoustic information about the venue, such as direct sounds, early reflections and reverberations

(reverberations occur when the number of reflected sound-waves arriving at the listeners ear becomes very

large; ref. Figure 2-1). All the acoustic data about the venue is stored in the computer and then downloaded to

the A/V receiver’s microprocessor internal memory. So when you select the concert hall sound field on your A/V

receiver, the information stored in the microprocessor’s internal memory is activated and your living room takes

on the characteristics of an actual concert hall.

Sound Field Types

Auto Format Decoding (press AFD button)

This mode automatically detects the type of audio signal (Software Format) being input (e.g. Dolby Digital, Dolby

Pro-Logic, or Standard 2 Channel Stereo) and performs the proper decoding if necessary. This mode presents

the sound as it was recorded/encoded, without adding any sound field effects.

NOTE: This mode can be used as a reference. Set the equalizer to “OFF” while using this mode to hear the

source sound exactly as it was recorded. This mode can also be used to determine exactly what type of Software

format is encoded on a given disc.

2 Channel (press 2CH button)

Outputs the sound from the front left and right speakers only. Standard two channel (stereo) sources completely

bypass the sound field processing. Multi-channel surround formats are down-mixed to two channels.

NOTE: No sound is output from the sub-woofer (LFE) when the 2 Channel mode is selected.

Normal Surround

This mode is designed to be used with a Multi-channel surround audio input (e.g. Dolby Digital/AC-3, DTS or

Dolby Prologic) and the normal six-speaker surround system (front left/right, rear left/right, center and LFE) (ref.

Figure 2-2). When the playback material is encoded with multi-channel surround audio, it will be heard as it was

originally recorded (with no other processing for special effects). For example, a movie will be played back

exactly how the producer recorded it during the movie’s production. If Dolby Prologic (2 channel audio) encode

material is input, it will be processed to create surround sound effects using the actual six-speaker system.

3

2. Sound Fields

Note:

Front Left – FLT

Low Frequency Effects - LFE

Center – Cntr

Front Right – FRT

Rear Left – RLT

Rear Right - RRT

Listening Position – LP

Virtual

The five different Virtual modes create sets of virtual speakers using the actual existing speaker system which

could be a six or three speaker system.

1) V. Multi Dimension: Uses 3D image processing to create four sets of virtual rear speakers surrounding

and positioned at an elevation of 30 degrees higher then the listener from a six-speaker system (two

actual rear speakers). Depending upon where the actual rear speakers are positioned, the virtual speakers

positions will vary (ref. Figures. 2-3, 2-4 and 2-5). The position of the rear speakers (Side, Mid or Rear)

must be programmed in the A/V receiver SET-UP menu for this sound field effect to work properly.

NOTE: The virtual speakers are placed at an elevation of 30 degrees higher then the listener to further

emulate the theater venue. The surround sound speakers in a theater are always higher then the listeners’

position.

FIGURE 2-2

LRLFE

LS RS

C

FIGURE 2-3 - Rear Speakers Side

RCL

1

2

34

1

2

3

4

LFE

LS

LS RS

FIGURE 2-4 - Rear Speakers Middle

RCL

2

1

3

LS

4

1

2

3

RS

4

LFE

FIGURE 2-5 - Rear Speakers Behind

RCL

2

1

3

4

LS

1

2

3

4

RS

LFE

4

2. Sound Fields

FIGURE 2-6 - Rear Speakers Side

RCL

LS

1

23

RS

1

2

3

LFE

FIGURE 2-7 - Rear Speakers Middle

RCL

1

2

LS

3

1

2

RS

3

LFE

FIGURE 2-8 - Rear Speakers Behind

RCL

1

2

3

LS

1

2

3

RS

LFE

2) V. Multi Rear: Uses 3D image processing to create three sets of virtual speakers from a six-speaker

system (two actual rear speakers; ref. Figures. 2-6, 2-7 and 2-8). The position of the rear speakers (Side,

Mid or Rear) must be programmed in the A/V receiver SET-UP menu for this sound field effect to work

properly. Note: No 30-degree higher effect.

3) V. Semi-M. Dimension: Uses 3D image processing to create five sets of virtual rear/surround speakers

surrounding and positioned at an elevation of 30 degrees higher then the listener. This is accomplished

using only the front left and right speakers without using actual rear speakers (ref. Figure 2-9).

FIGURE 2-9

2

1

3

4

5

1

2

3

4

5

RCLLFE

4) Virtual Enhanced A: Uses 3D image processing to create three sets of virtual rear/surround speakers.

This is accomplished using only the front left and right speakers without using actual rear speakers (ref.

Figure 2-10).

5

2. Sound Fields

FIGURE 2-11

R

C

L

1 1

LFE

FIGURE 2-10

1

2

3

1

2

3

R

C

LLFE

5) Virtual Enhanced B: Uses 3D image processing to create one set of virtual rear speakers. This is

accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure

2-11).

6

2. Sound Fields

FIGURE 2-12 - Listener

,

Actual and Virtual S

p

eaker Setu

p

R

C

LLFE

2

1

3

45

1

2

3

4

5

Cinema Studio

This mode is designed to be used with a Multi-channel surround audio input (e.g. Dolby Digital/AC-3, DTS or

Dolby Prologic) and the normal six-speaker surround system (front left/right, rear left/right, center and subwoofer).

Cinema Studio is similar to Normal Surround except now the acoustical characteristics of a Sony Pictures

Entertainment cinema production studio are present. The 3D image processing of the V. Multi Dimension (a

virtual speaker mode which will be discussed shortly) is added to the normal surround sound audio to produce

the cinema studio atmosphere. There are three Cinema Studio sound fields:

1) Cinema Studio EX. A: Reproduces the sound characteristics of the Sony pictures Entertainment “Cary

Grant Theater” cinema production studio. This sound field can be used when viewing almost any type of

movie.

2) Cinema Studio EX. B: Reproduces the sound characteristics of the Sony pictures Entertainment “Kim

Novak Theater” cinema production studio. This sound field is ideal for viewing science fiction or action

movies with lots of sound effects.

3) Cinema Studio EX. C: Reproduces the sound characteristics of the Sony pictures Entertainment scoring

stage. This sound field is ideal for viewing musicals or classic films where music is featured in the

soundtrack.

Note: The Cary Grant and Kim Novak Studios are actual Sony Pictures Entertainment Movie Production Studios

where a movie is shot and produced. Each has its own unique acoustical characteristics, which in these cases

even have particular characteristics for certain types of movies (e.g. The Kim Novak Studio is particularly good

for Science Fiction movies). The Sony Entertainment Scoring Stage is an actual studio used for recording the

music portion of the movie. Once again, this studio has especially good characteristics for recording movie

sound tracks. This makes this mode particularly good for playing back certain movies where the sound track is

a major part of the movie (e.g. a musical movie).

Note: These sound fields use the 3D sound imaging of V. Multi Dimension. Reference figures 2-3, 2-4 and 2-5

for the three possible virtual speaker system positioning, which depends on the positioning of the two actual rear

speakers.

Semi Cinema Studio

These three sound fields (Semi Cinema Studio EX. A, Semi Cinema Studio EX. B and Semi Cinema Studio

EX. C) are identical to the above Cinema Studio mode except now the Sony Picture Entertainment cinema

production studio sound characteristics are reproduced using only front left, right and center speakers. All other

speakers are virtual (ref. Figure 2-12).

7

2. Sound Fields

Theater

There are four theater sound fields:

1) Night theater: Retains theater-like sound characteristics while listening at a low volume level, ideal for

late night movie viewing.

2) Mono Movie: Creates theater-like sound characteristics from movies with mono soundtracks.

3) Stereo Movie: Creates theater-like sound characteristics from movies with stereo soundtracks.

4) Headphone theater: Retains theater-like sound characteristics while listening through a pair of

headphones.

NOTE: Mono Movie and Stereo Movie modes do not convert input signals to Mono or Stereo signals.

They are strictly used for optimal playback of analog 2ch movie soundtracks.

Music

Nine different sound fields reproduce the acoustical characteristics of nine different venues. Each one of these

sound fields is designed for a 2-channel stereo input (e.g. from a CD, DAT, TV Broadcast, etc.). Some of these

sound fields are designed to perform better with certain types of music (e.g. Jazz Club with Jazz, Rock music

with Live House and so on). These sound fields are listed below:

Small Hall Church

Large Hall Live House

Opera House Arena

Jazz Club Stadium

Disco Club

Video Games

Game: This sound field is designed to be used with video game software and a stereo input. This mode will

produce dynamic audio while playing video games.

Active Speaker Chart

With so many sound fields and software formats, it can be very difficult to know which speakers are active (actual

audio applied to them by the receiver) for the software while in a particular sound field mode. Chart 2-1 on the

following page shows Sound Fields on its vertical axis and Software Formats on the top horizontal axis. It

indicates which speakers are active with the chosen Sound Field and Software Format. This chart also indicates

when Virtual Speakers are present. To get the same results as this chart at any location, the following conditions

must be met:

Conditions

1) The input device (e.g. DVD, CD etc.) must be set up properly to output the desired Software Format (e.g.

AC-3, DTS etc.).

2) The proper input on the receiver must be used to receive the desired Software format.

a. Optical and Coax Inputs: Dolby Digital (AC-3), DTS, Dolby Prologic, Dolby Surround and PCM

b. Analog Inputs: Dolby Prologic, Dolby Surround, Stereo and Mono

c. 5.1 Channel Input: This input bypasses all surround sound processing of the receiver. Note:

This is a good input to use to test if all the speakers in the system are receiving audio. The

input device must have a 5.1 Channel output.

8

2. Sound Fields

3) Speaker wires must be connected correctly, e.g. the Positive (+) on the receiver terminal connected to the

Positive terminal on the speaker. Same for the Negative (-) terminal.

4) The speaker impedance switch on the receiver should match the impedance of the speakers connected.

Note: If only output “A” is used, the impedance switch should be set to match the speaker

impedance (e.g. 4 or 8 ohms). Caution!!! - If the “A” and “B” output are used simultaneously, the

impedance of each speaker must not be less then 8 ohms and the impedance switch must be set

for 4 ohms. This is because the speakers are placed in parallel when in this configuration so the

impedance of the speakers is cut in half.

Notes for Chart:

1) The box around the speaker letter indicates that this is an actual physical speaker (not virtual) and

audio is applied to the speaker.

2) There are notes under pictures to indicate if virtual speakers are being created.

NOTE: The actual rear surround sound speakers will be inactive in the following sound field modes:

•Semi-Cinema Studio EX. A, B, and C

•V. Semi-M Dimension

•Virtual Enhanced A and B

•2 Channel

9

2. Sound Fields

Sound Field

Normal Surround L C R

S

L C R

S

L C R

S

Cinema Studio

Ex. A, B, C

L C R LFE

LS RS

L C R LFE

LS RS

With additional virtual

speaker

L C R

S

L C R

S

L C R

S

Semi-Cinema Studio

Ex. A, B, C L C R LFE

All other speakers

virtual

L C R

All other speakers

virtual

L C R

All other speakers

virtual

L C R

All other speakers

virtual

Night Theater L C R LFE

LS RS

L C R

S(reverb)

L C R

S

L C R

S

Mono Movie L C R LFE

LS RS

L C R

S

L R

S

L C R

S(reverb)

Stereo Movie L C R LFE

LS RS

L C R

S

L R

S

L C R

S(reverb)

V. Multi

Dimension

L C R LFE

LS RS

With additional

virtual speakers

L C R

S

L C R

S

L C R

S

V. Multi Rear L C R LFE

LS RS

With additional

virtual speakers

L C R

S

L C R

S

L C R

S

V. Semi - M

Dimension L C R

All other speakers

virtual

L C R

All other speakers

virtual

L C R

All other speakers

virtual

Virtual Enhanced

A, B

L C R LFE

All other speakers

virtual

L C R

All other speakers

virtual

L C R

All other speakers

virtual

L C R

All other speakers

virtual

L C R LFE

All other speakers

virtual

Small Hall

Large Hall

Opera House

Jazz Club

Disco Club

Church

Live House

Arena

Stadium

Game

This table shows which speakers are active during a particular sound and software format input.

L C R LFE

LS RS

L C R

S

L R

S

L R

2 Channel L R L R L R L R

A.F.D. L C R

S

L R L RL C R LFE

LS RS

TABLE 2-1 - INPUT SOFTWARE FORMAT

¾Dolby Digital (AC-3)

¾5.1 Chanel Surround

¾DTS Dolby Prologic PCM ¾Stereo

¾Mono

10

3. Digital Board Inputs

Digital Board Inputs

Analog Inputs

2 Channel Stereo Inputs

There are nine analog inputs on the digital board. They are as follows:

-Tuner

-Phono

-CD

-MD/Tape

-TV/SAT

-DVD/LD

-Video 1, 2, 3

These inputs enter the digital board as analog audio and supply one of the following audio formats: Mono, Stereo

or Dolby Prologic. They go through a switching IC and then onto the Audio CODEC to be digitized. The digital

data stream is applied first to the Audio Decoder and then to the Audio DSP, which processes and applies the

effects of the chosen sound field.

5.1 Channel Input

The 5.1 Channel Input is a full surround sound analog audio input that bypasses the sound field processing of

the digital board in the receiver. All the surround sound processing required to produce the 5.1 Channel Input is

performed by the device connected to this input, such as a DVD player with a 5.1 Channel Output. The 5.1

Channel Input is applied directly to the output selector IC1502. IC1502’s outputs are connected directly to the

amplifier system. The 5.1 Channel Input actual consists of six signals: Front Left, Front Right, Rear Left, Rear

Right, Center and Subwoofer. The Subwoofer is the “1” in the 5.1 designation.

Digital Inputs

There are two types of digital inputs - the Optical input and the Coaxial input. The only difference between these

two inputs is the medium used to transfer the signal between devices. The Optical input utilizes Fiber Optic cable

to transmit data as light pulses down a glass fiber center conductor. Because light pulses are used, the Fiber

Optic cable is virtually immune to any external electrical interference, making it the preferred digital signal source.

The Coaxial Input uses Coaxial cable similar to that found in Cable TV connections. It consists of a copper

center conductor, a foam insulator and an outer braided wire shield. The Coaxial cable has good external noise

immunity characteristics, but cannot compare to the Fiber Optic cable. Also, the bandwidth characteristic of the

Fiber Optic cable is much greater. Both of these input types are digital, using the same data protocol (S/P DIF

format). There are three Optical inputs, one Optical Output and one Coaxial input on this receiver.

Optical: Coaxial:

DVD/LD input DVD/LD

TV/SAT input

DAT/MD input

MD/DAT output

11

3. Digital Board Inputs

COAX

ANTENNA

FRONT REARCENTER

L

R

DEVICES

DVD

MULTI-CHANNEL DECODE

NOTE: THE DEVICE MUST BE CAPABLE OF

PROCESSING AC-3,OR DTS SOFTWARE AND

OUTPUT 5.1 CHANNEL SIGNALS

ANALOG

INPUTS

VCR

PHONO CD MD/DAT TAPE

TV/SAT

DVD/LD VCR DEVICES

DOLBY SURROUND DOLBY PROLOGIC STEREO MONO SOFT

WARE

FORMATS

ANALOG

INPUTS

AM

SIGNAL

GND

5.1 CH INPUT SUB

WOOF.

CTR S

IN S-VIDEO

OUT

FRONT REAR CENT.

VIDEO

OUT

MONITOR

OPTICAL

VIDEO IN CONTROL AII

DIGITAL

+

-

R

2ND AUDIO

OUT

MD/DAT

OUT

MD/DAT

IN TV/

SAT

IN

DVD/LD

IN

DVD/LD IN

B

S-VIDEO

OUT S-VIDEO

IN

VIDEO

IN VIDEO

IN VIDEO OUT VIDEO

OUT VIDEO IN

L

R

IN IN OUT IN OUT IN AINA IN AUDIO OUT AIN AUDIO OUT IN

S-VIDEO

IN

S-VIDEO

IN

CTR S

STAT.IN CTR S

OUT

CTR S

OUT

L

R

STR-

DE845

(REAR

VIEW)

DIPOLE

WIRE

ANTENNA

FIGURE 3-1 - STR-DE845 ANALOG & DIDITAL INPUTS

COAXIAL

FM

75Ω

DEVICES

MD/DAT

TV/SAT

SOFTWARE

FORMATS

DOLBY DIGITAL

AC-3 (5.1)

DTS (5.1)

DOLBY PROLOGIC

PCM 48kHz, 41.1kHz,

32kHz

DVD/LD

(COAX)

SOFTWARE

FORMATS

DOLBY DIGITAL

AC-3 (5.1)

DTS (5.1)

DOLBY PROLOGIC

PCM 96kHz, 48kHz,

41.1kHz, 32kHz

DEVICES

DIGITAL INPUTS

SUB

WOOF

IMPED

SPEAKERS

10/15/0113CA124 1380

Table 3-1 – Digital Input Sampling Frequency Compatibility

Input Sampling Frequency

Optical DVD/LD 96KHz, 48KHz, 44.1KHz, 32KHz

Optical TV/SAT 48KHz, 44.1Khz, 32KHz

Optical DAT/MD 48KHz, 44.1Khz, 32KHz

Coaxial DVD/LD 96KHz, 48KHz, 44.1KHz, 32KHz

NOTE: If a signal with a sampling rate of 96kHZ is applied to the MD/DAT or TV/SAT inputs, intermittent

audio at the receiver outputs may occur.

These digital inputs are sent through the complete surround sound processing circuitry of the digital board to

produce the 5.1 Channel Output signals. This processing and signal flow will be discussed in detail in the next

chapter.

12

3. Digital Board Inputs

FIGURE 3-2

S

R

C

L

Four

Channel

Signals

Dolby

Surround

ProLogic

Encoder

Software Medium

yLaser Disk

yDVD Disk

yCD

yVHS Tape

yCassette Tape

yCable

ySatellite TV

yRegular Tv

Left

Right

Center

Surround

Dolby

Surround

ProLogic

Decoder

LT

RT

LT

RT

Note: From a live performance

or recording

DOLBY SURROUND PROLOGIC

Digital

Data

Stream

FIGURE 3-3

R

C

L

5.1

Channel

Signals

Dolby

Digital

or

DTS

Encoder

Software Medium

yLaser Disk

yDVD

yCable

ySatellite TV

yRegular TV

Left

Right

Center

Left

Surround

Dolby

Digital

or

DTS

Decoder

Note: From a live performance

or recording

Right

Surround

Low

Freq.

Effect

Digital

Data

Stream

LFE

LS

RS

DOLBY DIGITAL & DTS

Figure 3-1 illustrates the typical devices connected to the various receiver inputs and what software formats are

compatible with each input.

NOTE: The audio from the Tuner antenna section is also an input to the digital board. It is processed the same

as any of the other analog inputs in order to apply the desired sound field effects. The input signals to the tuner

are off the air (FM and AM) signals. There is also an analog Video 3 Input on the front panel of the receiver that

can accommodate another VCR.

Software Formats Illustrated

Dolby Surround Prologic

Figure 3-2 illustrates the encoding and decoding of a Dolby Surround Prologic format. Note that this format can

be encoded on the software medium (DVD disk, VHS tape etc.) in a digital data stream or analog signal. The

original four channels are encoded into two channels (Left Total and Right Total). At the decoder, the two-

channel signal is decoded back to the original four channel surround signals (Left, Right, Center and Surround).

Also note that the surround signal in the Prologic format in fed to both rear speakers, so both speakers receive

equal signals. There is a slight delay in time as compared to the front speakers.

Dolby Digital (AC-3), and DTS

13

3. Digital Board Inputs

FIGURE 3-4 - 5.1 Channel Downmixing

L

C

R

LS

RS

LFE

LT

RT

L

R

Decoder "A"

Decoder "B"

Decoder "C"

Decoder "D"

Dolby Digital

or

DTS 5.1 Channel

Data Stream

Dolby

Prologic

Decoder

L

C

R

S

5.1 Channel

Signals

Two Channel

Stereo Signals

Mono Signal

Four Channel

Dolby Surround

signals

Figure 3-3 illustrates the encoding and decoding Dolby Digital and DTS 5.1 channel formats. These formats are

encoded into a digital data stream only, such as a DVD disc, Satellite signal, etc. (no analog encoding). There

are actually six channels in the 5.1 channel format (Left, Right, Center, Subwoofer or LFE, Left surround and

Right surround). Note that the rear speakers are now fed totally separate surround signals that provide a

superior separation between the speakers when sounds are traveling around the system. Also added to this

format is the Low Frequency Effects (LFE) or Subwoofer signal.

5.1 Channel format compatibility

Figure 3-4 illustrates that the 5.1 Channel format is compatible with all of the other formats. The 5.1 channel

signal as shown can be DOWN-MIXED into any other format depending on the decoding applied. This is similar

to the Prologic format, which is compatible with stereo and mono system due to the way it is encoded.

New Development in Digital Surround Technology

Dolby Digital Surround EX (6.1)

FIGURE 3-5

Dolby Digital; EX (6.1)

RCL

LS RS

LFE

CS

A center screen channel (or speaker) is necessary to ensure the precise localization of the front sounds for the

viewers. Dolby Digital Surround EX brings similar benefits to the surround sound field (side or rear speakers).

With Dolby Digital Surround EX, a center surround channel is reproduced. This speaker driven by the center

surround channel is positioned at the back/center of the listening room. Left and right surround sound is still

reproduced by the side speakers (Ref. Fig. 3-5). This means that sounds can now be positioned behind the

audience, opening the door to exciting new effects such as true 360-degree pans. The center surround channel

also makes front-to-back and back-to-front transitions more realistic. Dolby Digital Surround EX is fully compatible

with the current 5.1 Channel digital formats, and will play back normally on current 5.1 systems. Dolby Digital

Surround EX basically adds a center surround channel to 5.1 digital formats.

14

4. Control Signal Block

Control Signal Block

Input/Output Select ICs Control Signal Block

IC303

ANALOG

INPUT

SELECT

12

IC301

ANALOG

INPUT

SELECT

15 16

3 5 4

15 14 16

IC1005

DIGITAL

INPUT

SELECT

214

717

TO

IC304/

PINS 3

& 5

19 17 18

47 48 46

93 92

2 CH. MODE

FROM IC304

CLK

CE

SDI

LR

SDI 14

CLK CE

SDI CLK CE

AB

R1007 R1006

ANALOG

INPUTS

REAR

PANEL

JACKS

12 17

L

R

TO

IC1101/

PIN 3

ANALOG INPUTS

REAR PANEL

JACKS

SDI CLK CE

R1282 R1281

EXTERNAL

5.1 CH.

J307

5.1 CH.

INPUT

FROM

IC1503

TO IC304/

PINS 3 & 5

CNP301

CNS306

CNS5

AB

DIGITAL

INPUTS

FROM

X1201

16MHz

IC1201

SYSTEM CONTROL

107

108

FIGURE 4-1

DIGITAL BOARD

INPUT/OUTPUT

SELECTOR ICs

CONTROL BLOCK

1A124 1365 11/20/01

IC1001

IC1002

IC1003

J1001

OPTICAL

COAXIAL

IC1502

OUTPUT

SELECT

15 14 16

19 AC 18

IC1005 CONTROL LINES

PIN No.

(OPTICAL) DVD/LD

(OPTICAL)TV/SAT

(OPTICAL)DAT/MD

(COAX) DVD/LD

A

2B

14

0

10

01

11

0

TABLE 4-1

DIGITAL BOARD MAIN BOARD AU SW BOARD

2 1 3 CNP11

DIGITAL BOARD

Circuit description

NOTE: Reference Figure 4-1 for the following circuit description:

Data, Clock and Chip Enable Lines

All control signals are supplied by IC1201 (System Control). IC1201/Pins 108 and 107 control the digital input

selection of IC1005 (pins 2 and 14). These control lines are a simple two-bit input. Table 4-1 shows the two-bit

code for the corresponding input. The resistors on the output of IC1201 (R1282 and R1281) and on the input of

IC1005 (R1006 and R1007) are easy probe points to confirm the bit pairs in the table.

The control lines for IC301, IC303 (analog input select ICs) and IC1502 (output select IC) are at IC1201/pins 46

(CE), 47 (Data) and 48 (CLK). These control signals are somewhat difficult to view due the fact that they are only

present while switching between inputs via the front panel buttons of the receiver. However, the main concern

here is that there is communications between ICs and that the actual inputs do change. Waveforms 4-1, 4-2 and

4-3 illustrate how the waveforms will appear on the oscilloscope while switching between inputs (e.g. Video 1,

Video2, DVD/LD etc). Once again, these are not exact waveforms. Confirmation of data communications

between ICs and data amplitude (5Vpp) are the important factors. All three pins (IC1201/46, 47 and 48) are at a

low state (0V) while waiting for a button to be pressed (standby state).

15

4. Control Signal Block

5Vp-p

PIN No.46

CE

(R1202)

WAVEFORM 4-1

5Vp-p

PIN No.48

CLK

(R1204)

WAVEFORM 4-2

5Vp-p

PIN No.47

DATA

(R1203)

WAVEFORM 4-3

Oscilloscope Settings:

5v/div.

100us/div.

DC coupling

Trigger rising edge

Digital Processing ICs Control Signal Block

FIGURE 4-2 - DIGITAL BOARD PROCESSING IC's CONTROL BLOCK

IC1101

DIGITAL

AUDIO

I/F

RECEIVER

36

38

37

13

14

15

22

48

SDI

CLK

CE

69

68

66

62

8

IC1301

DOLBY

DIGITAL

AUDIO

DECODER

RST

IC1404

SDI

CLK

CE

R1289 R1286

R1288

1 2 3 5

R1265

R1270

R1275

82 83

12.282MHz

X3501

12.282

MHz

LR

CLK

BCLK

15 14 26

IC1401

AUDIO

DSP

HAD

CE

RST

97

70

74

41

17 IC1402

SRAM

6

25 16 26

5439

IC1503AUDIOCODEC

43 1141 1742

30 3528 3229

LRCLK

MCLK

R1263 R1252 R1242 R1245 R1285

IC1202

RST 96

KHz

96

KHz

RST

CE

HAO

CECLKCDTI

CDTORST CLKCLK RSTCLK RSTCESDO SDOCE PDO

PDI

RST

IC1201 SYSTEM CONTROL 93 92 90

111 100110112

X1201

16MHz RST FROM Q108

DISPLAY BOARD

100

16

25

17 24

2A124 1367

12.282

MHz X1401 10MHz

DATA

WE

OE

CE

11/20/01

Data and Control Line Waveforms for IC1301 and IC502

16

4. Control Signal Block

WAVEFORM 4-4

DATA

CLK

CE

WAVEFORM 4-5

DATA

CLK

CE

Oscilloscope Settings:

5V/div.

100us/div or 50us/div

Trigger rising edge

Oscilloscope Settings:

5V/div.

2us and 200ns/div

Trigger rising edge

Circuit Description

Data, Clock, and Chip Enable Lines

The control lines for IC1401 (IC1201/parallel data lines 17 to 24, pin 25 (address line) and pin 16 (CE)) and

IC1503 (IC1201/pins 30 (data), 29 (CLK) and 28 (CE)) are only present during input switching. The waveforms

on the control lines are the same as those shown in Waveforms 4-1, 4-2 and 4-3, except standby voltage state

is high (5V dc).

The waveforms on the control lines for IC1101 (IC1201/pins 112 (data), 110 (CLK), and 111 (CE)), and IC1301

(IC1201/pins 1 (CLK), 2 (data), and 3 (CE)) are always present as digital data is present at one of the digital input

jacks (optical or coax). Waveforms 4-4 and 4-5 illustrate what is displayed on the oscilloscope. When the Input

mode is set to Analog input, all three control lines on IC1101 are inactive and the chip select line on IC1301 is

inactive (the other two lines on IC1301 are active with data, but the chip is not enabled).

The following waveforms can be viewed on the oscilloscope continuously when digital data is present at the

digital inputs and that digital input is selected.

Master, Bit and Left/Right Channel Clock lines

All the control lines discussed so far are used either for input/output switching or to set up an IC for a particular

function (e.g. Dolby Digital decoding). The Clock lines that will be looked at now are used for data manipulation.

The Clock lines MCLK (Master Clock), BCLK (Bit Clock) and LRCLK (Left Right channel Clock) are all developed

by IC1101 using X3501 (12.282MHz). The MCLK is applied only to IC1503 (CODEC), while BCLK and LRCLK

are applied to IC1301 and IC1503. These Clock lines are used to synchronize the system to the incoming audio

data stream so that appropriate decoding and coding can be performed. The following waveforms are always

present and can be viewed easily with the oscilloscope. Waveform 4-7 is an expanded view of Waveform 4-6.

The frequency for each clock signal is as follows:

MCLK —— 12.282MHz

BCLK —— 3MHz

LRCLK — 48KHz

WAVEFORM 4-7

BCLK

LRCK

MCLK

WAVEFORM 4-6

BCLK

LRCK

MCLK

Data and Control Line Waveforms for IC1101

17

4. Control Signal Block

SRAM Control Lines

Reset lines and Crystals

The main Reset line is applied to IC1201/pin 90. During normal operation, this line is High (5V dc).

The other Resets are output to IC1101/ pin 48 (normal high 5V), IC1301/pin 62 (normal high 5V), IC1503/pin 17

(normal high 5V) and IC1401/pin 26. This output is Low (0V), but it passes through inverter IC1202 and a High

(5V) is applied to IC1401. The crystal frequencies and amplitudes are shown in Table 4-2 below:

Table 4-2 – Crystal Frequencies and Amplitudes

IC Ref. Number Crystal Ref.

Number Frequency Amplitude

IC1101 & 1301 X3501 12.282MHz 4Vpp

IC1401 X1401 10MHz 3Vpp

IC1201 X1201 16Mhz 4Vpp

9/26/01

IC1402

SRAM

17

41

D0 - D3 7 - 10

D4 - D7 13 - 16

D8 - D11 20 - 32

D12 - D15 35 - 38

A0 - A4 5 - 1

A5 - A7 44 - 42

A8 - A11 27 - 24

A12 - A15 21 - 18

WE

OE

IC1401

AUDIO

DSP

53

|

69

53

|

69

74

70

XWE

XOE

FIGURE 4-3 - SRAM BLOCK

There are 16 Data, 16 Address and two control lines (WE and OE) for the SRAM IC1402.. The SRAM is mainly

used for the processing of the Cinema and Hall sound fields where reverberation (Delay) is required to produce

the appropriate characteristics of a particular venue. The SRAM IC1402 is not used in any of the Virtual Speaker

Modes. All processing is performed by internal RAM in IC1401, so no data is present on either the Data, WE or

OE lines. Waveforms 4-8, 4-9 and 4-10 show the activity on the Data lines. WE and OE lines are in three

different modes: AFD, 2CH and Mode (sound field selection mode). The main point of interest of these three

18

4. Control Signal Block

Oscilloscope Settings:

5V/div

10us/div

Trigger rising edge

WAVEFORM 4-8

WE

DATA

OE

WAVEFORM 4-9

WE

DATA

OE

WAVEFORM 4-10

WE

DATA

OE

waveforms is the amount of activity in each mode. The first two modes (AFD and 2CH) show very little activity

because no reverberation is necessary and all the processing is being performed in the DSP internal RAM. The

third mode, where any of the Cinema studio and Hall modes can be selected, shows increased activity. Note:

The “Normal Surround” mode does not use reverberation so when in this mode, the waveforms will look like the

Waveforms 4-8 and 4-9. The increased data activity confirms that the DSP and the SRAM are attempting to

produce the selected sound field. This does not confirm that the data is good; further testing is necessary and

will be discussed in a later section.

Data and Control Line Waveforms for IC1402

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