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feedback, producing a loud, very unpleasant noise through your speakers until you change the
source or press MUTE.
Because the signal for the Zone output is selected separately, you can use that output to record
one input source on an audio or video recorder while a different source is playing in the main zone.
Changes in volume-control settings do not affect the signals at the analog audio Record outputs
and Tape Monitor Rec/Out jacks, so you can readjust volume without making the signal levels in
your recordings fluctuate.
The digital outputs can feed digital recorders, but only with signals coming in through one of the
C 1 Controller’s eight digital inputs.
Selecting Sound Patterns (Listening Modes)
The C 1 has a total of 15 surround, stereo, and mono sound patterns called modes, which can
be selected from the front panel or the Master remote.
From the front panel, press the SURROUND button then, within 5 seconds, begin turning the
knob until the desired mode is shown on the built-in and on-screen displays.
To change modes from the Master remote, go to Page 1 of the C1/C2 menu (press the
remote’s MAIN button, then the key next to “C1/C2” on the display) then use the keys next to
the MODE– and +MODE lines on the remote’s display to reach the surround mode you want.
These settings affect signals from any input except the 7.1-channel analog input and the bal-
anced input (if you selected its Bypass mode). Not all listening modes are available for every
type of input. For example, modes that generate surround signals from stereo sources cannot
be used with DTS or Dolby Digital signals that have discrete digital surround channels, and
decoding modes for such digital surround signals won’t work with stereo signals. When you
select modes, those not available for your currently selected input simply won’t show up as
options. If you switch to an input that your currently selected mode won’t work with, the C 1
will automatically select an appropriate mode (usually, Stereo for stereo sources and Direct for
surround sources).
•
Mono: Downmixes (blends) all channels of the current input signal to mono fed through the center speak-
er. If you have no center speaker, and have indicated this in “Speaker setup” (page 26), the signal will be
mixed into the stereo L and R outputs. (If you prefer to hear mono through the L and R speakers, go to
the “Speaker setup” menu and, from the “Size” submenu, change “Center speaker” to “No”; don’t forget,
however, to change it back when you resume normal listening.)
•
Stereo: Plays all sources in stereo, through the front left and right channels. When surround input signals
are played in stereo mode, the contents of the surround, rear, and center channels are reproduced in the
stereo output signal.
•
Direct: Automatically reproduces the digital audio signal on any DVD signal in its own format, whether it
be surround, stereo, or mono.
•
Stereo96: A “pure audio” mode for analog input signals that raises the sampling rate of the A/D convert-
ers from 48 kHz to 96 kHz, and disables such DSP adjustments as tone controls (see pages 18, 24, and
26) and bass management. Unlike other pure-analog stereo modes (Bypass mode for balanced input, or
stereo feed via the 7.1-channel inputs), this mode enables signals to be fed to the record and Zone outputs.
(Note: Tone adjustments you make in this mode do not affect the sound until you switch to another mode.)
•
Dolby Pro Logic: Decodes two-channel signals (from analog, PCM, or Dolby Digital 2/0 sources) that have
been encoded with Dolby Surround signals, and feeds the results to the appropriate speakers of your sur-
round system. It is designed for playback through four channels – three in front and a fourth channel that’s
usually fed to both surround speakers of a home theater system. This surround signal’s treble is rolled-off
(filtered) to simulate the absorption of high frequencies by the seats and audience in a commercial movie
theater. Available only with two-channel sources.
•
Dolby Pro Logic II Movie: Optimized for movies and electronic games, this 5.1-channel mode has more chan-
nel separation than Pro Logic, and two full-range surround channels instead of a single, filtered channel. By
feeding the two surround speakers slightly different signals, Pro Logic II produces a more spacious, enveloping
effect. Unlike the original Pro Logic, it is designed for use with stereo analog or digital signals as well as for
films and other two-channel material with Dolby Surround encoding. Available only with two-channel sources.
•
Dolby Pro Logic II Music: Optimized for music listening, this mode is designed to produce surround ambi-
ence from stereo sources such as CDs. It has three adjustments not found in Pro Logic or Pro Logic II
Movie: Center Width, which adjusts the apparent width of the center-channel signal; Panorama, which
USING THE MAIN CONTROLS continued
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