Posted March 22 2003 - 09:07 AM
| I discovered the problem after it was too late to return the receiver. I'd like to know how to repair it. |
I don't know what the electronic cause would be. I would have the unit repaired under warranty at a local repair shop and be present to show the defect you found. Sending a unit in for an undocumented problem, usually isn't going to get fixed. I know from experience. Many techs don't get paid rate for warranty items and don't take extensive time to detect the problem. If it's not a big problem in showing itself obviously, these techs usually won't take the time to find it. Unfortunately, that's the way things are. In my experiences, I had to go to their test bench, and simulate the problem "MYSELF". Only then did they discover that the unit really was defective. If warranty work paid these techs their hourly rate, I can only think they would then take the time to diagnose the problem.
| Regardless of the crossover frequency, bass management should work consistently with all sources including Dolby Digital, DTS, PCM and analog. Some receivers have problems with this. |
Most receivers do, do you personally know receivers that don't? If so, could you help us out and reference the model numbers and makes? Thanks.
S&Vs comments are bit naive many times. The reason most receivers don't have bass management on their 5.1/6.1/7.1 analog multichannel inputs are because the analog signal must maintain it's analog nature. Receivers use "DIGITAL" bass management which means that the analog signals are then converted to Digital, which can then be used in the digital bass management. The idea of DVD-A and SACD is to have a better signal and degrading that signal through ADC(analog to digital conversion)defeats the purpose and degrades the high resolution signal. Since S&V's articles usually target novices, they are basic and don't get to the technicalities of why things, are designed as they are. S&V's articles are good to obtain overall knowledge, but definitely something that can't be taken to literal when technology, they don't mention, is the reason for certain designs.
Good links, I thought S&V tested their power at .5% Distortion, I see it was .3% instead.
| Your room acoustics can also change the original sound. THX processing is designed to correct that, but you can turn it off if you don't want it. |
THX does the same as other DSPs, in trying to make you room sound like it's not your room. THX is no different and tries to simulate a large, reflective theater as most of Yamaha's DSPs do. In fact, Yamaha has a DSP that simulates the characteristics that THX does, it's the "enhanced" DSP mode.
I see you reference a lot of other's opinions and research in making your points. Nothing wrong with that. I do a lot of my own tests with different components to determine how they work, and what's best. S&V's articles are nice but are so basic, they're common knowledge to the vintage home theater hobbyist.
THX's comments are, well, THX's comments which are biased toward their products. Yamaha has their own competing technology here.
As you can tell, I don't particularly care for THX or their DSP. If their THX license fee wasn't passed onto the customer, I wouldn't care less. To keep a product at a price point/class, if there is a THX license fee, then that cost must be cut somewhere on the receiver design, to balance the product expense to be at the determined price point. I've also seen THX products test pretty bad, and it's frustrating when people buy these products for the supposed quality, when they could had gotten better from a none THX product, at a cheaper price to boot!
Have a good one and nice references.