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Using the PAV
Setting the Volume There are, in effect, two volume controls in the PAV. When in either THX cinema
or pro logic modes, the input level 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 master 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 cinema When the THX cinema 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 cinema 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 Logic 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 pro logic mode to avoid compensation where none is indi-
cated.
When in doubt as to whether THX cinema or pro logic 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 cinema 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 cinema mode.
Stereo Surround The stereo 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