This guide has been prepared to give you an understanding on

JVC Hi-Fi products for 1990, the technology used and our new
lineup, etc. It consists of the following seven sections:
1. The feature highlights of '90 JVC Hi-Fi products including sales
points , with photographs and illustrations.
2. Feature comparison charts. - These show the positioning of
products in relation to one another.
3. Lineup by product category, with itemized features and
photographs of each product; one-point features and logos
attached show the functions of each model at a glance.
4. Feature reference with simplified description of each feature/
technology and its benefits; this section gives brief explanations
of the technologies and features of our products.
5. Description of important technologies; this section gives more
details of technologies and features that we are emphasizing this
year.
6. For certain products, we include examples of how to conduct
effective demonstrations.
7. At the end of this book, "New Hi-Fi Technology 1990" gives
detailed descriptions of important new technologies.
We hope that this guide will give you a fuller and better appreciation
of the quality of JVC's lineup of Hi-Fi Audio Products and help you
in your sales activities.
 CONTENTS

RECEIVERS S.E.A. GRAPHIC EQUALIZER

Feature HighlighlS of '90 Receivers .. ... . ' " . . . 2

Feature Highlights of '90 SEA. Graphic Equalizer '" 75

Feature Comparison Chart . . . . 4

Feature Comparison Chart. .. .. . .... .. 75

Remote Control Unit Feature Comparison Chart .. . ... 5

Modeli Feature List. . . . . . . . . . . .. . .. . . . 75

Modet Feature List . . .. .... . . .. 6

Feature Reference .. .... ... ... . , . . . . .. .. ... 76

Feature Reference .... . .... .... 8

Demonstration .... . . . .... . . . .. . . . . . ...... .. 79

Technical Notes ... ..... .. .... 11

AV SURROUND PROCESSORS

CD PLAYERS
Fealure Highlights of '90 AV Surround Processors .. . 80

Feature Highlights of '90 CD Players .. 14

Feature Comparison Chart. .. . .. 81

Feature Comparison Chart (Single-disc models) . .... 16

Model! Feature List. . . . . . . . . .. 81

Feature Comparison Chart (Auto-changer models) .. . 17

Feature Reference . . . . . . . . . . . . . . . . . . 82

Model 'Feature List .......... ... . .. ... 18

PROGRAMMABLE REMOTE CONTROL
Feature Reference. , . . .. • . ..... .... ...... . .. 21
Feature Highlights of '90 Programmable Remote
Technical Notes . . .. 27
Control . . . ......... . .... .... .. 84

Demonstration ... 35
Model / Feature List ... , . .. . . . . . . 84

CASSETTE DECKS
Technical Notes .... 85

Feature Highlights 01 '90 CasseNe Decks .. 36

TURNTABLES

Feature Comparison Chart (Single-transport

Feature Highlights of '90 Turntables . . . . ... 86

models) ... .... ..... .... . . .. 38

Feature Comparison Chart .. . 86

Feature Comparison Chart (Double-transport

Model / Feature List .. . . .... . . .. . ...... . .. 87

models) . .... ... . .39

Feature Reference ... .. . . .. ..... .. . , . .. . , .. 88

Model ' Feature List . . . .. 40

SPEAKERS

Feature Reference . . . .. . 42

Feature Highlights of SX-911 WD Speakers .. .. 90

Techn ical Notes ... .. . .. ....... . .. 49

Feature Comparison Chart . .... .. . . . .. 90

AMPLIFIERS
Model / Feature List ... ..... .... ....•. ..... . .. 91

Feature Highlights of '90 Amplifiers . ... .... . ... . .. 51

Feature Reference .... .92

Feature Comparison Chart .. .. .... .. . . .. . .. 52

Technical Notes .. ... .... .... ..... .... . ... 94

Model 'Feature List . ........... . . ... 53

COMPACT COMPONENT SYSTEM

Feature Reference ... .. 54

Feature Highlights of th e MX-l ... 96

Technical Notes 58

Fealure Comparison Chart. . . . . . . 98

TUNERS
Model / Feature List . . . . . .... . . .. . . .... . , .. . 99

Feature Highlights 01 '90 Tuners .. 60

Feature Reference . . 100

Feature Comparison Chart .. .. ... ... . 60

Demonstration .... . . 102

Model Feature List .. . . ... 61

JVC STYLISTIC HI-FI SYSTEMS

Feature Reference . ........... . .. 61

Feature Highlights of '90 JVC Stylistic Hi-Fi

JVC COMPU LINK CONTROL SYSTEM . .. 64
Systems . .... .. . . .... .... . . . . .. . .. 104

DIGITAL ACOUSTICS PROCESSORS

Feature Comparison Chart . .. 105

Feature Highlights of '90 Digital Acoustics Remote Control Unit Feature Comparison Chart .... 106

Processors .. ... 66
Model / Feature Lisl . . 107

Model Feature List . . ... . .. .. . . . . . . . . . . .. . .. .. . ... 67

Technical Notes .... ... , .. . 68

Demonstration . 74

 RECEI ERS
Feature Highlights of '90 Receivers

1 CSRP improved, with factory-preset

values added to the comprehensive
display facility; the user can see the
settings and use it more easily

-,
I

I)) Programmable remote control unit

~ enables direct access to any AIV
component; this year, our
programmable remote control unit is
improved with a new sequential
memory function for enhanced
operability
- . ~ ~ - - . . - - .. - Jj'" ~-'.

Comprehensive A/V functions

including Dolby Surround (with Pro-Logic
Circuitry), a 4-channel amplifier and
digital acoustics proceSSing system
give your system another dimension
2
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SEA @,!] SU"HOU NO L'J vlSeA

1··\·..
·"'··0\l1li0 )
VCR 1
_ _
~. ,,'
Improved CSRP (COMPU LINK
~ ,- -, I II
PRJ:I! .1,& ;;! 1_ Jj
Source Related Preset) function
With this. the optimum values of the settings of volume, balance,
loudness, SEA. surround, etc. for each source can be stored in
memory and recalled immediately while the settings will be
shown on the FL display in sequence, whenever the
corresponding source IS selected. As factory-preset values for
each source are stored in the memories of these receivers,
these can be recalled when the receivers are switched on for
the first time. Therefore, these values can be used as they are as
well as modified to the user's preference. In addition, as the
remote control units provided with most receivers incorporate a
convenient CSRP display, you can check the values and
perform adjustment without leaving your listening position. Also,
a CSRP test Idemonstration] function is provided in the
RX-l 01 OVTN and RX-903VBK so that the factory-preset and
user preset values can be shown In sequence on the FL display
until the function IS released. This function is extremely eHective

.. .­
in an in-store display .

- - -- ..

Programmable remote control

for total control over other JVC
components and components
from different manufacturers
The programmable remote control features a "learning·' function
which allows il to store the funclions of most components from
...) JVC and even from other manufactures. After it has '·Iearned"
the functions, they can be recalled at any time so that remote
control over the entire system is possible with a single unit
Another advantage 01 this yea(s remote control unit IS its
sequential memory function with which 6 sequences of
operations can be stored in memory.

~_: __ .I _ ~-_

(J I DOLBY SURROUND I Enhanced A/V functions make

the receiver a versatile A/V
PRO LOGIC
control center
.
, In addition to the basic facilities of the receiver, it has a full range
of A V sophisticated control functions. For example, Dolby
Surround with Pro-Logic Circuitry and 4-channel amplifier bring
movie thealer excitement into home listening rooms while the
digital acoustics processing system adds an extra dimension for
the ultimate control of acoustic ambience. It lets you enjoy
movies with a more realistic sound field, closer to ever the sound
you hear In a movie theater

3
 Feature Comparison Chart
Receivers /~~~«~
(;).:,."'~ 9>*" ~
~*" ~~
~*" .:,.«)*" .:,.f?J*" .:,.f?J*" "f?J*"
~ # # # # # # ~
~ ~ ~ ~ ~ ~ ~ ~
Power Output
Walts per Channel 2-Channel Operation 120W tOOW 120 W 100 W BOW 60 W 60W ,lOW
I(Frequency Response) (20-20kH zI 20-20kH z) 20-20kH l) (20-20kHz) 20-20kHz (2020kHz (40-20kHL 40-20kHz)
4-Channel OperaltCr. Fr onl 110 W 90W 110W 90 W
Rear 15W 15 W 12W 12 W
THO (O
"'J 2-CH Raled 0 007 000 1 0 007 0007 003 0 .03 003 008
Dynam,c POwer 360 W 300W 220 W 200 W
(2 ohms) (2 ohms) (4 ohms) (4 ohms)
Remote Control
AV Programmable ,/ (LCD I ,/ ,/
AV Unified .[ ,/ ,/
Power O ~IiOF F ,/ ,/ ,/ ,/ ,/ ,/
Slee[l T,(ner ./ ./ ./ ./ ./ ./
Circuit
Dynamic Super-A (Front) ,/ ,/ ,/ ,/
Gm CircUli (Fronl) ./ ./ ./ ./ ./ ./ ./
Digital AP ./
Surround Sound I Dolby Pro-logic ./ ./
I Dolby Surround ,/ ,/
I 4-Speaker Surround ,/ ,/
S·VIDEO Termlnal5 ,/ (2) ,/ (2)
Center-OUlp ul ./ ./
FroovRear Qulpul ,/ ,/
Display
CCS I ,/ ,/ ,/ I ,/ I ,/ I ./ I ,/ I ,/
FL I ./ ./ ./ I ./ I ./ I ./ I ./ I ./
Source
AudiO CD ./ ./ ./ ./ ./ ./ ./ ./
DA1 ./ ./
FM ./ ./ ./ ./ ./ ./ ./ ./
Phor'lO ./ ./ ./ ./ ./ ./ ./ ./
Tape 1 ./ ./ ./ ./ ./ ./ ./ ./
Tape 2 ,/ ,/ ,/ ,/ ,/ ,/ ./ ,/
V,deo VCR 1 ./ ,/ ./ ./
VCR 2 ./ ./ ./ ./
V,deofTV ./ ./
Sound SeleelOr ,/ ,/
Function
CSRP ,/ ./ ./ ./ ./
CSRP Dls!liay (Remote Control) ./ ./ ./ ./ ./
CSRP Test ,/ ,/
SEA Electronic ,/ ./ ,/ ./
No of El_emenls 7 7 7 7
"'7­ 5 5
Presel Memory 5 +5 5 +5 5 +5 5 + ~ 5 +5
Palle rn Name Memory ./ ./ ./ ./ ./

Tuner
SEA Dub & Ree
No. of Presets
./
40
./
40
,/
40
./
40
"'­
40 40 40 40
Numeric Keypads ./ ./ ./ ./ ./ ./ ./ ./
Sial Ion Name Memory 40 ~O 40 40 20
Presel Scan ./
-'",/ ./
-'",/ ..,r -,/ ./ ./
Auto merr<>ry ,/ ,/ ,/ ,/ ,/ ,/
MMiMC Cartrl cge Selector ,/
Loudness ./ ./ ./ ./ ./ ./ Auto Auto

W peake r Sy slems 2 2 2 2 2 2 2 2

. Ip·d own DOOr I I I I

ICOMPU LINK RemOie Contral Componenl ." ." I I ."

 ~Wre~~a~oo~
Remote Control Unit r;:,~
r;:,..... f;)"'';:' f;)"'';:' r;:,"'';:' f;)"'';:' i:l"'';:'
~ ~ ~ ~ ~ # :II
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Provided wllh RX -, 01 0VTN RX -903VBK RX -803VBK RX-703VBK RX -503BK RX -403BK

Programmable ./ ./ ./
LCD rouch -Panel ./
l No 01 Programs Vari able ( 180) Variable (2001 VanabJeil63)
I Sequenlial ./ ./
AV RamOle ./ ./ ./
Power ON/OFF (Aud lofTVN CRi ./ ./
"'./--­ ~ ./ ./ (AudiO/VCR)
Slee p Timer
Volume (Up/Down)
./
./
./
./ ./
./
./
./
./
"'­./
Mule ./ ./ ./ ./ ./ ./
CSR P ./ ./ ./ ./ ./
CSRP Display ./ _./ ./ ./ ./
DI911al AP Conlrol ./
Surround
Surround ON/OFF ./ ./ ./ ./ ./
Cenler Level (Up/Down) ./ ./
Rear Level (Up/Down) ./ ./ ./ ./
Mode Selee l ./ ./ ./ ./
Delav Trma Conlrol ./ ./ ./ ./
Source
AUOIo CD .[ ./ ./ ./ ./ ./
OAT II' II'
FM II' II' II' II' lI'e --t e
II' II' II' lI'e ./e
AM
Tape I
Tap e 2
./
./
./
./
7­
./
II'
./
II'
./
II'
./
Phono ./ II' ./ ./ ./ ./
I VrtJeo VCR I ./ II' ./ II' II' ./
VCR 2 II' II' ,- -
II' II'
V,deofTV II' II'
SEA
SEA ON/OFF I ./ I ./ ./ ./ ./ I
Freq uency Band AdlUSI I 7 I 7 7 7 7 I
Level Up/Down I II' II' II' II' II' I
Tuner
D lee l ,A,cce ss (Numeric Keys ) I ./ I ./ ./ ./ ./ I ./
Presel Sial ions Up/Down I ./ I ./ ./ ./ I
CD Changer
DIsc Selec l ./ ./ ./ ./ ./ ./
lrac ~ Selecl (1 a-key) ./ II' II' II' II' II'
Play Mode (CONT 1PROGM/MAG PRGM ) ./ II' ./ ./ II' ./
PI~~ ./ ./ ./ ./ ./ ./
Auto Searc h ./ ./ ./ ./ ./ ./
CD Player
Numeric Keypad ( 1- 10, + 10 0) ./ ./ ./ ./ ./ ./
PlaylSlop ./ ./ II' ./ ./ ./
Aula Search ./ ./ II' II' II' II'
Manual Seal ch ./ ./ ./
Pause ./ ./ ./
Open/Clos e ./
Turntable
Play I II' ./ II' II' ./ I II'
Slap L ./ ~ L ./ ./ ./ J ./
CasseHe Deck
Pt~Stop ./ ./ ./ ./ ./ of
"eclPause ./ ./ ./ ./ ./ ./
FFIR EW ./ II' ./ II' ./ ./
MusIc Scan II' II' II' ./ ./ II'
D"eCllo n ./ II' ./ ./
OAT
I P a~/Si oe
'eclPause
L
I
"'­
./
./
II'
I
I
./
./
./
II'
-­ L
FF!REW 1 ./ ./ I ./ ./
I VCR
l ~/S top I ./ II' I ./ ./ I ./ ./
-~JPause (Stili ) I ./ ./ L ./ ./ ./ ./
1'1 REW I ./ ./ I ./ ./ ./ ./
TV
t -
=ct AC cess Channel ( 10-key)
nnel Uo/Down
I
I
./
./ I
./
./
I ./
./
./
./
./

• A' In ~ dal 1 15 areet n IhoP fei;e1 ver S memory th~ slaflon listened 10 OOlo(e the power 'h a s sWitched oll IS &eiC'C;le d (last <;hannel memory)

5
 Lineup of '90 Receivers _ _ _ _ _ _ __ _ _ _ _ _ __ _ _ _ _ __ _ __ _

CSRP 4-channel receiver with programmable LCD remote control and Digital
Acoustics Processor

• Power output: 2-channel, 2 x 120 watts*;

4-channel, 2 x 110 watts* (front), 2 x 15 watts
(rear)"R
• Digital Acoustics Processor
• Dolby Pro-Logic surround with digital delay
• CSRP (COMPU LINK Source-Related Presetting)
• LCD AV programmable remote control
* al nO rnolt~ than 0.007 8 • THO (8 ohrns. 20 Hz - 20 kHz) (RM SI
t: ill no m are than 0.07°0 TH O!8 ohms, 20 Hl - 20 kHZ) (RMS)

,~

RX-1010VTN COf..1P'..J LINK

1/1 Remoto 11/
ControlCotrpOl'W1'l'
Remote Control Computerized Receiver

~ CSRP 4-channel receiver with new programmable remote control and Dolby "Pro­
~ Logic" Surround

• Power output: 2-channel, 2 x 100 watts*;

4-channel, 2 x 90 watts * (front), 2 x 15 watts
(rear) ~
• Dolby Pro-Logic surround with digital delay
• CSRP (COMPU LINK Source-Related Presetting)
• 3 video inputs with S-Video tenninals
• New AV programmable remote control
* a' 00 male' on 0.00 7" THO 18 ohms. 20 Hz - 20 kHz) I RM SI
" a, no mOte ,han 0 7', TH O 18 ohms. 20 Hz - 20 kHzll AMSI
DIGIFlnE COMP'J WiK
RX 90311lBK
- 1/1 Remoto11/
ConlrolC~

ReceiveriSystem Control Center

@ CSRP 4-channel receiver with new programmable remote control

• Power output: 2-channel, 2 x 120 watts*;

4-channel, 2 x 110 watts* (front), 2 x 12 watts
(rear);\­
--. . . - - - - •• - - --- 1Cl!! ......
• CSRP (COMPU LINK Source-Related Presetting)
- :.::;:-..,.. - .:-:. _.. =
~ _ 0 .- - ­
• Dolby Surround with digital delay
--- ---------- - • New AV programmable remote control
= ~ ~" --
o ~ ....... --=.~

• Computer-controlled 7-band S.E.A. graphic

equalizer
DIGIFlnE COMP'J1!NK * .' nu ma le 'ha n 0 007', THO 18 Ohms. 20 Hz - 20 kHzllRMSI
RX B03V,BK _ 1/1 Remoto 1/1
COl'IfuI(~
" a' no more ,han 0 7'. THO {8 ohms 20 Hz - 20 kHzl lRMSI

ReceiveriSystem Control Center

@ CSRP 4-channel receiver with Dolby Surround

• Power output: 2-channel, 2 x 100 watts*;

4-channel, 2 x 90 watts* (front), 2 x 12 watts
(rear) '"
• CSRP (COMPU LINK Source-Related Presetting)
• Dolby Surround with digital delay
• Unified AV remote control
• Computer-controlled 7-band S.E.A. graphic
DIGIFlnE COI'.1PU LINK equalizer
RX-703VBK 1/1 Remote II/
c..o,.~c~ * a , no mal e 'han 0007'. r HO 18 ohms. 20 Hz - 20 kHz) IRMSI
~· a lno maIo ' an n 7', THO 18 Ohms. 20 Hz - 20 kH l l l RM SI

ReceiveriSystem Control Center

6
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I
~ CSRP receiver with AV remote control and computer-controlled S.E.A. graphic equalizer

• Power output: 2 x 80 watts*

Itts • CSRP (COMPU LINK Source-Related Presetting)
• Computer-controlled 7-band S.E.A. graphic
equalizer
v • 4-speaker surround
tting) • Unified AV remote control
* al no 1!I Ole than 0 03 0 0 THO ~ 8 ohms, 20 Hz - 20 kHz) l AM S)

RX-503BK
ReceiveriSystem Control Center

~ Digital synthesizer receiver with AV remote control

"Pro­
• Power output: 2 x 60 watts*
• 5-band S.E.A. graphic equalizer
• AV remote control
• Random preset memory for 40 FM/AM stations
ts • 4-speaker surround
. 111 nO more lnan 0 03°0 THD [8 ohms 20 Hz - 20 kH z) [RM SI

I COI'AI'U UNK

Iting) RX-403BK II], llemcitfi'/II

Comtoi COtI'pOI'IWIf

Receiver/System Control Cenler

~FMIAM synthesizer receiver, with S.EA. graphic equalizer

• Power output: 2 x 60 watts*

• 5-band S.E.A. graphic equalizer
• Gm driver
• FL display
• Preset memory for 40 FM/AM stations
* al no more Ihan 003' . 1 HD 18 ohms, 40 Hz -
Itts RX-302BK 20 kHz ) [RMSI

FM/AM Synthesizer Receiver

tting)
@ Basic receiver with preset memory for 40 FMIAM stations

- .Nil --:-:-_-:::-:=-:_ -- -~ -~ "'- • Power output: 2 x 40 watts*

. . ."':'-~ - '" ~_- ~'::I -=-- • Four inputs - CO/PHONOITAPE 1iTAPE 2

• Preset memory for 40 FM/AM stations

~ : ~:.:~. i ~~~ --~ • FL display

• Connections for 2 pairs of speaker systems

aoaf"
RX-201BK * al no mor e than TH O (8 ohm s 40 Hz - 20 kHZ) (AMS!

FM/AM Synthesizer Receiver

Is

:ting)

7
 =F<=e=a=fu=,=e;:::,=e='=e=,e==:n=c=e======-,/ Technology/Function Benefits

CSRP (COMPU LINK Source Related Preset) System

IRX-l0l0VTN, RX-903VBK , RX-803V8K, RX-703VBK, RX-503BKj

This allows the optimum values of the To play different program sources in the
sellings of volume, balance, loudness, SEA, most listenable conditions, the output level
surround, etc. to be stored in memory for and other settings are usually diflerent for
each input source, independenlly. Using each source . When listening to the
CSRP, all the preset values can be recalled soundtrack of a video you're watching on
immediately. while the settings will be your TV, the settings will be different from
shown in sequence on the FL display, those required when playing a compact disc .
whenever the corresponding source is Normally, the user has to change the setti ng s
selected, Furthermore, since all receiver each time a new source is selected. With our
control, source selection and switching CSRP system , we've solved this problem in a
operations are done electronically, the sophisticated way Since all the selling
CSRP sellings can be recalled from values are stored in memory, independen tly
memory using the CSRP DISPLAY function for each input source, the optimum settings
of the intelligent remote control unit for any source can be recalled immediately.
provided with the receiver. Also, factory­ Once the user sets his or her preferred
preset values have been already stored in settings for a particular source, these
memory for each source and can be settings are recalled by just pressin g the
recalled when the receiver is switched on corre spondi ng source button . When the
for the first time, source starts playing, you can check the
preset values by pressing the CSRP
Refer to "TeChnical Notes" page 11 for more
Informallon. DISPLAY button : the values are displayed In
sequence on the receiver's front panel As
factory-preset values for each source are
provided in these receive rs, they can be
used as they are, or modified as required.

CSRP test function IRX-l0l0VTN, RX-903VBKJ

A CSRP test (demonstration) function is If the CSRP te st (demonstration) function is

provided in the RX-l 01 OVTN and RX-903VBK. used, the factory-preset or user settings can
With this, factory-preset vafues or user­ be seen in a continuous sequence until the
programmed settings for each source, such function is released. This function can easily
as volume, balance, SEA and surround, etc. be used lor an ellective in-store
can be shown in sequence on the FL demonstration. Also , the user can check his
display until this function is released. or her settings lor each source in sequence.

Programmable remote control unit IRX-I010VTN, RX-903VBK, RX-803V8Kj

JVC's top-end receivers come with As long as it uses an inlrared remote control
programmable remote controls which have sys tein, the functions of almost any
a "learning" function. The remote controls component, even made by another
provided with this year's new receivers, the manufacturer, can be memorized by our
RX-903VBK and RX -803VBK, incorporate a " programmable " remote controls. With this,
new sequential memory function which the user can program the remote control
allows 6 sequences of operations to be with the functions of a number of
stored in memory. With these remote components, and you can operate any of the
control units, the user can store the components with just one remote controller.
functions of most components provided Instead 01 having several remote controls on
with infrared remote controls, even from your coffee table , a single JVC remote
other manufacturers, into the memory of control is all you need, even if the
the remote control. Aller "teaching" it the components making up your audiolvideo
functions of other units, these "learned" system come from different manufacturers.
functions can be recalled at any time, so
Refer to "Technical Notes" page 12 for more
that remote control over the entire system informatIOn.
is possible with a Single remote control unit.

Three video inputs including S-VIDEO tenninals

IRX-l010VTN, RX-903VBK, RX -803VBK', RX-703V8K'j

Three inputs are provided for the connection You can connect up to three video source
of video source components: VCR1, VCR2 components and switch the audio and video
and VIIJEQ, The RX-l010VTN and Signals simultaneously either from the main
RX-903VBK are provided with S-VIIJEO as unit or remote control, making AV integration
well as composite video input terminals, for and the dubbing of video tapes easy. As TVs
connection of the latest high picture-quality
and VCRs with S-VIDEO terminals can be
VCRs.
connected to the RX-1010VTN and
I' Two composite video Inputs)
RX-903VBK, these two receivers are ideal
for use with the latest video components.
B
 r:eature reference / Technology/Function Benefits
~~~~~~='

;ystem Digital Acoustic Processing System IRX-l0l0VTN j

Ci5iTi3LAP Drawing on JVC's advanced digital Since signal processing is all done dig itally,
'gram sources in the technology and employing our original digital there will be no noise or deterioration in the
litlons, the output level Signal processing circuitry, this specially reproduced sound. And, since the
e usually different for developed system allows the user to create RX -1010VTN has a built-in rear-channel
'stening 10 the a true, more " realistic" sound field, almost amplifier, when a pair of " presence"
J you're watching on exaclly the same as that obtained in a speakers is added to a normal 2-channel
will be different from concert hall, etc., in his or her listening system, the user can easily enjoy the full
playing a compact disc. space. So that any 01 the variables intro­ benefits of the signal processing system. For
s to change the settings duced where the recording was made can be the user's convenience, seven possible sources
ce IS selecled With our simulated, the RX-l010VTN has seven - concert hall , etc. - are provided , to
;olved this problem in a preset acoustic patterns - "Symphony produce a "real " sound field without any
Ice all the selting Hall", "Recital Hall", "Opera House", further adlustment , while adjustable
lemory, independently "Church", "Live Club", "Stadium" and parameters - to compensat e for room size,
the optimum settings "Movie Theater" - while the " Room Size", etc. - give the user added fle xibility. This
recalled immediately "Liveness" and "Wall Type" parameters system was specifically engineered by JVC
or her preferred permits line adjustment 01 the acoustic for true music lovers, and we 're sure it will
r source, these sound lield to suit the room where the music amaze you . After processing , the resultant
, just pressing Ihe is reproduced . With the addition 01 a pair 01 sound field is a realistic reproduction of the
)ullon. When the "presence" speakers, driven by the buill-In sound you hear at a live performance .
ou can check the rear-channel amplifier, it will produce a
19 the CSRP "realistic" sound field, adding a new
lues are displayed in dimension that could not previously be
If'S front panel. As
obtained , in a home listening room.
r each Source are
ers, they can be
jified as required
DO I DOLBY SURROUND I Dolby Surround Sound System with Pro-Logic circuitry*
IRX-l0l0VTN ' , RX-903VBK' , RX-803VBK. RX-703VBK j

This year's top-end receivers feature a By simply adding a pair of surround-channel

;tration) function is Dolby Surround decoder which gives that speakers, you can enjoy the real excitement
Jr user settings can extra dimension 01 movie-theater excitement of a three-dimensional Dolby Surround
.equence until the by the perlect reproduction 01 Dolby sound field that you previous experience
funclion can easily Surround-encoded video programs, plus only in a movie theater, in the warmth of
)-slore lour-channel operation. For the improved your home listening room. Since all decoding
Iser can check his clarity 01 sound ellects, we used digital processing is performed digitally, no signal
Mce in sequence signal processing circuitry in the Dolby deterioration or distortion will be added; only
Surround decoder Circuit. the sound effects intended by the movie's
BK, RX-803VBKI Furthermore , the RX -101 OVTN and producer will be heard Irom the rear/
ed remote control RX-903VBK are equipped with " Pro-Logic" surround speakers.
most any circuitry allowing the reproduction 01 a
more realistic sound lield, closer to ever Refer to "Technical Notes" page 13 for more
another informallon.
orized by our the sound in a movie theater,
Introls. With this
emote control ' BUilt-in four-channel amplifier
ber of IRX-l010VTN. RX-903VBK , RX-803VBK, RX-703VBKj
perale any of the Our top receivers come with a built-in lour- Since receiver s with a four -channel
!mote controller. channel power amplifier. With this, as well capability also incorporate Digital Acou stics
110te can Irols on as using the amplifier lor normal 2-channel and Dolby Surround processors, the user
/C remole stereo reproduction with dynamic power, you can enjoy surround sound and digitally
if the can also use it lor lour-channel "surround processed sound field s by simply adding a
audio/video sound" reproduction with a room-lilling pair of rear /surround speakers; this is
manufaclurers. power output. especially effective for recordings of live
Ie 12 for more performances, movie videos, etc.

CCS (COMPU LINK Communication System) interactive

IAII models excepl RX-302BK and RX-201 BK I

This CCS system gives lurther interactive With CCS system , when you remotely
'ideo source inlormation to the JVC-exclusive COMPU operate the component connected to the
:dio and video LINK system, by indicating the current receiver, such as CD player or cassette
'om the main source or operation mode you 've deck, the specified operation in response to
AV integration commanded, or volume up/down, even the the command you've given will be indicated
easy. As TVs station name and SEA pattern recalled. on the FL pariel, with a graph ic symbol. You
als can be can conlirm whether you've given a correct
and command or not at a glance, while the large ­
s are ideal sized easy-to-comprehend amber -colored FL
nponents display improves the visibility so can be
confirmed from your listening position . 9
 =~=e=a=tu=r=e==r::::e=fe=r=e=n=c=e=::::=::::==,/ TechnologyIFunction Benefits

Five programmed and five user preset eql:lalization

patterns {AX-1010VTN, AX -903VBK , AX-803VBK . AX -703VBK. AX-503BK J
The graphic equalizer not only allows the Ten preset equalization patterns can be
user to create five custom equalization recalled at the touch of a button; they can
patlerns and store them in memory for later then be modified to create any required
recall but also lets the user call up one of response.
five pre-programmed equalization patlerns
(HEAVY, CLEAR, SOFT, MOVIE, and VOCAL).

~ SEA equalization pattern name memory/indication

IRX-l010VTN. RX -903VBK . RX-803VBK RX - 703VBK . AX-503BK)
/ / /- I-I / I , I
(7 r-(7 /1 I
Together with the live user-programmable
equalizer patlerns, top-end receivers have
a patlern name input and display capability.
With the SEA graphic equalizer controls, you
can create any desired equalization pattern
by pressing the electronically controlled
In the same way as that lor station names, frequency buttons. After this, you can store
up to live or lour (RX-503BK) characlers or your own name, according to the pattern
numerals can be stored in memory. you 've created . Using names like" JAZZ"
or "ROCK", for example, you can input any
desired name and store it together with the
corresponding pattern. Wherever the user
calls up an equalization pattern, he or she
can see its name in the display, at a glance.
40 FM/AM random station preset memory (All models)

All JVC receivers include a computer­ Since the tuning condition is controlled by
controlled digital synthesizer tuner featuring the built-in microcomputer and stored in
preset memory of up to 40! broadcast memory , reception will always be in the best
stations for FM and AM randomly. possible condition. Therefore, whenever the
This feature lets the user to preset almost required preset channel is recalled, the
any FM or AM station to be listened to, lor corresponding station will be recalled with
immediate pushbutlon recall. optimum reception. Since up to 40 preset
channels are available , you can store almost
all stations in your area, now or in future.
The 40-channel preset memory will accept
any desired combination of FM and AM
stations for added convenience .
Station name memory with alphanumeric display
(AX-1010VTN. RX-903VBK . AX- 803VBK. RX-703VBK, AX-503BK)

By incorporating a large-capacity memory With this convenient feature, you don't have
device, up to five or four (RX-503BK) to remember the frequencies of broadcasts,
alphanumeric characters can be stored in ' or their preset channel numbers. When you
memory to be used lor "station names", recall a channel, you can check its station
etc, The "station name" from storage will name from the character display. You can
be displayed together with the broadcast give preset stations any names you want -
Irequency of the recalled preset channel. "JAZZ" or "ROCK", etc. This gives extra
convenience lor tuner reception, as well as
adding a new dimension to audio enjoyment.
Auto memory functions (All models)

Auto memory operates by using lhe This function is extremely convenient,

computer to automatically preset stations presetting stations in optimum condition
one alter another, with the user selecting the wherever you live and eliminating the need
starting frequency, even in the middle of the to know specific FM or AM frequencies.
tuning band.
Preset scan function (All models)

Preset scan function lets the user auto­ This is a very convenient way to search lor a
matically tune to each of the preset FM (or station you want to hear or to sample all the
AM) stations in memory one by one and hear programming offered by your preset stations
each for five seconds. at any moment.
Sound selector (AX - l 0l0VTN. RX-903VBKI

The Sound Selector lets you combine a This integrates audio and video the way the
picture from any video source with sound user wants it. For example , you can watch a
from the source you want to hear. video signal 1rom a VCR and listen to a
compact disc, or you can record your
10 favorite sound on a video tape you have
recorded using your video camera.
 Technical Notes
~-----------------------------------------------------------------------------------------------------~~

~~
<">=
m=
<~

(/)~

IS can be
CSRP (COMPU LINK Source Related Preset) System
In; they can Sophistication in receiver design
required Conventionally, when a user sets a Basically, everything that is set using If necessary, you can change the values
receiver's controls - volume , balance , the front panel controls is stored in using the remote control.
tone controls, etc . - he or she would use memory for each source independently; In addition, as the factory-preset values
the same settings when playing any with these receivers, this means the are stored in memory in these receivers,
program source. But these sources really volume, balance, the settings of the S.EA these can be used as they are without any
require different settings, because of graphic equalizer, graphic equalization onl parameter settings when the receivers are
differences in level between FM and AM off, loudness on l off and surround sound switched on for the first time and then
broadcasts , compact discs and tapes , and on l off, etc . mOdified as required . Also, the CSRP test
controls, you
the different degrees of compensation The biggest advantage of the CSRP (demonstration) function is provided with
Ition pattern
required with each source. system is that the optimum values for each the RX-1010VTN and RX-903VBK so that
ontrolled
With the CSRP function of our top-end of the parameters are set instantJy the the settings including the factory-preset
·ou can store
receivers, .when you switch from one source or preset station is selected. And values can be displayed in sequence in the
he pattern
source to another, the optimum settings after they have been set , they are FL display until this function is released
~e "JAZZ"
for the new source are recalled from displayed in sequence in the large FL This function is effective for an in-store
an input any
memory In this way, optimum sound is display. Also, when the CSRP DISPLAY display while users will find it useful for
[her with the
assured whichever source you are listening button provided on the remote control unit checking their settings for each source in
er the user
to, even when you switch from one source is pressed, the preset values are displayed sequence
, he or she
10 another. in sequence for checking from a distance.
, at a glance .
The drawbacks of conventional systems
The fact is that each source requires phonograph records usually require Therelore , 10 optimize the sound when
ntrolled by different settings of a variety of para· equalization because 01 the low-frequenry you change sources, many settings have to
stored in meters. One example is the different levels resonance pOint of the cartridge And be adjusted , not lust the volume, bul the
)e in the best at which phonograph records and compact different preset stations , even in the same S.EA settings and the values of the
henever the discs are recorded . Anolher problem with frequency band, could reqUife different va no us parameters used by the surround
led, the
Ihese sources IS thai , while compacl discs settings, because of differences 10 the sound Circuit.
called with have a relatively flat charactenslic and Signals received from Ihem and even the
40 preset require less compensation by SEA , equipment they use in their studiOS .
store almost
in future Example of FL display with CSRP preset

will accept 1) Source selected (CD as a source) 1) Source selected (VCRl as a source)

and AM

L _______ __ ·_~ ~~AI-~'_~_.:!:T./~/____~------------------~I.. .l________~__~~'~~__~__~------------------~

Vr~p!
2) Volume, balance, loudness .tting 2) Volume, balance, loudness letting
-. .... VCR 1 ~ ~. IJCR I ~ , ~'" ....
u don't have II I I I~" 1__ 'C>.lA<E

broadcasts , /I
,-,
U I I" II VOl .Llt1E ,- n
rU ...
; When you
3.), ,SEA set~i.ng~A 3) SEA setting
its station
I l·~-~____·~--,~~~I~r~~. ~~I_C_I
I .

I You can
you want­
les extra
. '.. '- ,_ C. I 7 I \ __ ~__________________~11 l~
~~-~; . . __ ______~~~~~~~~~~_/~T
/~ ~'~·~=-
I I U V ..L '­ __ __________________ ~
4) Surround setting 4)
, as well as
) enjoyment ~'~·I .~ VCR I I 1

1'--____.:..:
- ... -=~
,~/ ____I _1'-.1.:=
r '-.1 ~__--==--_____I......::{
{c.:'::"'"________--' -I

mien!, 5) Nonnal display

Nonnal display
:ondition ··'· u ....... .:..:J ........ VCR ~ t _

Ig the need LI 1/"

Jencies.
I _,,' ,
• - ..
.. JI
As shown above, each time the source IS changed , eacll setting condition IS displayed lor a lew seconds In sequence.

In case of TUNER, station names memorized for each of 40 FM/AM preset stations will be displaye<l each time the stations are recalle<l,

search for a
Imple all the
I ~' /J:q ;, ;7 '~; , 7 . , ~ ~' I I '~i?A/~'( /~: '"99 ~ :~ 1
eset stations
__ VCR 1
< ~, ... VCA 1 0 '
I,II , I / M I­
V U I U I ,,-- VOL !!t1F '-/B". n.t 9-:: 5
the way the
can watch a .. . f!.] ~ :!B _ 'ICR 1 ~
II '-I
en to a I!:l ,- ' -, 11 1-,,- ,1 """" 'j 9 5
..1: ,,-:, ,~ (i I II [, LIB•• , -,.
J your
. The above example shows the display 01 the RX·803VBK.
ou have
ra. 11

. .... "
. .,,~,
,I _ I .
­ ...
'
~

:... ~~ _._.l __ ~ .~~_..:...~ ....~

•
Technical Notes
------------------------------------------------------------------------------------------~w.

Versatile AV Remote Control,

Ideal for Use in the Ultimate AV System

I. AV Remote Control Unit

Unified AV controt can be achieved with the receiver itself, but also COMPU LINK the remote controls make these receivers
the RM-SR703U provided with the RX-703BK, Components such as a CD player, cassette ideal for use at the center of a
the RX-503BK's RM-SR503U and the deck, turntable , etc. Certain JVC VCRs and sophisticated AV system
RX-403BK 's RM-SR403U. With these TVs can also be remote controlled, from
remote controls, you to control not only your listening / viewing position In this way,
II. Programmable AV Remote Control Unit
The RM-SR1 01 OU is an advanced LCD units as well as components from other is switched each time the source is
programmable AV remote control provided manufacturers. These learned functions changed and clearly shows each function
with our top-end RX-1 01OVTN. In addition can be recalled at any time, allowing an of the source selected, you can access
to Its basic AV remote control functions , a entire AV system to be controlled from a each function in easy stages without
"learning " function is added; this can be single remote control unit making any mistakes.
used to teach it the functions of other JVC As its comprehensive LCD panel display
III. New Programmable Remote Control Unit
In addition to the functions of an provided with the RX-903VBK's
ordinary programmable AV remote control RM-SR903U and the RX-B03VBK's
unit, our new remote control unit has RM-SRB03U. Instead using an LCD display,
another advantage - its sequential the keys are arranged on panels with
programming facility With this function , different colors according to their functions
you can store up to 6 sequences of and the keys on the CONTROL PANEL
operations in memory, with each sequence SECTION can be used for each source
consisting of up to 16 key operations. After selected in the same way as using the LCD
it's been programmed, a complete paneL This makes it easier to assign the
sequence of operations can be started by required functions with the remote control ,
touching of single button. This function is for enhanced operability.
Sequential Memory Function
On the upper section of these remote
control units, there are a switch (SW1)
LEARN
CANCEL~ USE
SEQUENTIAL PROGRAM
Ct=Ii
wilh CANCEL. LEARN and USE positions, a
SWl SW2
SEQUENTIAL PROGRAM switch (SW2) with
positions 1 and 2 and SEQUENTIAL
PROGRAM KEYs A, Band C

IHow to learn
When " learning " procedures, for 5) Keep the the POWER button of TV
Now, the procedures set in steps 4 to B
example, storing the following steps pressed .
are stored in the memory of key A with the
required to watch a VCR into SEQUENTIAL Ir--T-v------, SEQUENTIAL PROGRAM switch set to 1.
PROGRAM KEY A. When SW 1 IS set to the USE mode and the
Audio Power ON 6) Keep the POWER button of VCR
SEQUENTIAL PROGRAM switch IS set to I,
TV Power ON pressed .
lust press key Ato perform procedures 4 to B.
---'-'-vc=R~1
VCR Power ON r-I

Keys Band C can be programmed in

Source VCR1 7) Keep the VCRI of the SOURCE SELECT
the same way And after setting the
VCR PLAY pressed
SEQUENTIAL PROGRAM switch to 2,
(when a JVC TV and VCR are used) SOURCE SELECT
another three sequences can be stored in
VCRl
the memories of SEQUENTIAL PROGRAM
1) Set SWI to the LEARN mode.
KEYs A, Band C. In this way , a total of 6
2) Set SW2 to 1.
sequences can be stored in memory
3) Keep the SEQUENTIAL PROGRAM KEY
B) Keep the Play button of the
A pressed. PROGRAMMABLE CONTROL SECTION
SEQUENTIAL PROGRAM KEY pressed
I A I PLAY
4) Keep the POWER button of the AUDIO
pressed .
9) Set SWI to the USE mode.
POWER

I AUDIO

lHow to cancel
In the above sequence, if key A's control will light to warn you . To cancel the 1) Set SWI to the CANCEL mode.
memory has been already used for a data key A's memory , follow the procedure 2) Set SW2 to 1.
sequence of operations, when you reach below. 3) Press SEQUENTIAL PROGRAM KEY A
12 step 3, the LED ERROR on the remote for approx. 2 seconds.
 CD PLAYERS

Feature Highlights of '90 CD Players

PEM DD (pulse ~dge Modulation

Differential-Linearity Errorless DIA)
Converter; no zero-crossing
distortion and improved linearity
at low levels

e); JVC-original "K2 Interface" coding

~ transmission circuit completely
eliminates non-coded components in
DIA conversion
, --.,- - - - I •

3 New DDRP (Dynamics Detection

Recording Processor); synchronized
operation of CD players and cassette
decks at the optimum recording level,
resulting in one-touch recording with
a wider dynamic range

14
 PEM DD converter consisting of
a fourth-order noise shaper
and high-resolution PEM DIA
converters
As It uses 1 -bit 0 A conversion, the drawbacks that coutd not be
sotved with conventionat 0 , A converters have been overcome.
First, zero-crossing distortion and glitches do not occur due to
the circuit's principles of operation , Second, as the timing is
controlled by a quartz crystal oscillator, operation is extremely
accurate Third, it is not affected by changes in temperature and
aging. A further advantage is that, as data values are extracted
using the positions of the edges of pulses, the PEM O'A
converter has a resotution more than twice that of a conventional
1-bit 0 A converter. With this PEM O'A converter and the fourth­
order noise shaper, requantization noise is reduced to a
completely negligible leveL As a result, the " presence" of sound
field and musical nuances can be reproduced with extreme
fidelity.

New "code transmission

K2
InTERFACE
system" eliminates jitter and
ripple contained in digital signals
The K2 Interface ' technology is an entirely new method to

in Iransmlt the digital data so that only the "encoded" data is

supplied to the subsequent 0 A converter, etc, With this system,
npple and Jlner which cannot be elim inated after 0 A conversion
and which could affect the resultant analog signal are prevented
from reaching the analog Slgnat processing section. With the K2
Interface, the music sig nals are heard without any effects
In troduced by the equipment or cables used .

CI" ,-, ,-,­ ,-, The convenient DDRP

recording system sets the
optimum recording level
automatically
'te
The DORP lunction makes use of the COMPU LINK Control
System to permit synchronized operation of a CO player and

fel,
cas sette deck , automatically optimizing the recording level , for
the widest possible dynamiC range. The DDRP function lets a
CD player (X L- Z431 BKI perform 'peak search" to determine the
ith
op llmum recording leveL After the " peak search" has been
completed, th e casset1e deck automallcally enters the recording
standby mode with the input level set to the optimum level for the
type of tape used . On a cue from the CD player, the casset1e
deck switches to the record mode, In this way , high-quality
recording can be perfo rmed automatically, more easily than with
manual level adjustment.

15

__
. • ~ -'
•
,
4....-
,_"- _ 1"'--J
. •
' .
~
'. L
,
- .---,=;.. ;U~~ : II
•
...._.: , _ i .....
~~. . I

J "
.' ,-, -.
 FeaturecomearisonCh~
CD Players 0~
",,,,~ <Q*" ~~~~~
<Q*" <Q*" <Q*" <Q*" IQ*"
q'li "," " ,,:>' ,,:>' ,,:>' ,,:>' 'l,~
,1,,,,,,­

(Single-Disc Models) __ +"""" +}O +,,"J' +"",,":> +"",'l, +""" +J~~~.0

Digital
K2 Interlace ./
Digital Filter Bls ./ ./ ./ ./
4fs ./ ./ ./
DIA Co~veqer PEM DAC ./ ./ ./
IS-b it COlilblllatlon 4 DAC ./
Dual t8-bil N.S DAC ./ ./
Dua l 16-bll DAC ./
Digital Out Opllcal ./ ./
CoaXial ./ ./ ./ ./
MechanlsmlServo
Large Stabilized Di sc Clam per ./ ./ ./ -./ ./ ./ ./
8-cm (3 -inch) Disc Compa lible Tray ./ ./ ./ ./ ./ ./ ./
New ISS
3-Beam Laser Pickup
New V- Serv o
./
./
./
./
./
./
./
./
./
-+ ./
./
./
./
./
./
./
./,­
"7
./
Remote Control
Included ./ 7 ./ ./ ./
I Volume ./ ./ ./
I Display ON /OFF ./ ./ ./
I Numenc Keys ./ ./ ./ ./ ./
Display
Mulll Funct ion Fl ./ ./ ./ ./ ./ ./ ./
Tit le Dis play D,sc ./
I Tunes ./
-­
No of Program Cha rt Trac~ s 20 20 20 20 20 15 20
Function
DDRP ./
Editing 3-Way ./ ./ ./ ./ ./ ./ (2-Way) ./
Side Al B ./ f ./ ./ ./ ./ ./
Memo ry DISCrrLIne Tille Msmory ./
D,sc Prog ram MemOry ./
No of Program s 32 32 32 32 32 32 32
Numeric Keypad ( t 10, + 10) ./ ./ ./ ./
Il1lro Sc an (Remo te) ./ ./ ./
Inu ex Sealeh (Remote) ./ 7 ./ ./
Randorl, Play ./
Repeat I Ali/Single 1 rac k ./ ./ ./ ,/ ./ ,/ 7 -­
I A-B (Blor. kl ./ ./ ,/
Prog ram Repeal ./ ./ ./ ,/
-
,/ ./ ./
Search (Auto/Manual) ./ ./ ./ ./ ./ ./ ./
Output
Headphone wltn Volume ./ ./ ./ ./
Outpul Fixed
-
"7 ./ ./
Analo g Fixed & Varoab lE; ./ ./ ./
Ou tpu t Fixed ,/ ,/ ./ ,/
S-Vldeo Outpu t ,/
MI D IOu tpU I ./

I Flip -down Door ./

I COMPU LINK Componsni I I I I I "7 I

16
7
/0/'l/1~
Feature Comearison Chart
CD Players
~<::J .,.<:> !':,<::J ~<:>rr; n
(Auto-Changer Models) ~ ~ ~ ~ o
+'" +'" +'" +'" ."
r­
»
-<
Mechanism/Servo m
:II
Type 6-D,sc G-D,sc 6-Dlsc 5-Dlsc en
Magazine Maga zine Magazine CarOllsel
Plus-One Plus One
Tl ay Tray
J -Beam Laser PiCkup .I .I .I .I
New ISS .I .I .I 7
NeV'/ Y Selvo .I .I .I 7
Digital
DI(J't31Filter SIs ,/
41s ,/ .I ,/
DA Convener PEM DAC ,/
Dual 18-011 N S DAC .I .I
Dual t6-bl! DAC 7'
Remote Control
Included I ." I .I I
,DI sc Keys I 7 I 7 I
INumenc Keys I .I I .I I
'DisPiay
" 'ull, Func tion FL I .I .I I .I ,/
; lie Dlsptay DIsc I ." I
Mag azIne I ,/ I I
Function
"Ia~ node Continue ,/ ,/ .I ,/
Prog ra m ,/ ,/ ,/ .I
Random .I .I .I 7
E 1'''"'9 2-Wav ,/ ,/
Side AlB ,/ ,/
T rmr y Magazine/D,sc TIUe Memory ,/
Magazine Progr am Memory .I
-I 01 Proarams 32 32 32 32
..=c.' Kevs 7 7 1 5
':'J~le'lc Keypad (1 -10, + 10) ,/
F' ' I' Ail/Single Track ." .I .I .I
~ Program Repeal ." ." ,/ .I
" I IA~loIManual) ." .I ,/ 7'
Jr Play .I
Output
_JOI' one OUlpul1 With Volume .I I I
F ,~e d .I I .I .I
.II'U U NK Component

17
 Lineup of '90 CD Players _ _ _ _ __ __ __ _ _ _ _ _ __ _ _ _ _ _

"K2Interface" CD player with quadruple full-time l8-bit combination OIA converters

• K2 Interface
• 8-times oversampling digital filter
• Quadruple full-time linear 18-bit combination D/A
converters
• Optical and coaxial digital outputs
• 3-way editing function

Compact Disc Player

CD player with optical digital output and disc memory

• Dual 18-bit noise-shaping D/A converter

l-
-

-=­- I

·
.
~

-
__
oNe -_ _- _ -
._ - -

.
-

"7
- - = - = -----­

,~ - - ', i~~SE ~
_ •
•
•
4-times oversampling digital filter
Disc/track title memory and disc program memory
Optical and coaxial digital outputs
--­
, -­ 0

DIG.Flne COMfMw' :':NI(

• 3-way editing function

c""-",,,'

Compact Disc Player

@ CD player with newly-developed PEM DO converter and DDRP function

• PEM DD converter
• 8-times oversampling digital filter
• NewDDRP
• Coaxial digital output
• 3-way editing function
DIGIFlne CO.·~.rtt1 !!NK
c~,

Compact Disc Player

18
 n
o
"C
,­
converters @CDplayerwith newly-developed PEM DD converter and digital output >
<
m
JJ
tJl

• PEM DO converter
• 8-times oversampling digital filter
lation D/A
- -.- - - : - : - .::.- • Coaxial digital output
.IoIC _ __ _ ~

--
-.-
.
~

• 3-way editing function

==-" ~-§i : ~ " --=;-~ ~
0 • Multi-function display with 20-track program chart
• Remote control
XL-Z331 BK DIGIFIOE ~~
Compact Disc Player

1if!P CD player with newly-developed PEM DD converter and 3-way edit function
­ • PEM DO converter

- - -.- - - ;- ::-- :. ~ ------:- • 8-times oversampling digital filter

n memory ~~-~-~-1 --~ - --~-j. 0 • 3-way editing function

• Multi-function display with 20-track program chart
XL-V231BK DIGIFlnE ~~K • Headphone output
Compact Disc Player

~ Basic CD player with 1S-track program chart display

oM: _ _ _ __ _L
• 4-times oversampling digital filter
• Dual 16-bit D/A converter
- - - -- - - --- --
~-;-- - -- - ­- - - " " • 2-way editing function
• Multi-function display with 15-track program chart
COMPIJ UN!( • Random access programming of up to 32 tracks
XL-V131BK DIGIFlnE
c~

Compact Disc Player

"CD+G" player with 3-way editing function

• Dual 18-bit noise-shaping 01A converter

- .NI:' - ____ . . - - - • _ 4-times oversampling digital filter
~ --.--~ ~ ~"" - • Built-in graphics decoder
-­-
- - ­- - - • 3-way editing function
: -.:.. -­ -:-=--.--­ ~ 6
• Multi-function display with 20-track program chart
• Remote control with numeric keypad
XL-G512NBK DlGlFlnEC~ • S-video terminal
Compact Disc + Graphics Player !&~
Ir~)

19
 "6+1" CD auto-changer with magazine/disc title memory and magazine program memo

.NC __ __ _
• Dual 18-bit noise-shaping D/A converter
• 4-times oversampling digital filter
-
-
-
--- --oiIi:I-.-
~
--
_
-
.
-
.
-
':; -
- -
.
. :.
:...
_ -.:
• Remote control with 6 disc keys and numeric
keypad
-0 ~ .::- .• ,.. .... ,.., - - - - - - '.~-
• Coaxial digital output
• Magazine/disc title memory for 11 magazines
DIGIFlnE COI'.'.ro IlNK
XL-M701BK c~

"&>," Compact Disc Auto Changer

c@ "6+1" CD auto-changer with newly-developed PEM DD converter and remote control

• PEM DD converter
• 8-times oversampling digital filter
• Remote control with 7 disc keys
• 2-way magazine editing function
• Random access programming of up to 32 steps

" 6+' " Compact Disc Auto Changer

c@ CD auto-changer with 6-disc magazine and 2-way magazine editing

• 4-times oversampling digital filter
• Dual 18-bit noise-shaping D/A converter
• 2-way magazine editing function
• Random access programming of up to 32 steps
• 4-way repeat
XL-M303BK DIGIFlnE C?~
Compact Disc Auto Changer

c@ New carousel type CD auto-changer with multi-function display

• 4-times oversampling digital filter
• Dual 16-bit D/A converters
• Continuous play, random play and program play
• Multi-function display
• Random access programming of up to 32 steps

XL-R202BK DIGIFlnE c~
Carousel 5-Disc Auto Changer

20
 ~/=I=e==a=tu=r=e==re=~=e=r=e=n=c=e====:=-,/ Technology/Function Benefits

PEM DO converter (XL-Z431 BK. XL-Z331 BK. XL-V231 BK . XL-M403BKI

grammemo
The PEM DO (Pulse Edge Modulation As this perlorms 1-bit operation with a
Differential linearity-Errorless D/A) single amplitude and it does not rely on the
converter which uses a fourfh-order noise accurate alignment of the weighted values of
shaper and PEM DACs is a JVC original. a ladder of resistance elements, it is
The fourfh-order nOise shaper reduces theoretically free from zero-crossing
requantization noise to a negligible level distortion as well as non-linearity at low
while two PEM OACs increase the levels. Also, for accuracy, the switching
resolution to more than twice that of a timing is controlled by the high-precision
nes conventional 1-bit DA converter because clock generated by a quartz crystal
data is extracted using the edges of pulses, oscillator; distortion in the amplilude
to output two streams of data. direction cannot occur and it is not affected
by changes in tempera lure and aging. As a
Refer 10 " New Hi-Fi Technology 1990" allhe
fourth-order noise shaper and high­
end of Ihis book.
resolution PEM OACs are used, very low
~e control signals can be reproduced very accurately
so as to reproduce the "presence" of a
sound field and musical nuances with
extreme fidelity.

DORP BlOCk Diagram DDRP (Dynamics Detection Recording Processor) function

(XL-Z431 BKI

steps This function makes use 01 the CDMPU Normally, when recording a compact disc on
LINK Control System to permit cassette tape, the adjustment of the
synchronized operation of a CD player and recording level is complicated and can take a
cassette deck, automatically optimizing long time . However, with our new system,
recording . By simply pressing a bullon, the level adjustment is performed by simply
CD player performs "peak search" by pressing a button on the CO player, after
scanning the compact disc al high speed to which recording is performed automatically,
determine Ihe peak signal level, so the CD at the optimum recording level. Therefore,
can be recorded without distortion. Then, if high-quality recording is performed
the cassette deck to which if is connected automatically and easily, with the widest
is provided with the DDRP function, the possible dynamiC range.
deck enters the recording standby mode,
judges Ihe optimum recording level for the Refer 10 "Technical Noles" page 33 for more
type of tape used, and the cassette deck informallon.
steps starts recording.

K2 Interface

K2

(XL-Zl0l0TNj

The entirely original K2 Interface tech­ Unlike conventional circuits which transmit
nology was developed in conjunction with the digital waveforms using an optical
InTERFACE soil ware members of the JVC group on the isolation technique, or shape the digital
basis 01 our extensive research and waveform after OIA conversion, the K2
musical-oriented policy. It is not simply a Interface incorporated in the XL-Z1010TN,
technique 10 eliminate noise, etc. but to uses an entirely new method to transmit the
transmit the digital codes which carry the digital data, called the "code transmission
music signal as they are. As its name system" In this , only digital "codes" are
suggests, it's an "interface" between transmitted. while ripple and jitter contained
nplay digital Signal processing section and the in the digital signal are ignored. Then, on the
analog signal processing section, located other side of the interface, a new set of
before the DIA converter. The K2 Interface digital codes are "recreated" before entering
steps is an entirely new melhod to transmit the the 01A converter. With this system, ripple
digital data so that only the and jitter which cannot be eliminated after
"encoded" data is supplied to the subsequent 01 A conversion and which could affect
DIA converter, etc. and from there to the resultant analog signal can never be intro­
analog signal processing circuits. duced to the analog signal processing
section . You can hear "the musical truth"
without any effects introduced by the
equipment or cables used
Refer 10 " Technical Notes" page 27 for more
information

21

. - -~---=- - ­ _.- -
" ..".r'--iiD
-,--,~.
 =~=e=a=tu=r=e==re=~=e=r=e=n=c=e====~/ Technology/Function Benefits

8-times/4-times oversampling digital filter

1815: XL -Zl0tOTN, XL-Z431 BK, XL-Z331 BK, XL-V231 BK, XL-M403 BK, 415: Other models)

The output from the 01A converter Since the sampling frequency is multiplied
inevitably contains ultrasonic frequencies by four or eight in models equipped with a
centered around the sampting frequency 4fs (176,4 kHz) or 8fs (352,8 kHz)
(44,1 kHz in COl. spreading from 20 kHz oversampling digital filter, the range of the
below to 20 kHz above this frequency, spurious (or aliasing) frequencies before
Although they are inaudible, the ellectthey digital filtering is raised far above the range
create is heard as noise or distortion of the of audible frequencies, for even greater
reproduced sound. To reduce this, a high­ resolution. Therefore, any undesirable signals
order analog filter is used prior to the O/A are completely eliminated in the digital stage ,
converter in conventional players. With the and remaining spurious signals can be
analog filter, however, it is dillicult to removed by an analog filter with more
eliminate the above noise components moderate characteristics which does not
without degrading the sound; it is more affect audible frequencies, so that extremely
ellective to use a digital Ii Iter to reduce pure audio signals are reproduced,
noise while it is in digitatlorm. For further
improvement, oversampling is employed in
the digital tiller, at a multi pte of the
sampling trequency.

"Full-time" 18-bit combination 4 O/A converters (XL-Zl010TN)

While the sampling rate (44.1 kHz) is Unlike conventional "bit-shift" or "floati ng "
{) ." multiplied by eight by the digital filter, the system, in which 18-bit 01 A conversion is
number of bits is also raised from the performed only when low level signals are
_ ' r
original 16 to 18, and the upper 16 bits and input, our "full- time" system always func­
fower 2 bits are processed separately by tions in the 18-bit mode, for greatly im­
tour "combination" O/A converters, which proved linearity. And since the lower 2 bits
are always in 18-bit operation, for both the among the 18 data bits from the 18-bit
land R channels independenlly. This digital filter are processed separately from
circuit consists of a O/A converler lor the the upper 16 bits for each channel, the
upper 16 bits and another for the lower 2 resolulion of these two bits which corre­
bits, in each channel; Ihese four O/A spond to very low-level signals is greatly
converters use a combination oflSts and improved, Thus the resulting sou nd can be
carefully selecled discrete components lor reproduced with excellent linearity, especially
the highest possible accuracy. when very lOW-level passages are played back ,
Refer to "Technical Notes" page 32 for more
information

Oual1 a-bit noise-shaping 0 1A converter (XL-Z611 BK, XL-G512NBK, XL-M303BKI

This 01 A conversion system is realized by In this system, there's no error on the
the combination of a noise shaper and a amplitude axis of the digital waveform while
PWM O/A converler. Alter 4-times the accuracy of the time axis is maintained
oversampling by the digital filter, the signal by a crystal oscillator. Since DIA conversion
is input to the noise shaper where the is performed by 1-bil operation, there are no
signal is further oversampted. This digital differential linearity errors or zero-crossing
data is input to two PWM D/A converters , distortion. Furthermore, the noise shaper
independently lor the land R channels, before the 01A converter prevents
These two PWM 01A converters change the requantization noise. With this system,
data stream into pulses with dilferent pulse extremely accurate D/A conversion is
widths, which can easily be demodulated possible
into analog signals by the low-pass filter.

High balance servo (new Y servo system) (All models)

~ --­ E=~';';:;-== The most important servo mechanism in Discs with damaged pits, scratches and dirt ,
the new Y servo system is the high balance etc , are played back as if they are almost
~, ~ J . . :A"1I: servo which operates to maintain accurate perlect; no mistracking and dropouts occur
~ ~4 ~ -­
J It--­ - ~'=:'-7:~';'---':'-:: tracking by cancelling the output from
scratches and dirt on the disc; these are
and digital signals are reproduced with the
best characteristics (frequency re sponse,

1:.~~~=-.: , ::-~---- detected by the leading beam of the laser phase response and gain ). Therefore, JVC
v ,__ _ , _ _ _ __

..._­
~ _. ,~ ~

.. pickup by adding the complement of the CD players are capable of playing nearly any

_._-. .-_---_... _­
-_
. -~ ~- -
.
--_ IW~HI ·~ .. ~ I

. . .__
--_ ._....,- ....
.. .
phase output from the following beam_ disc with unerring accuracy and fidelity .
. .._--­_
•... --­-.
'

,,, , ,- - -,-,­
.-

22

'~ - .
•' i, '. 4.'-:"':- I
- - ~.L~.
-­
 ~F~e=a=tu=r==e=r=e=f,=e=r=e=n=c=e====~/Technology/Function Benefits

Independent suspension system {All models}

·IS} In the independent suspension system, the The disc and pickup are protected from
is multiplied entire disc drive and laser pickup lIoat vibrations, and the error rate in the reading
Jipped with a "free " from the base to protect them from of digital signals from the discs is reduced .
kHz) external inlluences, such as vibrations, In this way, the overall sound is improved,
range of the acousUc feedback, e~. because less correction of the digital signals
cles before is required.
,ove the range
,n greater Newly-developed high-precision 3-beam laser pickup (All models)
lesirable signafs
All JVC CD players are equipped with this With its small size and lightweight design,
he digital slage,
new optical pickup, which has been the driving current required by the optical
Is can be
designed to be light and compact while its pickup is greatly reduced; thus , the pickup's
'ith more
sensitivity is much greater than Ihat of tracing abilily is greatly improved while
:h does not
conventional pickups, The pickup actuator servo noise is reduced . And through the use
that extremely
employs a newfy devefoped suspension of an actuator suspension system instead of
uced.
system, in place of the conventional a bearing system , high-order resonance is
bearing system. At the same time, the reduced for improved stability, while the
optical path length of the new pickup is pickup movement is made smoother as well
almost halved when compared to as more accurate. Because the optical path
convenlional pickups. length is reduced, the dynamic accuracy of
the laser beam is greatly improved. By uSing
1010TN} our advanced computer assisted design ,
, or "floating" each component is placed in its optimum
onversion is position so that the effects of optical
:1 signals are interference are minimized . In this way, by
always func­ re-designing all the precision parts of the
}reatly im­ laser pickup, the laser pickup of our CD
! lower 2 bits players has greater precision in operation ,
the 18-bit for improved traceability and sound with
larately from greater purity .
lnnel, the
hich corre­ Digital outputs with optical fiber connector
s is greatly IXL-Zl01 OTN, XL-Z611 BK: coaxial only XL -Z4 31 BK. XL-Z331 BK, XL-M701 BK}
;ound can be Some CD player models feature a coaxial With digital interfacing, since the digital
arity, especially digital outputlerminal in addition to signal picked up from the disc is transmitted
He played back. convenUonal analog outputs, This enables as it is directly to the subsequent component
! 32 for more digital interfacing with an outboard D/A without D/A conversion, there is theoretically
converter unit or an amplilier with a built-in no deterioration or errors introduced until
D/A converter, and thus "pure" signal the signal reaches the subsequent compo·
transmission is made possible, nent (amplifier with built-in D/A converter or
12NBK,X L-M303BK)
For an even better performance, the outboard D/A converter unit). In this way ,
Ir on the Xl-Zl 01 OTN and Xl-Z611 BK come with an the extreme purity of the digital signal is
aveform while extra "optical" digital out connector which maintained .
is maintained permits digital interfacing using an optical Optical transmission has another additional
}IA conversion fiber cable for purer signal transmission, benefit; since the signal is transmitted in Ihe
,n, there are no form of light via an optical fiber cable, there
'ero-crossing is no interference from electrical signals
lise shaper (spurious radiation, in technical terms), and
'ents no electrical interference between the CD
system, player and the amplifier in which 01A
lrsion is conversion is performed.

a-cm (3-inch) disc compatible disc tray (All slcqle-dlsc models)

As you know, there's a newcomer in the CD With their smaller 8-cm (3-inch) diameter,
family - the " CD single" with a diameter of "CD singles" prOVide up to 20 minutes of
tches and dirt, a-cm (3-inch) instead of the 12-cm (5-inch) music compared to the 60 minutes available
are almost diameter of standard CDs. Because of their with regular 12-cm 15-inch) CD discs.
opouts occur smaller diameters, "CD singles" cannot be Because of their shorter playing time, "CD
ced with the loaded direclly in some CD players with a singles" are most suitable for pops, etc ., the
I response, sliding disc tray, But all this year's JVC CD type of music that makes the hit parade,
refore, JVC players feature a new disc tray which can while conventional long-playing CDs are
'ing nearly any accommodate a-cm (3-inch) "CD singles" used for classical music, etc . All new JVC
Id fidelity. as well as normal 12-cm (5-inch) discs players can accept these new CD singtes
without a "CD single adapter", etc , without an adapter, as they are .

23
 =Fe==a=fu=r=e~re=f;=e=r=e=n=c=e====~/ Technology/Function Benefits

Disc stabilizing clamper (All single-disc models, XL - R202BK)

This year's CD players employ a large disc Since the moment 01 inertia of 8 cm (3-inch)
stabilizer instead of the conventional disc CD Singles is different from that of 12 cm
clamper; this is used to stabilize the moment (S-inch) compact discs, drift of the disc
of inertia of the disc motor, while compen­ rotation speed differ for the two types of
sating for the dillerences in the weight of disc . and thus, the servo current required to
12 cm (5-inch) and 8 cm (J-inch) discs. stabilize the CD Singles will be increased;
this may cause slight degradation of the
reproduced sound. But by the use of newly
developed disc stabilizer, the difference of
the moment of inertia between two types of
discs is minimized. With this, the servo
current required to control the disc rotation
is greatly reduced, while the driving torque is
there lore increased. As a result, disc rotation
is greatly stabilized when either a 8 cm
(3-inch) CD Single or 12 cm (S-inch)
Compact Disc is loaded.

Disc program memory IXL -Z611 BKI

- - - _ WWlll WW
:e: : 030 ISIW f.lJwwW[m] In addition to its disc title and tune tille Once you program the favorite tunes on each
BEST R L EUt1 ~~n:~:: memories, the XL-Z611 BK - as a function­ diSC, the same programmed contents can be
oriented model - provides a convenient recalled Immediately, whenever these discs
memory function which stores programmed are loaded . You don't have to re-program
tracks for each disc, by memorizing Ihe every time you load a disc . The player
programmed contents log ether with the automatically judges the disc by comparing
TOC (table of contents) dala which is then its TOC data (which is encoded at the start
stored in the player's exclusive memory. 01 the disc) with the stored data.

Disc/track title memory with alphanumeric display (XL -Z611BK)

Jl f:: C_
'- ) ,T f~1
-1L TIII/Ill
.DUll With the XL-Z611 BK, the user can store the JVC's exclusive disc memory system lets
names of discs and tunes in a memory chip you store any desired title - the name on
installed in Ihe CD player, for all of the discs the album cover or one of your own - lor
in your collection. Aller it's been programmed, any CD in your collection. For example , with
whenever a disc is loaded into the player, a a compact disc which contains tunes sung
10-digit alphanumeric display will show the by one 01 your lavorite singers, you can give
tille of the disc or tune using the name that it any "name" that will help you remember
you specified, with the memory having space what It contains, such as "BEST ALBUM" or
for up to 512 "names". "SARAH V 112" Moreover, you can store the
titles (or any name you choose) for each
tune on the disc in addition to the "disc
title " Once this is done, whenever the discs
are loaded, the title 01 the disc or the tune
currently being played can be seen
immediately without your having to check
the credits on the back of the disc case.

Magazine program memory (XL -M701 BK I

The XL-M701 BK Auto-Changer model With this CD changer, once you 've pro­
permits the user to program up to 32 tracks grammed your favorite tracks among the six
among the 6 discs in a magazine in any discs in a magazine, this sequence can be
order, for each magazine_ And this can be held in memory Therefore, each time that
stored in the memory together with the magazine is loaded, it can be played back in
data identifying the magazine. the same programmed sequence, automati­
cally every time.

24

.~~oln~~"-"
i ~I~'- • •
I.
,,". _­
- - . • - .- I~ - ~ ­
 ~Fi=e=a=tu=r=e===re===fe=r=e=n=c=e====~/ Technology/Function Benefits
()
o
-c

· of 8 cm (3-inch)
that of 12 cm
6~
5
4
o
OTI [ ~] [ 'O~. J
Magazine/disc title memory with indication
tn addition to the convenient " magazine
program memory", the XL-M701BK CD
(XL -M701BKI

With this CD Changer model, you get greater

fle xibility. Because each disc magazine can
r­
»
-<
m
:II
VI
3· - DOle
' -, n · n n
fRAC. >Ie
t of the disc
b "j
2- Changer model allows the user to program hold up to six discs, you can " name" a set
, ­ 'AGIl
two types 01 p ~ --- L/' L/L/ "magazine" tilies of up to ten characters of six discs "SYMPHONIES" or "LIVE JAZZ" ,
rrent required to 7 7 /I I n for six-disc sets, as well as the "disc" for example, and further, the titles of up to
be increased; JR '- '- I 1/ U_ 10 tilies of each 01 the discs contained in a eleven magazines can be stored in memory.
dation of the magazine, This convenientlunction holds Then, whenever you load the disc or
1e use of newly the user-specified tilies of up to 11 magazine, the name you gave it will appear
e difference of magazines, with six discs in each in the 10-digil display. And, while the disc is
)en two types of magazine, in its memory_ And these names playing , you can easily check the " title" of
;, the servo will be recalled and displayed when the the magazine or disc being played back, to
he disc rotation corresponding magazine is loaded _ see at a glance what's playing.
, driving torque IS
suit, disc rotation 3-way (2-way) editing function and 2-way magazine editing
(All models excepl XL-R202BKI
:her a 8 cm
I (S-inch) All our CD players leature a versatile 3- or With this highly convenient feature , the user
2-way editing function. "3-way editing" can easily tape his or her favorile tunes from
includes auto editing, program editing and the compact discs in any desired order. With
multi-disc editing functions while "2-way automatic editing , the player automatically
editing" includes auto editing and program determines which tunes should be recorded
'Ite tunes on each editing _"Auto editing" allows automatic according to the length of the tape , after you
contents can be selection of tunes according to the length have designated the recording time . And
,ver these discs 01 the recording you want to make_ with program editing, you can select the
(a re-program "Program editing" permits the user to next tune after checking that its playing time
The player select the tunes to be played in does not exceed the time lell on the tape , as
c by comparing programmed order. And "multi-disc in programmed playback . Further, with
ted at the start editing" adds lurther convenience to multi-disc editing. the user doesn't have to
data. programmed play, lelling the user change remember exactly which tune is where or
discs within the specified program_ When the playing order . Now, "order-made"
(XL-Z611BKI recording the program onto tape, the player selections are possible.
Ysystem lets will tell you to change the disc to record
- the name on the next programmed tune, whenever
our own - for necessary. With Auto-Changer models,
Jr example, with since " program editing" includes "multi­
ins tunes sung disc editing", the same editing facility is
~rs, you can give available even though the feature is called
you remember "2-way" editing _
EST ALBUM' or
'au can store the
Display ON /OFF Switch IXL-Zl0l0TN XL-Z611BK . XL-Z43IBK I

)se) for each The XL-Z1010TN, XL-Z611BK and XL-Z431BK Why would you wanl to sWitch off the
to the "disc are equipped with a " Display ON/OFF" colorful illuminated display? If you want to
)never the discs switch which, as you will realize from its listen to extremely low level passages or the
sc or the tune name, turns the FL display on and off, "nuances" of music from your discs, any
,e seen digit al noise generated by the FL display
ving to check (even at very low levels) will be too much to
e disc case. ignore . Since the display can be turned ON I
OFF from your listening position using the
remote control, you can enjoy music with all
its subtlety.
I
you've pro­
(S among the six
luence can be
Random access programming IAII modelsl

Random access programming permits pro­ You can enjoy playback of selections in any
~ach time that
gramming up to 32 tracks in any order by desired order by utilizing this quick and
) played back in simply pressing a numeric keypad, for easy-to-use programming function .
ence, automati­ playback in the programmed order.

Random play IXL-Z611 BK and all aulo-changer modelsl

This function lets the CD player play tunes As you never know what tune will be played
selected by the microcomputer in random next, playback of even familiar albums is a
order. new and exciting experience; even when a
compact disc is played over and over again,
listening is more enjoyable as the order of
play is always different. If this function is
used with the repeat function , the playing
order IS changed each time the disc is
repeated, to avoid monotony
25

- . --- - , , . , -' -"';;g

__ ' ,. _.~.t..d....c~l..LJ'~
 =F=e=a=tu===re==r=e=fe=r=e=n=c=e====~/Technology/Function Benefits

Intro scan function (XL·Zl0l0TN , XL - Z431 BKI

By simply touching a bullon, you can listen You can easily find the tune you want to
to the first 15 seconds of every track or ali hear: when you use this function together
programmed tracks on a disc, one after with the random play function and repeat
another. function, your listening pleasure will be
expanded
Repeat function (All modelsl

Five-way repeat is available; ali tracks on a By increasing flexibility 01 playback, this

disc, a single track, programmed tracks, enhances listening pleasure , letting you enjoy
any segment between any two points and CDs the way you want to: you can also
random-play repeat are possible. Different combine this function with the random play
models have different numbers of repeat and intro scan lunctions for even greater
functions. " 4-way" includes all tracks on a musical satisfaction .
disc, a single track, programmed tracks
and A-B segment while "3-way" includes
all tracks on a disc, a single track and
programmed tracks. For more details, refer
to "Feature Comparison Chart" on page 16
-17.

I ~.: 'f'- •
Index skip (XL-Zl010TN, XL-Z611 BK, XL -Z431 BK, XL·Z331 BKI

~
This function is useful to lind the desired When playing back a long tune with many

index poinl and play from there. index points, you can skip to the required
index location quickly: this function oilers a
more precise search capability.
- AUTO se....ACtl ­ Auto search (All models)

This function moves the pickup to the start Listening to the same, the next or previous
of the next, current or previous tune. Every track is easier: this feature lets you search
time the bullon is pressed, the pickup skips tracks in sequence
forward or backward by one tune.

-SE.ARCH- I
Two-speed manual search
You can search for any desired section at
IAII modelsl

This is a convenient function because you

two speeds white monitoring the speeded­ can easily access the approximate position
up sound. of the selection at high-speed, then exactly
the right point with low-speed search .
Motor-driven volume control (XL- Zl 01 OTN. XL-Z61 1BK. XL ·Z431 BK )

The volume control is driven by a motor The user can control the volume level from

and can be controlled [rom the remote his listening position .

control unit.

Program chart (All single-disc modelsl

A new style program chart is provided to This helps you to program or select tunes

WW wWW show at a glance which tracks are being with its easily understandable, logical display.

WW WWUQ] programmed, currently played, or how

[llJ[W [W[i{]ill] many tracks there are on a disc.

!l§]1lz]!l§][W[gQj 6 + 1 CD autochanger (XL-M701 BK , XL-M403BKI

The JVC autochangers employ an original If the lower slot is used, the unit works as a
6+1 system designed to offer multi-disc CD normal CD player and the user can change
convenience and long play capability with CDs in the normal way When the magazine
the ease of loading a single-disc player. is used with the lower slot , you can enjoy
continuous play of up to 7 discs or
programmed play o[ up to 32 selections
from a total of 7 discs.
Two analog outputs (XL-Zl 01 OTN. XL-Z611 BK. XL-Z431 BK)

There are two output modes; fixed and If the user con nects the variable output
variable. terminals, the volume can be controlled with
the remote control unit within the range of
volumes previously set with the amplifier's
volume control: the volume (input level) can
be set to almost the same level as other
sources such as the tuner so that the
volume does not change when switching
from one source to another. If the fixed
26 output is selected, constant level signals are
provided to other components such as a
tape deck, etc.
 Technical Notes

want to

K2

IOU
tion together
1 and repeat
Jre will be InTERFACE

The K2 Interface used in JVC 's top CO a technique for eliminating noise like other audio manufacturers; although they
player, the XL -Z1 01 OTN . incorporates "waveform shaping". but an entirely new c1aim to achieve results that are similar to
yback, this revolutionary technology to transmit the method to "recreate" the original digital those obtained by our "K2 Interface". they
elting you enloy digital signal by a completely new "code waveforms, so that components not are only effective in obtaining clean
u can also transmission system", instead of the related to the music signals cannot enter "voltage waveforms ", With the K2 Interface.
e random play conventional "waveform transmission the analog circuitry and therefore cannot "current waveforms" are also accurate.
!ven greater system" . introduce distortion. It is totally different
This newly developed system is not lust from apparently similar systems used by

• What factors can affect digital sound?

In theory. the Quality of digital sound from the speakers Ripple and jitter are Fig, 1 Non-code components
should never change as long as the code introduced by such factors as fluctuations
information from the source is kept in its in the power supply . and stray capacitance
original digital form. But there are and inductance in the circuits . The ripple
differences, with different sources. and jitter are totally unrelated to the music
Ie with many different equipment. even when different and are therefore "non-code" rather than
the required cables are used to connect components "code" signal com ~ onents . Even though
nction offers a Recognizing this, engineers at JVC 's R&D they do not change the binary digits in the
y. Center . cooperating with Victor Musical signal (the Os and 1s picked up from the
Industries. the software arm of JVC - to compact disc. for example). when they are
re search both the hardware and software added to the signal. they produce an effect
xt or previous aspects of the problem - started to which can be heard by the listener. components are transmitted to the analog
ts you search Investigate the subject 5 years ago. Once these "musically unrelated " section. they can reach the power supply
We found that "ripple" - waveform components have entered the digital signal. line in the form of current and from there
dl tortion - and " jitter" - timing they cannot be removed by an optical can affect the analog signal after 01 A
deviation - in the digital signal greatly transmission system or any other such conversion, even if it has been "shaped " to
ailected the Quality of the sound heard device. Even worse, if non-code obtain a "cleaner" waveform .
because you
mate position Fig. 2 Concept of conventional digital signal transmission
Block diagram of conventional signal transmission
I, then exa ctly system D"" ....... ",~_' u...
~AnoW(WjJ ....... porOC'O; .."'1-e11Of'
j search.

~ J"'L.rL
D"'~,,,

lK) _....
otogl!.I I~IJI'~"""'iI c_.korn>o....

me level Irom
W....lorm

I I
cmto,t~ ", ' t' .~

I~ /~
JI
Jill" or ripple conlalned in
j
~~1~~~~;1H,':~:;1~~-
slgn.1 proce..fng .Icllon
select tunes gr.ltly IHeets the sound
qUllUy
" logical display

• The K2 Interface
mit works as a To overcome this problem. we Fig. 4 Concept of K2 Interface digital signal transmission system
lr can change developed an entirely new method called a Code transmission system using K2 Interface
AMlog signs' proe~ng Hello"

I the magazine code transmission system". which DIgI,.llI'i!nsl Iran.m iulon

)U can enjoy replaces the conventional "waveform JLSL .JL..J""L

o A conver.lo...
transmission ". Our "K2 Interface"
~~ C<>d'lnID,,"~
;cs or
incorporates this revolutionary and totally Digital signal
I selections
~~
C"' ln ..

original new concept. processing

.1..... ndJ~ ~
An interface is the point at which two
section
.,,, I I
v
/

~
CIrCUits are connected. In this case. it is I I I ~ Since only code Information Is
whe re the circuits processing purely digital Iransmitled, there Is no Change
ble output
controlled with sign als "interface" with the circuits
in'lOlved in the Of A conversion of this
In sound quality
J
the range of
he amplifier's signal and the subsequent analog "code" components. related to music, are the digital signal, and a Receiver in the
nputlevel) can prOC essing of the music signals. The "K2 OJ A converted and amplified. " musically related " circuit. immediately
·el as other Ir>ler face" completely eliminates any "non­ The K2 Interface consists of two blocks. before the digital filter and Of A converter
that the cod " signal components. so that only a Transmitter in the circuit which processes
n switching
f the fixed
!vel signals are 27
; such as a
 Technical Notes

• How the K2 Interface operates

The signal from the disc after transmis­ components are completely eliminated . K2 Interface, is used to generate the sync
sion to the processing circuitry, including So that these non-code components and timing signals used by the K2 Interface.
both code and non-code components, cannot influence the circuitry following the The key element of the K2 Interface is
enters the K2 Interface which reads only interface, the two stages of the K2 the "code detection switch", not included
the code information, consisting of a Interface are completely isolated by any other " noise eliminating" systems, a
stream of Os and Is. These Os and Is are "photocouplers" in which electrical signals switching transistor controlling the
used to recreate an entirely new digital are converted into light, transmitted as operation of the photo transistor on the
signal on the other side of the K2 Interface, pulses of light, then converted back to analog side .
which is used for subsequent processing. electrical signals by phototransistors. Without this switch, any signals present
On the digital side, because of the There are two photocouplers in the K2 on the digital side could flow to the analog
timing signals, the K2 Interface reads only Interface, operating in opposite directions. side. In the K2 Interface, signals can only
code data. On the analog side, by One is for the transmission of code data flow when this code detection switch is
processing the signal at a very high speed, signals from the Transmitter to the closed . This code detection switch is
it is able to discriminate between the Os Receiver, the other is for the transmission essential for the operation of the K2
and 1s in the code digital data from the of tim ing signals from the Receiver to the Interface and is the key component of the
disc and the non-code components Transmitter . interface
resulling from ripple and jitter and recreates A crystal oscillator in the Receiver block,
the stream of digital codes; non-code on the analog signal processing side of the
Fig. 6 Operating wave­
forms at each point
Fig. 5 K2 Interface Block Diagram
Original
waveform
~_O_
r -,-0:
Digital signal processing section Analog signal processing section

(Transmitter Block) Photolransistor (Receiver Block)

1-------[ (~~:;:~~w.~t4 -- - -- ~
~
S
(a) Iypo FI,. II:.
a
,1 ,1
~(dlgl'.iI' Slgn.1 recr. ahony "......-­ , '

-I
I , Point ( a)

~;~~:~~:~~,
,
.1.rDlgllalllgnel
..
_ [' ~
~
'I"
, 0 0
I 019, tal Ana log
signal , ,

-.ULU
[ Filler DA Converlel -
Sync conlrol Tranlll'u." on
,' ''
Ci rCUli ,'(~~~~:COUPlerll' Po lnl ( b )

Point ( d) "

Normally

, OFF ' Code

~
It',~~,on """l
Pin CK
20 ru

lflfTlr
I ,",,-'
1 Tran smiSSIOn

i'~~~")"'I
I

* '"
r--o IT . I Cryslill

I Pin a

~
,

L _____ J L __ ____ ____ __ _ J

Pin 11 ~
• Operating concept
The operation of the K2 Interface is Block flows into Receiver Block only when (disc); from the flip-flop it is applied to the
controlled by a Timing Control Signal the code detection switch is turned ON . digital filter, dig ital-to-analog converter and
Generator in the Receiver Block. This An easy to undersland analogy is the subsequent audio circuitry.
provides two timing signals, to the code use of a camera. When photographing a Operations concerning digital audio
detection switch, and through the Path B moving object, you use a faster shutter signals are all done at extremely high speed,
photocoupler, to the Transmitter Block. speed. With a shutter speed of 1/ 1000 or with times measured in "nanoseconds"
Following the timing of the signal 1/2000 sec, you can get clear and sharply abbreviated as nsec. 1 nsec is one-billionth
supplied through the Path B photocoupler, focused images of action . of a second , 0.000000001 sec .
the digital waveform from the disc (in the In a similar way, by reading the digital The time required to read one pit from
case of a CO player) is converted into signal by opening the "gate " for very short a compact disc is about 700 nsec . The
pulses of light in the Transmitter Block , periods, only the code information will be code detection switch, on the other hand,
which are supplied to the Receiver Block transmitted with almost no "non-code" has a switching time of only 20 nsec.
via the Path A photocoupler. components. Because its switching lime is well within
At the receiver end of the Path A In this way, the signal stream exactly the timing of the digital signal from the
photocoupler, the code detection switch is corresponds to the code signals. disc , it is able to discriminate between
usually turned OFF; it is turned ON After the code detection switch , the code and non-code signal components,
momentarily only when the valid bit could signal is applied to a flip-flop in which a thereby eliminating the effects of ripple
be present, to judge whether the code is a ne.w square-wave signal is generated This and jitter
o or 1, then it is turned OFF again. Thus, newly generated signal will be exactly the
28 the digital signal from the Transmitter same as that picked up from the source
 • Comparison between K2 Interface and similar circuit from another
e the sync
:2 Interface,
manufacturer
lterface is In the K2 Interface, the transmission block detection switch, is not used by other Fig , 7 Block diagram of similar circuit
t included (player and digital signal processing manufacturers and this make the systems used by another manufacturer
completely different. o A con.... r'llr unll
(stems, a section) and the receivi ng block (DI A
the converter and analog signal processing In other systems, the digital signals are
. on the seclion) are electrica lly separated , with a transmitted as waveforms, and these
timing control circu it (clock generator ) contain " non -code " components. On the
nals present located in the receiving block . other hand , the K2 Interface transmits only
the analog Although this circuit layout may look digital data - the stream of Os and 1s,
) can only simil ar to that in a number of CD players va lidated by the timing of operation 01 the
;witch is fr om other manufacturers, including the code detection switch - not the digital
tch is " Twin Link " using photocouplers waveform, and recreate s the digital
e K2 electrically isolate the two blocks, the key waveform in the receiving block ,
nent of the component of the K2 Interface, the code

• Another application of the K2 Interface

The K2 Interface , as used in this year's the digital sectio n, Another slightly different version ot the
IIve­
hpoint top CD player, the XL -Z1010TN , requ ires a Therefore , this circuit can be used in K2 Interface is incorporated in the
bi-dlrectional link between the digital any digital source component , not only a AX -Z1010TN , the top-end digital reference
section and the analog section which CD player, so in future it wi ll be used in amplifier which incorporates its own Df A
incorporates the clock generator to control DAT (Digital Audio Tape ) decks and BS converter, to receive dig ital signals directly
the tllning with which data is read out fro m (Broadcast Satell ite ) tuners, etc, from digital source components,

• The K2 Interface and its advantages Data transmission waveforms

With the K2 Interface in a home hi-fi recording studios, etc , we 've already
component system , sound from digital started to develop a " professional version"
II sources has far better resolution, the
ambience is greatly enhanced , and the
of K2 Interface,)
There 's no magic , and you don 't get
sou nd field has greater depth and realism something that wasn 't there orig inally,
than was ever possible before . Even with th e K2 Interface, the signal after
Most Important of all, with the K2 Df A conversion is not an improvement on
I ~t e r face the sound you hear from a the original digital source signal. Its

IT
compact disc is exactly what was
recorded , reproducing exactly the sound
purpose is to tran smit the digital signal
from the program source to the analog
th t the musicians, the producer and section without any degradation and
recording engineer intended , (For use in without modifying it in any way,

• An experiment that proved the effectiveness of the K2 Interface

To prove that our K2 Interface really response of the residual noise included in tion 01 the residual noise, as shown in
worked , we performed an experiment, that the analog Signal. When random noise is Fig 8 (c) That is, the distortion in the
demonstrated that it really does exclude applied externally, in the player without the digital stage is almost completely
"non-code" components, K2 Interface, the noise level is higher and eliminated and it never affects the resultant
lied to the We applied a source generating load noise has different levels at different analog signal.
werter and varia tions (distortion resulting from frequencies as shown in Fig . 8 (b), which The resu lts of.the above experiment
random noise) externally to the digital can modify the characteristics of the show how external noise (distortion) can
I audio slonal processing section , while a 1 kHz sound , This shows that distortion applied in affect the analog output signal which in
high speed, Signal was supplied instead of a music the digital stage affects the analog signal, turn could affect the purity of the music,
conds " Signal, using one player equipped with the and even worse, the musicat contents of and that with the K2 Interface, this external
ne-billionth K2 Interface and one without it, and the original music signal might be modified noise in the digital signal is completely
connected an oscilloscope to the analog depending on how this noise varies, excluded, for a resultant analog signal that
e pit from outputs, for measurement. In the equipment with K2 interface, is exactly the same as the input signal.
!c, The Fig B (a) shows the frequency however, there is no variation or modifica­
her hand, (a) (b) (c)
nsec,
II within - Residual nol . . of enalog alun81
(d8m)
Wthou1 K2 Inl."Ke
( d8m I
l - I-- With K2 In'ertace

)m the '0 90 90
tween
onents,
f ripple
I. 100

110
111'1
~ 10 0

II 0
120 120 12 0 r­ ~
Frequency 10 20 (kHz ) Frequency 10 20 (kHl ) Frequency 20 (kHI )
10
Fig , 8 Frequency spectrum of analog output
29

-- I -OlD

"_ ~ _-__ "_ __ -- __ ,t

," '
 Technical Notes

JVC Advanced D/A Conversion Technology

Digital sound quality differs greatly conversion , whether it is performed in the Another approach is to use a 1-bit 01 A
depending on the equipment or even the digital source component or in an amplifier converter for the elimination of "zero­
cables used, even when playing the same equipped with its own D/A converter. We crossing distortion" and "non-linear
program , from a compact disc, for have two approaches to improve the distortion" which degrade the quality of the
example This is caused by a number of accuracy of 01 A conversion. One , used in resultant analog signals. For this purpose,
factors Including the analog filter after the our ladder-type D/ A converter , is to JVC developed a PEM DO (Pulse Edge
01A converter which can affect the improve the resolution of the D/A Modulation Differential Linearity-E rrorless
resultant analog signal and the leakage of converter, by sampling at a multiple of the DIA) converter.
digital signals into the analog section. basic sampling rate (oversampling), and to Before starting to explain the "full-lime
But the main CIrcuit in any digital audiO increase the number of bits for more 18-bit combination quadruple D/A
component is the D/ A converter which accurate linearity. By using these two converter" and " PEM DO converter", it
converts the digital source Signal into techniques, the reproduction of digital would be better to consider the basics of
analog signals which are then amplified to source signals can be done more analog-to-digital (AID) and digital-to-analog
drive the speakers . accurately, even with very low level (D/A) conversion - the heart of digital
The most effective way to improve the sin gals. For this purpose , JVC uses a " full­ audio technology.
quality of sound obtained from digital time 18-bit combination quadruple D/A
sources is to improve the accuracy of 01A converter " .

• How are digital Signals changed in DIA conversion?

Basic AID conversion
When an analog signal is converted into
a digital signal, it IS "sampled" at a certain
frequency (the sampling frequency) which Ollnt,ntiflll lY u 't \

produces a series of samples with different

heights, then these heights are converted
into digital values through " Quantization"
These digital values are binary - a series
of Os and 1s - and it is these that are
recorded on the compact disc, etc.
As you can see from Fig 1, the
samples are like steps, the corners of
which are outside the waveform of the (1) (2)
(3) (4)
original analog signal, and these corners
Fig. 1 AID conversion principle

result in "Quantization " noise.

DIA conversion and low-pass filter

This digital data cannot be heard as it Quantization noise (which should be (a) O/A eon.....rt., output .aveform

L\

is, and must be re-converted into an eliminated if the original music signal is to
analog music signal which can be heard be reproduced accurately) are related to
from speakers or headphones. This is done timing signal (c) at the sampling frequency.
by D/A conversion which reverses the AID To reduce quantization noise , the first
conversion process described above. generation of CD players used an electrical ('Pprox. 0.000023 sec)

"".''1''\

When a digital signal is recorded on a filter called a "low-pass filter " to eliminate t
compact disc , it's lust a series of Os and unnecessary signals which have freQuen­
1s. When this data is conyerted to recreate cles distributed on both sides of the
an analog signal, it produces a stepped sampling frequency (44 .1 kHz, in this case) .
waveform as shown in Fig. 2, which, As shown ir. Fig 3, since the
theoretically, is exaclly the same as the sampling noise is within the range of +
(C) Signal with umpllng frequency componen's
waveform shown in Fig 1. frequencies from 20 kHz below to 20 kHz
This "stepped" waveform is made up above the sampling frequency of 44 .1 kHz,
Fig. 2 Digital "stepped" waveform
from the smooth music signal (originat a low-pass filter is required to eliminate
signal) together with the "corners" related noise below 241 kHz. Because this is close
to the sampling frequency, re-Quantization to the upper limit of human hearing, the
noise, corresponding to the Quantization filter must have steep roll-all characteristics
noise mentioned earlier . and therefore could easily affect audible
In the compact disc format , the frequencies. Early CD players used multi­ Audible r.nge Sampling nOlu
sampling frequency is 44.1 kHz, that is stage (high-order) analog filters , and this rl r - - -dl.,rlbUlion speclrum
each second of the music signal (b) is was a major factor in degrading the quality ~::~:~gn.1 ~
20«:1
mmm
88.2 176.4 352.8
diVided into 44,100 slices (waveform (a)). of the resultant music signal in many Altenuatlon charlel.rlilies ~ulr~ 10 cui nol ..
The "corners" which represent instances. Fig . 3 Sampling noise distribution

30
 n
c
"tl
r­
l>
-<
m
What is "oversampling"? jJ
(J)
One technique use to overcome thiS That is, when the sampling rate is Fig. 5 Oversampllng concept
a1-bitOfA
problem is by "oversampling"; in quadrupled to 176.4 kHz, the three slots
f "zero­ between the original data slices are filled
oversampling, the sampling frequency is Signal sampled wIth _ Possible values are
linear by interpolation, and when it is multiplied 44.1 kHz / ~~ genera led by
raised so that the noise is shifted above 'Interpolation"
quality of the (CD player)
the range 01 audible frequencies, where its by 8 to 358.8 kHz, seven slots are filled ; in 0/
is purpose, / 1
Inlluence cannot be heard . both cases the lower limit of sampling I
,e Edge
For example, when the sampling noise is raised far above the range of / 1

y-Errorless /
frequency is doubled to 88 .2 kHz, the audible frequencies.
Ie "full-time
lower limit of the sampling noise will be
Fig.4 2-tlmes oversampling
L-..::j "88,200 s.c.

)fA 68.2 kHz. so a low-pass filter with mild

l J44, 100 sec .
roll-off characteristics can be used after
erter" , it .,~~
the Of A converter. ,II
! basics of 1188,200 sec I I :
This posses a new question. How can a 1 1
tal-to-analog 1 1
digital signal recorded with a sampling fre­ 1 I
of digital /
1 ,
quency of 44.1 kHz be sampled at 88.2 kHz? /
I 1
, 1
Digital signal processing including
digital filtering consists of a series of
computations, and these arithmetic
operations make "oversampling " and other Audible fange
(required Irequency range ) Sampling noise dl8lrlbullon Fig, 6 4-times oversampling
torms of digital processing possible .
Actually, in oversampling, there are 88 .2 kHz 176.4 kHz Audible range
Sampling noise
blan s between the slices of data sampled
at 44. 1 kHz, and these blanks are filled in en r.
02
176.4 kHl

~y til e digital filter using an arithmetic

process called "interpolation". Required characlenstics 0' low· pass tiller
~_I""I · IM'
CD u. . . . . .".
'"'_0. 0< 11 What is a higher bit rate?
'J 111,"1 . " "
As described above , "oversampling" By raising the sampling rate and has been greally reduced, and thus the
re fers to increasing the number of vertical increasing the number of bits, as shown in waveform after Of A conversion is much
~ . slrces" in a fixed interval ; "increasing the Fig 7, this quantization noise closer to the anginal analog waveform .
r--1..tLri htl rate" increases the number of horizontal
slices" of the step-shaped waveform . Fig . 7 Comparison ot signal waveforms alter O/A con
, ver:rsi_o"n:-::=
__ ,,,:;-:•.=, =m",
s :=:-::;,;:;,
- , On. bl1 signal

After 16-bit Of A conversion , the signal 1 among 16 blis

4)
can have any of 16 heights, with one-bit 44.1 kHz 16·bll 91\:1n31
differences So, when the number of bits is
One bit signal i ,,"'- A .Ii /\/1 " ~ ..
Iflcreased, the difference In the heights of among t6blis T - ~" vVl" 'G 'J
steps will be smaller, and thus the Signal
dller Of A conversion will be smoother and ,- --,,-...["'""1=:0::;;;;;;;;;;;;---, lOne bll signal
I among 16 bill
closer to the original analog Signal.
The differences blltween the original 41s 16·bil slgn81
an al og waveform and the "step-shaped" ..l~AA, .... 4... A_

One bit signal "V.,.,.". ..

dlgllal signal waveform result in "quantiza­ among 16 blls T
Iron noise " or "quantization distortion".

One bit signal.L t t 4:

5
18·bll sl~nal1
among 18 bits, • • ...

\
omponentl

IlMJl
avefonn

ng noiu
ulion .~Irum

Dill.
" .4 352 .•
r9CI to cui not ..
trlbutlon

31

- -·1
I

- - -'~-~
- -
---
 Technical Notes

• FUll-time l8-bit combination 4 DIA converter

Digital signals are intrinsically "angular "; parts and by processing these two parts In music signal waveforms, small
to convert them into smooth, natural separately. it is possible to reproduce the differences are due to variations of pitch
analog waveforms, it is necessary to music with far greater accuracy. and represents the unique "voices" of
improve the resolution of the digital-to­ We therefore use two independent Df A individual instruments or singers
analog converter . To achieve this, the converters for each channel, one handling When these waveforms are encoded
XL -Z 101 OTN processes the signal using the bottom 2 bits and the other handling into digital signals then later decoded to
18-bit words rather than the 16 bits used the other 16 bits. The electronic compo­ recreate analog waveforms, the minute
when the signal was initially quantized nents processing the bottom 2 bits which variations in level may be omitted due to
The minute variations in signal level require extreme accuracy are added the "stepped" shape of the digital signals.
which are necessary to reproduce the externally to the existing 16-bit Df A The smaller the width of each "step" and
subtleties of digital sound are all at the converter (as discrete components, not the greater the accuracy with which the
limits of the basic waveform ; when the within a single chip); this greatly improves height of each step can be judged, ~he
waveform is digitized, as they represent the resolution of Df A conversion and better the quality of the resultant analog
small variations in the waveform , they are therefore the fidelity of the sound. music signal. For this, Of A conversion with
in the bottom bits of the "words" recorded Why extremely low level signals are so higher resolution is required .
on the disc. By dividing the words into two important?

Quadruple Full-Time Linear 18-Blt Combination DAC

8-tHnes LeI!
Over ~ Output
Input sampling
Digital Righi
F,lter 1 bit
Oulpul

B-times oversampling (1B-bit)

Some other manufacturers use " bit­ shifted up by 2 bits (and the gain reduced
shift" or "floating" 18-bit Df A converters, by a factor of 4) ·to improve resolution.
in which a 16-bit Of A converter is used to On the other hand, JVC's 18-bit Of A
simulate 18-bit conversion . The 16-bit converter has a full 18-bit capacity, and
digital source signal passes through a always operates as an 18-bit DfA converter,
digital filter. the output of which is shifted to obtain greater accuracy in Of A
to correspond to the signal level; when the conversion. This is why we call it "fulI­
level of the music signal is low and there time" 18-bit operation .
are unused bits at the top of the word, it is

• New PEM DD converter - another DIA conversion technology from

JVC
Even though D A conversion has been original PEM DO converter was developed converter consists of a fourth-order nOise
greatly improved as mentioned above , using a completely different approach , to shaper and two high-resolution PEM DACs,
there are inevitable problems which are improve DfA conversion . As this DfA requantization noise is reduced to an
Inherent in ladder type DIA converter s converter uses 1-bit operation, there is insignificant level while resolution is more
which use a number of constant current only one Signal amplitude and it does not than twice that of a conventional 1-bit DA
sources. such as zero-cro ssing distortion rely on the accurate alignment of the converter . For more details, refer to "New
and non-linearity distortion at low levels. weighted values of a ladder of resistance Hi-Fi Technology 1990" at the end of this
etc To overcome these problem s. JVC's elements. In addition , as this PEM DD book.

32

_.~ I. -. .
- .. -
,~...--,,- ~- _. r~l
. " '.:
- - -"
~.
t_~
L
' .. -,
.-
.. ";41."-""
r :.f.
. I

t,
'

~_ •
 New DDRP (Dynamics Detection Recording Processor)

small
s of pitch Function
:es" of Th e DDRP function makes use of the cassette deck, automatically optimiZing provided in a new CD player, the
s. COMPU LINK Control System to permit recording for the widest possible dynamic XL-Z431BK, and all new cassette decks
encoded synchronized operation of a CD player and range. This year, the DDRP function is (except the TO-Wi 03BK).
coded to
: minute Operation of the DDRP function
ed due to When the DDRP button of the CD +6 dB for the latter) Then, on a cue from Together With the versatile editing
tal signals. playe r is pressed, DDRP performs "peak the CD player, the cassette deck switches system 01 the CD player, DDRP is the ideal
step" and search" by scanning the compact disc at to the record mode, and the signal is way to make high-quality recordings
Ihich the high speed, detecting peak music signals transferred from the CD player to the automatically. more easily than with
ed, ~he to de te rmine the optimum recording level cassette deck manual level adjustment.
1t analog 101 the particular disc, with the volume , - - -- - - - - - - - - - - - - - - - - - - - - - - - ----,
lersion with DDRP Block Diagram
COlltrol Ilrst set to MAX then moved down
progre ssively as higher peaks are detected. , - - - - - - - - - CHune Deck
The ca sette deck provided with the DDRP . FIXED OUT

ILlnc lion IS automatically set to the record

pJuse mode and SWitches the CIrcuit so
1I1.!1 ~H) n als bypass the Input level control Aecordlf'l9
CirculI
~I Cilit lor recording With reduced noise
lillll,' thp. Input level IS fixed according to
Itlt I'IPI~ of tape (a sensor circuit
aulOl1lJlIcally discriminates between COMPULlNK

Nil 1T11i Cr02 and Metal tapes and sets the

IlpL, level to +3 dB for Ihe former and

Newly-Introduced Carousel Type CD Auto Changer

Th is year, lor the first time JVC has a The major operation features of this CD
CJfousel type CD auto changer. The auto changer are continuous play, random
XL-R 202BK carousel type CD auto changer play without repeating the same track,
can hold up to live diSCS at a time, on a random access programming of up to
lurnt able with a transparent plastic cover. 32 tracks, 2-way repeat, compatibility with
a-bit)
In this system, dual 16-bit DACs, a 4-times 3-inch CD singles, auto/manual search, etc.
o'l€r <;ampling digital liller, JVC's high­
precision 3-beam laser pickup, a disc
stabilizing clam per, JVC's Independent
Suspension System and our new Y Servo
System are used for quality digital sound
and superior tracking ability This CD auto
cn3nger has the following advantages over
magazine-type CD auto changers
1i As all five CDs can be seen through the
du~ t cover, all titles as well as which
diSC is being played can be checked.
2) Loading discs can be done easily and
rom QUickly as they're placed in recesses in
tile turntable. Even when one CD is
being played, the others can be replaced
I-order noise a, re quired
,n PEM DACs, 3) As customers can see a display showing
:d to an Ih~ random play operations - when
tion is more another CD is selected and moves into
Inal i-bit DA pOSi ti on, the circle in the display moves
efer to "New to numbers corresponding to discs that
l end of this hdve been loaded in sequence and stops
at the number of the next disc to be
pi yed, for example - it can be used
fOr an effective in-store demonstration.
YOII can also point out that the turntable
rotat es in both clockwise and
ClJlllllerclockwise directions, for the
fastes t access to the required disc.
33
 Technical Notes -

Extremely Flexible CD Editing Facilities

With the wide use of 8-cm (3-inch) CD and convenient selection of tunes on Another important feature of the editing
singles and the in creased availability of co mpact disc s, to be recorded onto facility is the " Side A/ B" editing button ,
compact diSCS, all our CD players (except cassette tapes. For the same convenience, which allows the user to specify the side of
the XL -R202BK ) are provided with a with our auto-changer models, the user the tape on which each tune should be
flexible CD editing facility. Most single-tray can program any required tracks among recorded . The result - lar greater editing
pl ayers have 3-way edlling, enabling easy the 6 discs contained in each magazine . flexibility.

Auto edit mode

When the recording time and the auto remaining time, their tune numbers will be remaining tunes exceeds the maximum
edit mode are set, the tunes are displayed and one 01 these can be recording time of side B, tune numbers are
automatically recorded in the same order specified to be recorded on side A. After displayed in the same way, and the user
as on the CD for side A. When side A of this , the remaining tunes will be recorded can select which is to be recorded.
the tape IS nearly full , il any 01 the on side B, until the tape reaches its end.
subsequent tunes on the CD will fit into the But , if the total playing time of the

• Example of auto editing recording

- Side A = 1, 2, 3 ... 6 Side B = 7, 8, ... 12

Program (manual) edit mode

With this manual editing function , the CD player , the user can assign the tunes remaining time will be counted down by
user can specify his/her own favorite as desired , together with the side of the the playing time of the tune so you can see
tunes, so that their total tength matches tape to be used for recording. After at a glance when there 's too little recording
the recording time of the tape used . Using inputting the recording time of the tape to time left.
the programmed playback function of the be used , each time you specify a tune, Ihe

• Example of program editing recording

- Side A =
1, 9, 5, 6 ... Side B = 10, 2, 4, ... .

Multi-disc editing mode

With this multi-disc editing mode , the tunes, even if they are on different discs, in one time, the user can assign the tunes to
user can program tunes from a number of a single programming sequence . With our be transferred to tape without having to
discs to be transferred to a single tape . auto-changer models , operation is more replace discs during the recording process.
The user can assign his or her favorite convenient. Since six discs are loaded at

• Example of multi-disc editing recording

- Side A = A-2, A-t , B-1, 8-5, .....
Side B = 8-2, C-l , C-3, C-g, ....
 •

Demonstration

n
o
.­l>
"[J

-<
m
3-way editing facility together with DDRP function
::c
(f)

! of the editing As the 3-way editing function IS one of function. For the most effective REC-PAUSE mode' and 'press (PLAY/
ing button, our most powerful features, you should demonstrations, you should use the PAUSE) of the CD player to start recording'
:ify the side of emphaSize how very convenient it is to XL-Z431BK CD player with the DDRP - steps 4) and 5) in auto edit recording,
should be poteil tlal customers who may want to tape function together with a cassette deck steps 10) and II) in program edit recording,
reater editing th plr compact discs to create customized which also has the DDRP function, If you and steps 8) and 9) in multi edit recording
tap es. The descriptions betow are how to do this, you can effectively demonstrate This is how the DDRP function makes
demonstrate the procedures when the CD both the CD Editing features and the DDRP recording easier. We recommend you
player and cassette deck are COMPU LINK function. In this case, you can omit two practice the procedure before performing
maximum components, but do not have the DDRP procedures; 'set the cassette deck to the an actual demonstration,
e numbers are
nd the user • Auto edit recording
orded. I) Load a diSC and press (STOP/CLEAR). If required, input the recording time With this, when the last tune programmed
STOP'CLEAR
according to the tape length with the to be recorded on side A of the tape
numeric keys, before pressing (SIDE A/B), finishes, the deck and the CD player stop
I I 4) Set the JVC COMPU LINK cassette deck automatically, while the tunes programmed
21 Press (EDITING) once.
to the REC-PAUSE mode.
to be recorded on side B remain in
EDITING REC PAUSE
memory To continue recording, turn over
I I LQ:::J .. the tape and press (PLAY/PAUSE) again
31 Press (SIDE AiB).
5) Press (PLAY/PAUSE) on the CD player
SI DE AS
to start recording.
I I PLAY/PAUSE

• Program edit recording

I! Load d disc and press (STOP/CLEAR). 5) While the track number is blinking 10) Set the cassette deck to the REC­
STOP CLEAR press the (PRGM) button, Pause mode.
ed down by
so you can see I I PRGM REC
o
PAUSE
..
little recording 21 PrM the (EDITING) button twice.
EDITING 6) Repeat steps 4 and 5 to program any 11) Press (PLAY/PAUSE) of the CD player
other tunes to be recorded, to start recording,
I I
7) When only a few minutes are left for
31Press (SIDE A,B) PLAY/PAUSE
recording on Side A, the numbers of
SIDE A B
tunes which would fit into the remaining I I
I I time 1'1111 blink, so that you can select With this, when the last tune programmed
II c4l.1 red, input the recording time the tune to be recorded. to be recorded on side A of the tape
accordin g to the tape length with the 8) After programming is complete, press finishes, the deck and the CD player stop
numer ic keys before pressing (SIDE A/B) (SIDE A/B). automatically, while the tunes programmed
41 DeSignate the tune with the numeric to be recorded on side B remain in
SIDE AlB
keys, memory, To continue recording, turn over
2
I I the tape and press (PLAY /PAUSE) again
9) Repeat steps 4 - 6 for the other side
of the tape
• Multi edit recording
In the tunes to Th is is an exclusive JVC feature, so, if 4) DeSignate the tune with the numeric 8) After programming tunes is complete,
ut having to 'Iou (Ioo 't have much time, this should be keys, set the cassette deck to the REC-PAUSE
ording process. demonstrated rather than the other editing 2 mode.
laCllltles REC PAUSE
11Load a disc and press (STOP/CLEAR).
STOP/CLEAR
5) While the track number is blinking, o ..
press the (PRGM) button, 9) Press the (PLAY/PAUSE) to start
I I PRGM recording,
21Press (E DITING) three times. PLAY/PAUSE
EDITING 6) Repeat steps 4 and 5 to program any I I
I other tunes required to be recorded. When all the required tunes have been
3) Pless (SIDE AB) 7) When only a few minutes are left on recorded from the first disc, the deck and
SID E AlB side A, the numbers of tunes which the CD player stop automatically Replace
would fit in the remaining time will blink, the disc to continue recording. Even when
I I so that you can select the tune to be the OPEN/CLOSE is pressed to replace the
II required, input the recording time recorded. disc, the remaining time is still held in
according to the tape length with the
memory and you can continue recording
nlimerlC keys before pressing (SIDE A/B)
continuously, replacing discs one after
another, as long as there is room on the tape.
35
 CASSETTE D CKS
Feature ~Iighlights of '90 Cassette Decks
1-:­

1 Discrete three-head cassette decks

with "fine amorphous" heads and
closed-loop dual-capstan drives
(TO- V1 01 oTN)

- ....L .~ ..." _

~ DDRP (Dynamics Detection

~ Recording Processor); easy recording
from CD players to cassette decks
with a wider dynamiC range

..... .ii. :..III..

3 Dolby HX-PRO is provided in all

models (except for TO-W203BK and TO-W103BK)
to improve high-frequency
characteristics

.......

- jj

36

- - -. I ~ - -- --=--- : I . t ~T • &, "" ~ • ..-. ,'-: - - ,. ~ • I

- :'i'~ .- '. ,''. • '~ l: :":...-.. -l.;.'.1L::. ::---.,:' •
: I~~_~~.
 o
l­
en
en
9
"Fine amorphous" heads with m
om

:ks
extended high-frequency o
;><
en
response; closed-loop dual­
I capstan mechanism for
optimum tape tension at all
times
The recording and playback heads are bolh made from
amorphous ferni e. These heads combine an Improved magnetic
performance and exce ll ent anti-abrasion characteristic s with an
ex tend ed high- frequency response . Th e closed-loop dual­
capstan mechanism uses a highly stable dire ct-d rive motor for
op'lm um head-Io-tape contac t and reduced wow and ftu" er.

~- One-touch recording system

----- sets the optimum recording

1:--'""""':"'-­ level
ThiS years new casse tt e decks (excepl for the TD -W1 03BK) are
all provided wllh the DDRP functi on and the TD-R4 3 1 BK and
TD-X331 BK are provided with a DDRP switch When th e DDRP
switch on the CD player (XL-Z43 1BK) is pres sed, "peak search'
IS pe rformed, scanning the disc and determining the optimum
recording level ANer th e " peak sea rch " has been completed, th e
cassetle deck sets the input level according to the type of tape
and enters the recording standby mode. Th en, with a cue from
the CD player, the cassett e deck enters the recording mode to
record with the widest possible dynamic rang e In this way, the
complica ted operations required to set the recording level
manually are eliminated

Dolby HX-PRO headroom

extension circuit expands the
effective dynamic range of tape
38K)

Dolby HX Pro developed by Dolby Laboratories controls the bias

curr ent so that the eHective bias IS constan t, even when there
are fluctuations in the high-frequency co mponents of th e inpu t
Signal. Thi S greatly Improves the high-frequency saturati on level
whil e redUCing low- frequency sign al level varia tions and
clistortion . In combinat ion wi th Dolby B C nOise redu ction
syslem. It makes possible recording with a dynamic range
eqUivalent to that 01 a digital source program.

37
 /~0Y:0~
-, Feature Come.arison Chart
Cassette Decks ~ ~ ~
(Single-Transport Models) ~....<:> ~'\ ~., #~ ~
+'"!>
....~. ....~. ....~. ....~. ....~.

Mechanism
3-Head Configuration ,/ ,/ ,/
Fine-Amorphous Head .;
Full-Logic Control ,/ (Silent) ,/ (S.lenl) ,/ (S.lent) ,/ ,/
Closed-Loop Dual Capstan ,/ ,/ ,/
o"eci onven MOlor .; .;
Hi-Fi U- Turn Aulo -R evers~ .;
CaSS glle Shell Stablltzer .; .;
Circuit
--
Dolby HX Pro .£ ,/ ,/ ,/
"'­
Dolby SIC NOIse R M uC-"o~ BIC x 2 BIC x 2 SIC x 2 BIC SIC
Bias Ad lusl ,/ ,/ ,/ ,/ ,/
Level Calibrallon .;
,/ ,/
CD Direct Inputs
oirecl Inputs .; -'".;
Une Inputs ,/ ,/ ,/ ,/ ,/
3-Slock Construclion (Separaled) .;
DlsJ>lay
Display Panel FL FL FL FL LED
Digital Peak Di splay .; .;
o lg ll al Counter ,/ ,/ ,/ ,/
Ope ration Moae Indica lor ,/ .; ,/ ,/ ,/
Display ON/OFF .;
Function
DDRP .; .; (Switch) .; (S witch )
Aula Monilor ,/ ,/ ,/
MOMor SWitch ,/ ,/ ,/
Peak Call Switch ,/ ,/
MPX Filter Switch ,/ ,/ .;
Auto Tape Selec lor .; .; .; .; .;
Timer Start (Rec/Play)
Aut o Rec Mute
,/
,/
,/
,/
"'­,/ ,/ ,/
Mus'c Scan .; .; .;
, In put Balance .; .; .; .; .;
Dir9Clion Switch .;
Remote Control (provided) ,/
Others
Gold -Plated Terminals (In/Out) I ,/ ,/ ,/ I
Head phone Output I wi th Volume I .; .; I
I Fixed I I ,/ I .; I .;
I COMPU liNK Component ;; ;; ;; ;; ;;

38

I· •
I. __ ~! ..... ....:.:.-1-..- _I·.:!II.-~--..r..-. ... _ ~. ,"_ . .
7
FeatureCompariSOnCh0~~~~~~
Cassette Decks
'b*'- g,*'- g,*'- g,*'- g,*'- g,*'­
~ ~ ~ ~ ~ ~
(Double-Transport Models) ~~Oj ~~'13 ~'" ~"j ~'); ~....r;:,
~ ~ ~ ~ ~ ~

. Mech an1sm
Hi-FI U-Turn Auto-Reverse Iv' (NB) (Q uick) ./ (AlB) ./ (AlB) ./ (B )
. - n
AlB B l>
Reco'dlPlayback I AlB B B B en
Fu ll-Loa lc Control I ./ ./ .r .r I ./ en
DIsplay
Display Panel FL LED LED LED LED LED
~
C
OIYllal Counter (Twin ) .r m
n
AlB
(lreraliw Mode Indicator
D'fOctlon Indicator AlB
AlB
AlB
AlB
AlB
B
B
B
'"
en
Circuit
Dolby HX Pro ./ ./ .r ./
Colby Noise Reduction BIC BIC BIC BIC BIC B
"'otc" Cont rol .r
InDu t Balance ./ ./ .r
M._ I~Plit5 IUR) .r
TilT'''' St,] 11 IRee/Pla y) .r ./
~-I!~none Output (Fixed) .r .r .r .r .r
~nC110"
OORP ./ ./ ./ ./
I, S(' _ ' J 0 bbHl9 .r .r .r .r .r .r
" 1C··ln !)ubblnq ./ ./ .r ./ ./ ./
I (''''''':,[ ~uS Play ./ ./ .r .r ./ ./
Ml /Si.~:'( I" lMulil(AlB) ./
I Single (Deck AlB) ./ .r
~.R"':: Mute ./ ./ .r .r .r
Au'" R? .\lUte .r ./ .r .r .r
A.,t.:, Tar~ Se:eetor (Deek AlB) .r .r .r .r .r .r (Deck A)
RI"'l' :>Ie )111rol (Provided) .r
IIOIIE! ,1'," Door I ;7 I I I I I I
1COI.IPI J , INK Com(1onent I 7 I ;7 I ;7 I 7 I 7 I I

39
~,
Lineup of '90 Cassette Oecks _ __ __ _ _ _ _ __ _ __ __ _ _ _ _ __
I Single-Transport Models
Discrete 3-head cassette deck with "Fine" amorphous heads and remote control
Titanium-finished

• Discrete 3-head configuration with "Fine

Amorphous" heads
• 2 "Direct" inputs
• "Silent mechanism" head drive assembly
• Low resonance design
• Closed-loop dual-capstan drive with direct-drive
motors
TD- V1 01OTN COMPULINK
• PCOCC*coil/lead wiring and OFCtt-plated circuit
Discrete 3-Head Cassette Deck ~ .~ ­
boards
* PCOCC Per1ect CrvSlil l by Ohno ConhnllOus CaSlIng
,',O FC Oxyge ·Free Copper

Discrete 3-head cassette deck with two direct inputs

... -- • Discrete 3-head configuration

- .~ -

i:
JIIIQ - ­

-~- ~: ~ J.~._ ;--;~! I ' \ • Closed-loop dual-capstan drive with direct-drive

motors

0 .- _~,~__ - - - . ~ . - " e_ • 2 "Direct" inputs

• "Silent mechanism" head drive assembly

• PCOCC* coil/lead wiring and OFC * -plated circuit
TD-V711BK ~ C~ boards
Discrete 3-Head Cassette Deck

~ High cost/performance 3-head deck with closed-loop dual-capstan drive and DDRP

--
.:Itt. - - _. -
-
-- ~ --­
• 3-head configuration
iii ""wIV" • - .,.....;..:.:.. -: ( I • NewDDRP
... i'_
-
___ _
_
_ 0_ _

'00-_
• Dolby HX-Pro
- -=-:~:- ~ -;--:-_- 0 i _,_ • Closed-loop dual-capstan drive
.- . • "Silent mechanism" head drive assembly
• "Direct" input
rD-V531 BK DIGIFlnE C~~K
Combination 3·Head Cassette Deck

@ )Hi-Fi U- Turn quick auto-reverse deck with DDRP and Dolby HX-Pro
... --_.-
I
- ---=~--- .;::;;.- • Hi-Fi U-Turn quick auto-reverse with Flip Reverse
~, .~
-- I
Heads
--- 'M~'" -----
'""":"""" .., .,rToio_­
• New DDRP

~~~ ~- . - • Dolby HX-Pro

• Bias adjustment
COMfJI..JL!NK
ID-R431BK • Dolby B/C noise reduction
HI-FI U-Turn Quick Auto-Reverse Cassette Deck
~ control @J Full-logic control cassette deck with DDRP and Dolby HX-Pro
n
Ie - .1ft: ---- -- - -- • Computer-controlled full-logic control J>
Vl
Vl
-~ ~~ I5l _ _ _ _ I • NewDDRP 3m
• Dolby HX-Pro
~_~ci~:=iiL~ _~
c
Ily • Dolby B/C noise reduction ~
• Bias adjustment '"
Vl

'ect-drive COMPUUNY.
ID-X331BK con-­
Full-Logic Control Cassette Deck
ed circuit
IDouble-Transport Models I
Dual record/play Hi-Fi U- Turn quick auto-reverse double cassette deck with

remote control

• Twin Hi-Fi U-Turn quick auto-reverse with Flip

'ect-drive Reverse Heads
• Dual record/playback tape transports
• Twin Dolby HX-Pro
Ily • Computer-controlled full-logic control
ted circuit • Sequential or simultaneous two-tape recording
-W901BK DIGIFlnE C~y'

Hi-FI U-Tum Quick Auto-Reverse Double-Mechanism Cassette Deck

andDDRP
4~/ Dual record/play Hi-Fi U- Turn auto-reverse double cassette deck with DDRP and HX-Pro

• Twin Hi-Fi U-Turn auto-reverse with Flip Reverse

Heads
• NewDDRP
• Dual record/playback transports
• Dolby HX-Pro
• Sequential or simultaneous two-tape recording
D-WB03BK DIGlFlnE ,~w.
Hi-Fi U-Tum Auto-Reverse Double-Mechanism Cassette Deck

~. Dual Hi-Fi U- Turn auto-reverse double cassette deck with pitch control, microphone
ip Reverse ~ inputs and DDRP

• Twin Hi-Fi U-Turn auto-reverse with Flip Reverse

~-~ -~~~ -~-~~.; ~~
~!Z ____
-~r_ Heads

• NewDDRP

~ !!. ~ -:
.!. ":"' ~ ~~~ _ll _--:...
• Record/playback and play-only tape transports
o ~--:--:~-- -~ ~~_iI ~ - - -= - . ~~ • Dolby HX-Pro
• Computer-controlled full-logic control
-W503BK COMPIJUNK
c~

HI -Fi U-Tum Auto-Reverse Double-Mechanism Cassette Deck

.
41

;- 1
-'
l
I ••
- ---....­
 ~/ull-Iogic control double cassette deck with Hi-Fi U- Turn auto-reverse mechanism
~andDDRP

----.----- ~--- - --- -- -~ --=- • Hi-Fi U-Turn auto-reverse with Flip Reverse Heads
- =- -'tI~ ----- ~~ -~.- • NewDDRP
~ ~~~ ~::.-~
4. ,_-.-:;;'::;- ~ " ' -.:
•
•
Record/playback and play-only tape transports
Dolby HX-Pro
'0 --=:-..:: :-- -:~P;;;;;;~;~.i -- . ~
• Computer-controlled full-logic control
-W303BK COMP'J !:N.I(

Full-Logic Control Double-Mechanism Cassette Deck with Hi-Fi U-Turn Auto-Reverse

@ Full-logic control double cassette deck with DDRP

... -- - - - - --- -- • Computer-controlled full-logic control

-~ ~~ ------: ~~ :',~ ' •
•
Record/playback and play-only tape transports
NewDDRP
A ", ou~~~ ..!. w .:... -:!!"...!-.:_"!"'"
(5 . " - _.. . ~:::; -:- -_ - -. ....-=
• Dolby B/C noise reduction
• Continuous play of two tapes
C~.,1P'J !INK
TD-W203B c""""'"""
Full-Logic Control Double-Mechanism Cassette Deck

@ Basic double cassette deck with Dolby B noise reduction

• Record/playback and play-only tape transports

• Dolby B noise reduction
• High-speed editing with synchro start
• Continuous play of two tapes
• Auto tape selector (Deck A)
TD-W103BK
Double-Mechanism Casselle Deck

Feature reference / Technology/Function Benefits

====================~
CORP 810Ck Di agram DDRP (Dynamics Detection Recording Processor) function
ITD-V531BK, TO -R4 3 1BK. TO-X33 1BK. TD-W803BK . TO-W503BK . TO-W303BK . TO-W203BK)
I H \ 'C; .
This function allows automatic recording Normally, when recording a compact disc
1t".. !O '.. ..... from a CD player with the oplimum onto a cassette tape , adjusting the recordin g
_. :D recording level and widest dynamic range level can take a long time. However . with
by using the COMPU LINK Conlrol System. this system, the level adjustment is
When a bullon on Ihe CD player is pressed , performed by sim ply pressing a button on
the CD player performs " peak search" by the CD player and high-quality recording is
scanning the compact disc at high speed to performed automatically and easily with the
determine the peak signal level so that the widest possible dynamic range .
recording level can be optimized : after the
"peak search" has been completed, the
cassette deck enters the recording standby
mode and detects the type of tape to select
the best input level. When the optimum
recording level has been determined, the
cassette deck starts recording. (In case of
the TD-R431 BK and TD-X331 BK, as a DDRP
switch is provided , after pressing this
button, the same procedures are performed
automatically.)
42

-- - --

_ _ at ___ .:.... _ .... ..~r.. I. - • I. ~ ~

 ~Fe~a~f~u~r~e=ir=e=~==e==re=n==c=e==~/ Technology/Function Benefits
Jechanism
Discrete 3-head configuration ITO-VI010TN, TO -1/71IBK)

The TD-V1010TN incorporates three heads The discrete 3-head design allows the user
with fine amorphous ferrite heads for 10 monitor the oft-tape sound during n
verse Heads recording and playback while the TD-V711 BK recording This means the user can direclly
l>
(k
IJ)
incorporates three heads with an SA head check and compare the recorded sound with
ansports for recording and an amorphous ferrite that from the original source. Especially 9
m
head for playback . This means Ihe azimuth, when recording with Dolby' noise. reduction c
m
lilt, and tracking can be aligned head by which requires precise calibralion , the user n
;>;:

IJ)

individual head tor Ihe best results, without can check the Dolby-decoded playback
any compromise. Signal and verify optimum resu lts because

double Dolby CIrcuits are provided, for both

recording and playback.

Closed-loop dual capstan mechanism

fTD-VI OIOTN . TO-V71IBK TD-V53IB KI

A high-precision " closed -loop dual With this mechanism , there are capstans and
capstan" mechanism is used in the TD­ pinch rollers on both side of the Independent
V1010TN, TD·V711BK and TD·V531BK 10 heads to keep the tape tension constant.
ansports keep the head·to-tape contacl stabte and trom beginning to end of tape . ensuring
reduce wow and flutter. stable head· to· tape contact.

:-=;,~ Dolby HX Pro (All models e xcept TO-W203BK and TO-W l 03BK I

HlCPRO MP This is anolher circuit developed by Dolby Dolby HX Pro controls the bias current so
ON_ . .OFF ON
Laboratories, but it is lor expansion of tape's that the effective bias is constant. even when
~ efleclive dynamic range rather than noise there are fluctuations in the high-frequency
reduclion. The Dolby HX Pro hear1room components of the input signal This greally
extension circuit was developed to improves the high-frequency saturation level
compensates for an inherent weakness in while reducing low· frequency signal level
tape recording systems. variations and distortion.

:lnsports Direct input jacks (TD- Vt OIOTN TO-1/711BK , TD· V53IBK j

Models TD-V1010TN , TD -V711BK and When a source signal IS directly Input to the
TD·V531 BK are equipped with CD DIRECT cassette deck without passing through the
and/or DIRECT IN jacks; these jacks can be amplifier, the recording can be performed
direclly connected to a CD player or other without signal loss, so that playback sound is
source components without passing far superior to that from a cassette deck
through the amplifier. without DIRECT jacks Moreover, because
Further, these models have the shortest the signal transmission lines are shorter, the
possible signal transmission path. sound is improved because unnecessary
circuitry does nol Introduce noise or degrade
the deck's characteristics.

I function "Fine amorphous" heads (TO- V I010TNI

D·W203BKI
Based on our SA (Sen·Alloy) heads, with Although the amorphous material is basically
a com pact disc their higher magnetic performance, tech· unstable and therefore has a shorter service
;ting the recording nically "higher maximum flux density", and life , our improved "fine amorphous" material
However, with excellent anti·abrasion characteristics, a features well· balanced characteristics, to
stment is newly developed " fine amorphous" material · combine an extended high-frequency
;ing a button on with an extended high·frequency response is response and a higher magnetic flux density
ality recording is used in the heads of our top·end "quality· with a longer service life as SA heads. It
nd easily with th e oriented" model. makes possible extremely pure signal trans­
,nge. mission, while the wider dynamic range and
flat frequency response of digital sound is
maintained, for music of the highest quality.
--, Feature reference / Technology/Function Benefits
~~~~~~~='

Hi-Fi U-Turn auto-reverse with Flip Reverse Head

ITD-R43 18 K, TD-W90IBK, TD-W803BK, TD-W503BK, TD-W303BKI

JVC's Hi-Fi U-Turn auto-reverse models This enables the user to change the tape
incorporate a high-precision Flip Reverse running direction instantly during playback
Head system which rotates through 180 or recording, The user can easily listen to
degrees exlremely quickly and accurately tapes or make recordings for long periods,
when the tape running direction is switched, with extremely short interruptions, while
maintaining the same superb audio
performance in both the forward and reverse
directions,
Further, with the TD-R431 BK and TD-W901 BK,
you can enJoy unbroken musIc without any
time lag as the tape is reversed immediatel y
at the leader tape, (Quick Reverse)

Two-motor full-logic mechanism ITD -VIOIOTN . TD-V71IBK . TD·V53IBKI

JVC's two-motor full-logic control models The capstan motor ensures that the tape
employs two-motors lor cassette operation; runs at precisely the correct speed, while th e
one is used exclusively lor driving the reel motor drives the supply and take-up
capstan (one 01 the most important parts in reels smoothly, in the rewind and fast­
any magnetic recording machine) and the lorward modes as well as in normal
other for driving the reels. These two motors playback, This system allows users to
are controlled by sophisticated micro­ operate the decks easily with "feather­
computer. touch" control that provides quick response
and the easiest possible operation, while
maintaining precise control over tape
movement.
"Silent" head assembly drive (TD-VI 01 OTN, TDV711BK, TD-V5318KI

Our "silent mechanism" models provide an The head assembly which is enclosed in a
additional motor exclusively to drive the rigid structure can be controlled quickly and
mechanism which includes the head accurately in response to the user's
assembly, for quick and accurate response operations,
as well as rigid construction.

Cassette shell stabilizer ITD-Vl010TN, TD-V531BK)

~ ~ Oi To reduce acoustic modulation noise which While the tape is running during recording
occurs due to external vibrations, sound fed and playback, if the cassette shell is subject
c
lIIIr i
. 0 ,
, back from the speakers, etc., which could
affect sound quality, the mechanism was
designed employing a number of anti­
to vibrations or resonates in any way, small
fluctuations may occur in the recorded/
playback signal, which would result in
resonance techniques. For example, the degraded sound quality, The cassette shell
chassis supporting the tape drive mechanism stabilizer, as you will realize from its name,
is made from rigid die-cast aluminum, while effectively stabilizes the cassette by
the front panel is molded from non­ dampening any vibrations and resonance so
resonating high-density resin. For even they can never affect signal quality, Together
greater stability, a cassette stabilizing pad is with our other anti-vibration, non-resonance
used to hold the cassette firmly by pressing techniques, this acts to virtually eliminate
against the center of the shell, in addition to acoustic modulation nOise,
the conventional cassette holder mechanism. Refer to "Technical Notes" page 50 for more J
I
information

PCOCC and LC-oFC head winding and circuit board :

plating ITD-VI010TN, TD-V711BKI
~---=~------------------------------------------------ t l
PCOCC stands for Perfect Crystal by Ohno This results in superior transmission I
Continuous Casting process. This process characteristics, eflectively reducing the
produces high-purity copper which is per- transmission loss and degradation of the ~
feclly crystalline, lor improved electron flow. Signals, The signals recorded and
LC-OFC means Linear Crystal Oxygen-Free reproduced by these decks are clearer and
Copper. With less oxygen, the wires transmit more musically accurate,
the signal more efficienlly, and with less
coloration. JVC uses PCOCC and LC-OFC of
the highest purity for the coils in head cores,
for signal teads, and for plating on the main
circuit boards.
 ~~a~tu~r==e==re=f;=e=r=e=n=c=e====:=,/ Technology/Function Benefits

iead Separate circuit construction (TD -Vl0l0TN, TD-V711BKI

The recording amplifier section, playback Since these decks are constructed with
er to change the tape amplifier section, signal control & display independent blocks, both electrical and n
l>
stantly during playback section, and power supply section are all magnetic interference are totally eliminated . (II
(II
independenlly mounted on separate PC
ser can easily listen to
rdings for long periods, boards. 9
m
·t interruptions, while c
m
n
Ie superb audio
1 the forward and revers DC-configured amps and low-impedance voltage-tracking '"
(II

regulated power supply ITD -V l0l0TN, TD-V711BK)

R431 BK and TO -W901 B In these models, only specially selected Constant fluctuations in the voltage supplied
lken music without any components and circuits are used, including from the household AC outlet cause changes
IS reversed immediatel' DC-conligured amps which ensure high in the voltage on the secondary si de of the
Quick Reverse) ,
linearity, voltage-tracking power supplies recorder's transformer, which are then
using an independent relerence voltage passed on the deck's amplifying circuits.
' I' BK, TO-V531 BKI generator rather than a simple diode to keep This re su lts in inaccurately amplified signals
Ihe ground potential accurately at zero, and and degraded sound. These features
!nsures that the tape constant -voltage circuits to reduce the effectively prevent this phenomenon,
correct speed, while th output impedance to 1/10 01 the usual value, working together and assunng better
! supply and take-up The result is an incredibly flat Irequency linearity and lower distortion as well as the
e rewind and fast- response Irom 20 Hz to beyond 16 kHz. lowest possible noise. They provide an
ell as in normal excellent response throughout the audio
n allows users to spectrum , Therefore, the user can expect
'sily with "feather­ impeccable audio response even when
rovides Quick response recording from a digital source, without
ble operation, while coloring and tone deterioration,
:ontrol over tape
Recording calibration control (Bias/Level)
, TD-V531 BKI (All slngle-lransport modelS)

Ihich is enclosed in a All single-transport models are equipped Actually, depending on the tape used, there
controlled Quickly and with a recording calibration control which are minute difference in level and the
e to th e user's allows line adjustment 01 the bias current amount of bias required for optimum
added to the music signal belore recording. recording. Bias adjustment compensates the
Moreover, in our top-of-the-line amount of bias applied 10 signal being
TD-Vl0l0TN, an independent level recorded. With this, the user can compen­
alignment control is provided in addition to sate the characteristics of the tape itself. For
the bias adjustment control. instance , decreasing the amount of bias ­
ing during recording possible with certain tapes - will result in
lssette shell is subject extended high-frequency response, and
ltes in any way, small increasing it will have the reverse elfecl.
r in the recordedl Therefore , the user can obtained the best
I would result in possible recording with the tape he or she is
y The cassette shell using With the TD-Vl010TN , since an
ealize from its name, independent level adlustment control is also
Ie cassette by provided , enabling sensitivity calibration
ons and resonance so within a range of ±3 dB, even more
;ignal Quality Together accurate, lurther optimized tape response
ratIOn , non-resonance can be obtained
l virtually eliminate
lise. Dolby· BIC noise reduction systems (All models)"
es" page 50 for more Dolby noise reduction systems elfectively Noise reduction provides superior high
reduces the noise in recording, by approx, Irequency response while background tape
10 dB with B-type noise reduction and by hiss (inevitable in tape recording) is reduced
)ard approx. 20 dB with C-type noise reduction; so as to be almost inaudible . The result is
the ellect is especially noticeable in the high clear and brilliant high frequencies with low
transmission frequency range, noise, the biggest benefit from recent
ely reducing the advances in digital audio technology. Dolby B
egradation of the noise reduction is provided so that the large
Jrded and number of music tapes encoded with Dolby
cks are clearer and B noise reduction and which the user
e. probably has in his or her collection can be
. DOLBY and the double 0 symbol are Irademarks played back with full noise reduction , With
of Dolby LaboratOries Lic ensing Corporation . its greater effectiveness at all frequencies,
.. The TD-W1 03BK IS provided with only DOlby B most users will prefer to use Dolby C noise
nOise reduction system. reduction for new additions to their libraries.
45
-,
=~=e=a=tu=r=e==re=~=e=r=e:::::n=c=e====~/ Technology/Function Benefits

Double Dolby circuits i1 o· I 010TN. TD- V 71 I BK. TD - V~3 I BK J

In the TD·V1010TN, TD-V711BK and Since these decks have independent heads
TD-V531BK, independent Dolby noise for recording and playback, off·the·tape
reduclion systems are provided in the sound (the sound which has lust been
recording and playback circuits and these recorded by the record head) can be
can work simultaneously, even during monitored (using the playback head) even
recording, 10 derive optimum results from when the Dolby circuit is used lor recording
the 3-head conslruclion. The user can check the elfectiveness of
recording through the Dolby Bore circUits
and confirm the improvement that it provides;
he or she will be able to hear thai the source
sound (even Irom compact discs) is being
recorded as it IS. with ma ximum lidelity
MPX filter ON/OFF switch ITD · VI0 10TN, TD- V?IIBK. TD- V53IBK )

These models are provided with an MPX With the MPX filter switch ON , the
filter for more effective recording of FM mlsoperation of the Dolby NR CIrcuit is
broadcasts from a tuner, while using the avoided by filtering out the 19 kHz FM pilot
Dolby NR system. signal. Further . if the tuner does not have a
MPX filter or if ItS filler is inadequale . using
the MPX filter switch of the deck aVOids
sound quality deterioration due to the
malfunctioning 01 the Dolby NR circuit.
Auto tape selector (All models1

All recent tape cassettes have identification The user can operate the deck Immediately
holes in the edge for the detection of after loading a cassette. It is not necessary
Normal, Chrome (Cr02) and Metal tape. to check and reset a switch to correspond to
When the cassette is loaded, the optimum the type of tape used for playback or
EO/bias characteristics will be set recording
automatically by detecting these
identificalion holes.
Timer start (record/playback)
ITD· V IO I OTN TO-V? I I BK. TD- V53 1BK. TD·W901 BK, TO-W803BK1

When used together with an optional audio The deck can also be used for unattended
timer, the tape transport can be started at recording or as an alarm in the morning. The
any preset lime for either playback or user can wake up to his or her favorite
recording. While Ihe deck is in the timer music , or important programs can be
standby mode (before and after playback/ recorded, even when the user is In bed or
recording), Ihe capslan and tape are not not at home. Since a computer ·controlled
compressed belween the pinch roller and mechanism is used , timer record ing can be
capstan. This means that the tape and the performed repeatedly up to the end of tape
rubber pinch roller are not subject to without any worry about worn heads, pinch
physical distortion, even if timer operation is rollers and tape
performed repeatedly.
Synchro Rec Mute IAII dual·lrensporl models exc ' pi TO -WI 03BK)

In our dual-transport models, a Synchro Synchro Rec Mute allows the recording deck
Rec Mute lunction is provided for added to enter the record-pause mode after leaving
convenience. a 4-second interval automatically when the
When editing from one deck to another, if playback deck enters the Music Scan mode
the Music Scan is activated for the playback during dubbing . This leature permits the user
deck, the recording deck will automatically to make hisi her own customized tapes
perform Rec Mute operation. easily, with only their favorite tunes copied
from longer tapes
Auto Rec Mute IAII models excepl TD·WI03B K)

By simply tOtlching a button, a non·recorded

-----------------------------
Auto Rec Mute instructs the recording deck
section of approx . 4 seconds will be left to leave a blank section 01 approx .
automatically, with the deck set to the 4 seconds automatically, with the user lust
record pause mode. pressing button It IS deSigned for use when
Ihere's a narration or commercial In an FM
broadcast that' s being recorded, etc . The
user can easily leave blank sections dUring
recording for uniform gaps between one
song and the next. These uniform gaps
between tunes allow various scanning
operations to work correctly.
46
 /=I~e§:a~t=u=r=e=r=e=f,=e=re=n=c=e=========,/ Technology/Function Benefits

Music Scan (TD-Vl0l 0 TN . TD·V711BK. TD- V53 1BK, TD -W901BK . TO- W803BK. TD-W503BKI
ndependent heads
;k, off-the-tape By pressing FF or REW together with PLAY, With tape recordings , finding the beginning

las just been the deck enters the fast-forward or reWind of a tune is difficult because you can't see ()

l>

mode to skip to the next or prevIous tune by the gaps between tunes. However, with
ead) can be ~
detecting the blank sections between tunes. JVC's Music Scan function, the user can skip
/back head) even
used for recording to the start of the next or previous tune 9
m
quickly using this automatic function o
,ffectiveness of m
()
Ilby B or C circuits Synchro Start Dubbing
nent that it provide s;
(All dual-lransport models I
'"en
Our lop-end dual-Iransport decks the Double-transport deSign allows the user to
lear that the source TD-W901BK and TD-WB03BK incorporate dub or edit tapes very easily , by simply
ct discs) is being high-qualily dual record/playback tape pressing the Synchro Dubbing button
Iximum fidelity transports while olher dual-transport decks (except for the TD-W103BK) The entire
K) incorporate record/playback and play-only contents of one tape can be directly
tape transports. They provide a level of tranScribed onto another tape The user no
lON, the
convenience which is impossible with longer has to perform complicated
I NR CIrcuit IS
conventional signal-transport decks . One operations with two decks, for prOblem-free
Ie 19 kHz FM pilot
benefit is the tape-to-tape/editing editing.
n does not have a
capability. For this purpose, fhe Synchro
inadequate, uSing
Start function lets you set one transport to
he deck avoids
the playback mode and the other to the
n due to the
recording modes simultaneously, by
by NR circuit.
pressing a single bullon.

-1 [EQ(-.-a...H3-"-2rECk­ Hi-speed editing /AII dual-trar.sport models)

deck immediately
t is not necessary «~ > HGH 8f'W) ( ) All JVC dual-transport modelS feature a hi­ While the Synchro Dubbing button (Synchro
--_. [d
ch to correspond to
playback or - - speed editing function that permits copying
at twice the normal tape running speed in
the synchro editing mode.
Start button lor the TD-W103BK) allows the
playback and recording decks to start
simultaneously, the High -Speed button
enables the same operation to be performed
at twice normal speed, cu tting the editing
time in half. For example, the user can
duplicate both sides 01 a C-60 tape in only
30 minutes . Even when the tape is running
d for unattended at double speed with frequencies that are
in the morning . The double those at normal speed, all JVC
Ir her favorite models are able to maintain full audio
'ams can be performance with their hard and durable
user is in bed or heads . Even the highest frequency sound will
IpU ter -con trolled not deteriorate in duplication. Of course , JVC
. recording can be decks with the High-Speed mode also have a
to the end of tape , Normal Speed editing mode, so the user can
Norn heads, pinch listen to tapes while editing them
Continuous playback (All dual-transport models)

Another feature provided in all JVC's dual­ The continuous playback mode allows
transport decks is continuous ptayback. endless playback over long periods; while
the recording deck Deck B automatically starts playback when one tape is being played, the other is
mode after leaving the end of tape is reached in Deck A, after automatically rewound to the start so It can
atically when the which the first tape is automatically be played again . Two tapes loaded in Decks
Music Scan mode rewound (in the case of non auto-reverse A and B can be played back-to-back
re permits the user decks). to be played again. In tne case of continuously, for playback without a break .
)mized tapes the TD-W103BK, Deck B starts playback The user can enloy the two tapes over and
rite tunes copied when playback by Deck A ends; when over again continuously without touching the
playback of the tape in Deck B ends, Deck deck , until the tapes are removed from the
B enters the stop mode. deck. This feature is very convenient when
. In case of non auto-reverse decks. you want background music, etc .
1e recording deck
approx. Digital peak display (TD-Vl0l0TN TD-V71 I BKI

~
vith the user lust
ned for use when
mercial In an FM
)rded, etc. The

Digital Peak Display shows momentary

transient input or output levels digitally, in
increments of 1 dB. The highesl peak level
This easy-to-see indication permits the user
to more accurately adjust the critical
recording level and obtain optimum dynamic
: sections during METAL can be recalled at any time as il is stored in range, ensuring the best recording results ,
; between one the built-in microcomputer. even with digital sources.
miform gaps
IS scanning
Iy.
47
 =!=I=e=a==tu=r=e===re==fe=r:::::e=n=c=e======~/ Technology/Function Benefits

REMAIN Electronic digital counter

n ,- -, ,-, (TD-V1 01OTN, TD -V?11 BK, TD -V531 BK , TD-R431 8 K, TD -W901 BKI
u Ct ::, Ct.... SEC
An easy-to-see 4-digit electronic digital The TO-V1 01 OTN has two -mode electronic
counter is incorporated in these models to digital counter and can be used as a tape
be used lor a variety of functions - as counter and as a tape remaining time
tape counter, a tape remaining time display; it can also be switched off when not
display, in music scanning, etc, - required , for reduced interference. Further,
depending on the cassette deck, the TO-W90 1BK has dual electronic digital
counters so that the movement of the tapes
in each of the two mechanisms can be
checked at a glance

Gold-plated tenninals and quality parts

(TD-V1010TN , TD-V ?11 BK, TD-V 531 BKI

In these models, the input/output terminals Gold-plate terminals have better electrical
are plated with gold and stacked film contact and resistance to corrosion so that
capacitors are used instead of COiled ones to distortion is minimized even after years of
maintain their high quality audio perform­ use The initial superb audio performance
ance for a longer period of lime, will not be degraded , even after years 01 use,
and Ihe user will never have to worry aboul
aging causing delerioration 01 the recording :
playback characteristics, The stacked film
capacitors have a lower inductance than that
obtained with coiled capacitors, resulting in a
better high-frequency response and greater
resistance to vibrations

Variable pitch control (TD-W503BK )

The TD-W503BK has a unique pitch control Since the pitch 01 the playback sound can be
for Deck A, which permits the user to vary varied. any tune can be played back with a
the tape speed In playback, By changing Ihe pitch that meets the user's requirements,
tape speed, the pitch (frequency) of the With a microphone or electronic musical
recorded sound can be changed when instrument plugged into the stereo
playing back tapes, microphone inputs 01 the TO-W503BK ,
the user can record his or her own voice or
instrumental backing over an accompaniment
played back in deck A using deck B, with
perlect pitch .

--" .... . .. Fluorescent/LED multi-peak indicator

I .. 111I1 .. tlllllllllll UUlllfll1i ulln
. , , "" '-', I "~ J ' •• IFL: TD-Vl0l0TN, TD-V?11 BK . TD-V531 BK, TD-R431 BK , TD-W901 BK : LED TD -X331 BK ,
n 1I1I1I11I11I'1I"'IIIIIII"llIltttll TD -W803BK. TD-W503BK. TD-W303BK. TD-W203BK, TD-W103BKI
~~
...... ,,_. - ... A pair of fluorescent peak level meters or a The user can check the peak transients in

- - --
~;_~ _Sl "~,_~ I pair of 6-LED indicators is used to show
the moment-to-moment peak of the signal
input to the deck during recording. II also
shows the signal level from the tape during
playback.
the recording signal. The optimum recording
level can be set for each type of tape, and
recordings can be made with widest possible
dynamic range,

High bias frequency ITD-V1010TN, TD-V531BKJ

In the TD-V1010TN, the bias frequency in In recording. high-frequency current is

recording is set at an extremely high level added to the music signals being recorded;
- 210 kHz - one of the highest levels without it, recording would not be possible,
used in 3-head models. This makes This is called the "bias" current. and
possible the great improvement of the frequencies of over 100 kHz are used in
overall characteristics of the TO-V101 OTN, most decks , The TO-V1 01 OTN uses an even
higher frequency bias current. so that beats
which could occur due to resonance with the
frequency of the music signal are minimized,
and the resultant sound is clearer than ever,

48
 Technical Notes

-mode electronic For Further Purer and Direct Signal Transmission n

used as a tape J>

laining time - Another improvement in cassette deck technology Ul

Ul

tched off when not • Why is "acoustic modulation noise" a problem? 3

m
derence. Further , c
electron ic digital As we enter the age of digital audio, vibrations have an unfavorable effect on We detected this "acoustic modulation m
n
casse tte decks have reached m~turity and the mechanism of the cassette decks, noise" in the following way:
!ment of the tapes
It wo uld seem that there is no way to most importantly on the tape transport Fig . 1 shows the modulation noise '"
Ul

lisms can be
Improve their specifications. mechanism, and result in a slight characteristics 01 a closed-loop dual-
Al though it's not reflected in their deterioration in sound quality. capstan mechanism , with a 1D kHz input
specifications, there are differe nces This is called " Acoustic Modutation signal. The quicker and smoother th e roll -
between the components that make up a Noise". off on both sides of the peak . the clearer
stereo system : acoustic resona nce , ConventionaIlY,· " modulation noise" is the sound.
better electrical utern I vibration s, etc. still affect sound measured by recording and playing back a But when this mechanism is mounted
corrosion so that Quality 1D kHz signal wilh the cassette deck being in a cassette deck in which no special anti-
In after years of Through our long experience and tested. The peak represents the input vibration countermeasures have been
lio performance detaile research, we found that this was signal. The sharper the peak and the applied, and measured in a stereo syste m,
I after years of use, also true with cassette decks. As with smoother the slopes on either side, the exposed to a sou nd field created by
ve to worry about turntables and CD players , acoustic higher the clarity of the sound . With the speakers, the response curve shown in Fig.
n of the recording resona ce and external vibrations, due to " acoustic modulation noise" test, however , 2 was obtained .
rhe stacked film the con stantly changing sound pressure the same measurement is conducted with When the unit is placed in a sound field
Iductance than that fr om the speakers , affect the tape drive the tape deck subject to 1DO -phon acoustic where pink noise at a 1DO-phon sound
:itors , resulting in a mechanism, etc . and thus affect the quality sound pressure generated by playing rink pressure is generated from speakers, the
lanse and greater of the signal being recorded. Although the noise through speakers modulation noise characteristics were
elleclls small, we fee l we should do The " acoustic modu lation noise" greatly degraded which indicates thai the
eve ythmg possible to eliminate it. respo nse curve shows how the sound is resultant sound Quality would be deQraded .
Cna 1ges in sound pressure and affected in an in-use situation .

back sound can be

ayed back with a
, requirements.
:tronic musical
Ie stereo
TD -W5D3BK,
her own voice or
an accompaniment
19 deck B, with

.331 BK.

~ak transients in Fig . 2 Response of conventional deck

Fig . 1 Response of rigidly built deck
1ptimum recording
ype of tape, and
lith widest possible
• Countenneasures to prevent "acoustic modulation noise"
By analyzing "acoustic modulation
noise" we found various countermeasures
that could be used to reduce it.
To suppress acoustic modulation noise,
cy current is first of all, the anti-vibration characteri stics
; being recorded: of the deck 's tape transport mechanism
1not be possible . were Improved together with those of the
ment, and front pan el section which supports the
f-Iz are used in mechamsm, and also the entire unit , as
DTN uses an even well as Su ppressing vibrations of the
ent, so that beats cassette shell.
resonance with the For thiS our top model , the
Inal are minimized, TD-V lO DTN, uses a rigid diecast
clearer than ever. alumin um base to support the tape drive
mechanism so that the tape passes the
heads at preCisely the correct speed at all
limes, wn,le the PC board is supported by
a thick multi-layer copper plate Oiecast aluminum base 01 tape drive Multi-layer copper base plate
mechanism
49
 ,
.~
Technical Notes

At the same time, a cassette shell

stabilizer is provided to hold the cassette

1\ J\
shell lirmly in position; two stabilizing pads
press against the center 01 the cassette
shell , holding it firmly Irom both sides, to
prevent minute oscillations 01 the tape as it
is running due to vibrations, etc. Withoul stabilizer With stabilizer
The Iront panel section is made of
solid, high density resin with a rigidity Improvement in modulation
1.7-times that 01 normal resin and cassette stabilizer
1.S-limes greater density, and the entire Cassette shell stabilizer
chassis is securely supported by the

.....
heavy, solid base using large insulators
instead 01 the normal feet , so that the deck
as a whole is protected from external
vibrations .
By taking these countermeasures,
~ ... . ........

acoustic modulation noise is greatly

reduced and the response curve shown in .... . . • •
.. III . . ....

Fig 3 is obtained, demonstrating that the

TD-V1010TN can reproduce sound wilh
outstanding clarity when used in a stereo
• • r
.
)

system , in actual in-use conditions High-density resin Iront panel section

Solid base with large insulators

"DIRECT" Input Terminals for purer signal transfer

In addition to the regular analog input/ --""",,,,,,,,,,,,,,,1IIIIIIII.
oulputlacks, the TD-V1010TN, TD-V711BK
and TD-V531 BK provide Ihe two pairs 01
"DIRECT" input jacks, enabling direct
connection to a CD player or other source
component.
Since the signal from a CD player (for
example) does not pass through the
amplifier, there is no possibility of it being
degraded as would happen with the normal ·
connection method And because there is
no source selector or REC selector
between the source component and the
cassette deck, there is no switching noise
or any deterioration due to electrical
contact ; the high quality 01 sound from the
digital source is transferred directly to the
cassette tape .
Together with the shortest possible
internal connection 01 our cassette decks
using "remote bars" , the total length of the
circuit from the pickup of the CD player to
the recording head of the cassette deck is
made as short as possible. This is the real
meaning of our " pure & direct" signal - Intenial view (Including remote bars)
transmission concept.

50
 AMPLIFIERS
Feature Highlights of '90 Amplifiers

!~

h stabilizer
The "Digital Pure-A Type /I" - An even
more advanced amplifier design,
combining high power with class-A
operation di=iTa~UA5-4

The "K2Interface" completely isolates

the digital and K~

analog circuits ~

InTERFACE
~ - •• _ -.1 •• .A ..- __ L __ ..&_ ' \

Our "Opt Super-A" circuitry is another

milestone in amplifier design, for high­
power and class-A
operation with Power Amp

analog inputs

-'- - --.. ' -, . . . ~.,

51
 Feature Comparison Chart

/-~ ./
--, -
Amplifiers r::.....r::. ........

~"v.... '1-~"vo,

Power Output
8 ohms (20-20 kHz) (watts per channel) r 100W I 100W
2 ohms (Dynamic Power) I 320W I
Digital
K2 Interlace ..f
DIQital Pure-A (Type II) ./
Oiqllal Pure-A ./
D-'9!lal Filler ./ (815) ./ (415)
I 18-bil Comblna llon 4 DAC
OA Convener
DAC Difeci
Circuit
''"" '" (Dual 16-blll

'"
I
''""
Opl Super-A
2-Amp ConSlruClion I
I Remole Conlrol (Provided)
Source
Olgl lal O,gi lal 1 (Opllcal) ./ ./
Dig ilal 2 (Coaxial) ./ ./
./
Analog
OAT In/Oul (Coa Xial)
CD ./ '"
./
."
Phono
'"
Line 1
Line 2
Line 3
."

''"" ''""
Tape 1 '" (TAPEI/DAT2) '" (TAPEI /DA TI)
Tape 2 (Monitor) ./ (OAT1 /TAPE2) ./ (TAPE2/DAT2)
Function
.[

'''"""
Cartridge Seleclor (MM/MC)
Bass Control <{
Balance ."
Headphone Oulpul
'" '"
Lineup of '90 Amplifiers ~_ _ _ __ _ _ __ __ _ __ __ __ _ _ _ _

Digital Pure-A /I digital reference amplifier with K2 interlace

Titanium-finished

• Power output: 2 x 100 watts*

• Digital Pure-A Type II amplification circuit
• K2 Interface
• Quadruple full-time linear 18-bit combination D/A
converters
• Opt Super-A with Gm Driver
* at no more than 0.004% THO (8 ohms, 20 Hz - 20 kHz) lAM S)

Integrated Amplifier

Digital Pure A amplifier with 3 digital inputs

• Power output: 2 x 100 watts *

• Digital Pure-A Circuit for digital input signals
• D/A converter with 4-times oversampling digital
filter built in
• Dynamic Super-A with Gm Driver for analog
signals
• "D/A Converter Direct" function
-Z911 BK "-"ERDIGIFtnE COM
2!!!!!!K
c~.............. * at no more than 0.003°'0 THO (8 ohms. 20 Hz - 20 kH z) IAM SI

Inlegra ted Amplifier

53
=~=e=a=tu=r=e==r=e=fe=r==e=n=c=e======:=,,/ Technology/Function Benefits

Digital Pure-A circuit Type IIAx-z91IBKI/Type II (AX-ZIOIOTNI

"Digital Pure-A" circuitry realizes high­ With the Digital Pure-A circuitry incorporated
Quality class-A operation as well as ellicient in the AX-Zl0l0TN and AX-Z911BK, the
high-power amplification when a digital digital signal supplied directly from the CD
signal is input, utilizing our advanced digital player, etc. can be reproduced with extreme
signal processing technology. Part of the purity by giving it the ideal amplification By
input signal is used as a "prediction" signal utilizing the characteristics of digital signals,
which is used to analyze the level of the the incoming music signal can be stored in
incoming signal while Ihe main signal is memory momentarily while the bias current
delayed in memory before entering the DIA or voltage required to optimize the
converter, in this way the gain in amplification of the music signal can be
amplification is always optimum. The calculated . As a result, the ideal high-power
difference between the Type I and Type \I class-A operation is made possible with a
systems is that in the Type I syslem, the relatively compact amplifier In this way, the
amplifier is controlled by voltage, while in "pure class-A operation " necessary for
the Type II system, it is controlled by the extremely pure digital sound reproduction
bias current. does not require a huge power transformer
or an expensive, inefficient power supply
with elaborate heat sinks. The resulting
sound is pure, realizing the serious
audiophile's dream of class-A operation.
The advantage of the Type II circuit over the
Type I circuit is that as the time required for
" prediction" is greatly reduced, the time lag
which could be a serious drawback when the
sound and picture in the playback of a video
tape should be synchronized is negligible .

"K2 Interface" (AX-ZIOIOTNI

The "K2 Interface" - JVC's innovative By the use of an entirely new digital signal
digital signal transmission system - is also transmission system called the "code
used in the AX-Zl010TN amplifier as well as transmission system" employed in our "K2
our top CD player. The incoming digital Interface", in which the digital data is
signal (transmitted from the CD player, etc.) "recreated" according to the input data ,
is supplied to the K2 Interface before DIA "non-coded" components - resulting from
conversion so that only the required digital ripple and jitter which may be introduced
data (code components) is transmitted. into the subsequent circuitry and greatly
affect the resultant analog signal processing
Refer to 'Technical Notes" page 27 for more
information.
- are totally excluded. Since the K2
Interface completely shuts out the digital
noise caused by such "non-code "
components (ripple and jitter), any digital
signals from the audio components
connected to the AX-Zl0l0TN are applied to
the 01 A converter and subsequent analog
sections, regardless of the quality of the
digital component (so long as it is "digital ").
Therefore, extremely pure digital "code"
signals can be reproduced, exactly as the
musician or producer intended, with
ambience of the concert hall where the
recording was made - which was never
before possible.
 ~Fe~a~t~u=r=e=r=e=~=e=re=n=c==e===~:=,/Technology/Function Benefits

J10TN) Quadruple full-time 18-bit combination D/A converter with 8fs

cui try incorporated digital filter (AX·Z1010TN)
X·Z911BK , the Aller the input digilal signal is cleaned up by The 8fs digital lilter shills the quantization
ctly from the CD the K2 Interface, first the signal is over­ noise to far higher frequencies so that it
uced with extreme sampled at a sampling frequency 8-times does not affect the audible frequencies, by
I amplification By higher than the normal frequency 144.1 kHz multiplying the sampling rate up to
; of digital signals , in compact discs) in the digital filter, while 352 ,8 kHz, while the bit rate is raised to
can be stored in the number of bits is also raised from 16 to 18 bits, This 18-bit data is divided into two
Ie the bias current 18, It is then converted to analog by the parts, and since the lower 2 bits which deal
,mize the newly developed "combination" four DAC with lower level signals are processed
signal can be Idigital-to-analog converters), in which the separately, the D/A conversion accuracy is
1 ideal high-power upper 16 bits and the lower 2 bits from the greatly improved while the linearity low to
possible with a digital filter are processed separately and high signal levels is far better, This gives
er, In this way, the combined by a current adder; for higher extremely accurate reproduction, especially
necessary for fidelity, these operations are performed of very low level signals,
nd reproduction independently for the Land R channels,
ower transformer Refer to "Technical Notes" page 32 for more
information,
t power supply
The resulting
e serious D/A Converter Direct function (All models)

;s-A operation, The AX-Z1010TN and AX-Z911BK have built­ With the D/A CONVERTER DIRECT switch on
~ II circuit over the in D/A converters which can accept digital the front panel set to ON , the input digital
e time required for signals directly from a CD player, etc. with a signal from the digital output jack of the CD
'uced, the time lag digital output Even beller, these amplifiers player, etc, is directly routed to the built-in
drawback when the have a special facility called "D/A Converter D/A converter, then supplied to the power
Ilayback of a video Direct" which shortens the internal signal amplifier without passing through any
:ed is negligible, path to connect the signal from the built-in circuitry which could affect the signals,
D/A converter directly to the output stage, as except for the volume control. As a result,
its name indicates, With this function DN, the total Signal path is greatly reduced,
any circuits which could introduce distortion maintaining pure signal transmission,
lew digital signal such as source selector switch or balance
d the "code control are bypassed and the D/A converted
ployed in our "K2 signal is directly applied to the power
gital data is amplifier via the master volume control
the input data, alone.
- resultmg from
V be introduced
try and greatly
Three digital inputs including optical connector (All models)
I signal processing
ince the K2 The AX-Z1010TN and AX-Z911BK are Since two types of digital connectors are
i out the digital equipped with three digital input connectors; provided, the AX -Z1010TN /AX-Z911 BK can
n-code " two coaxial and one optical. These allow the be connected to digital components with
ter), any digital direct digital interfacing with any digital either a coaxial or optical digital output
mponents components such as CD players, Also, our connector. The coaxial digital inputs permit
IOTN are applied to digital reference amplifiers provide an digital interfacing with any digital
bsequent analog addilional " output" digital connector for components conforming to the Digital Audio
l quality of the recording with a future Digital Audio Tape Interface Format. If your CD player or other
~ as it is "digital"), deck, etc. digital component has an optical digital
~ digital "code" output, digital signal transmission will be
j , exactly as the further improved by using an optical fiber
nded, with cable, As there is no electrical transmission
1all where the when optical interfacing is used, there will be
'hich was never no interference and therefore extremely pure
sound ,

55
=~=e=a=tu==re==r=e=fe=r==e=n=c=e=====/ Technology/Function Benefits

Digital/analog separated construction (All models)

In the AX-Z101 OTN/AX-Z911 BK, the analog With this circuit layout, any possible
circuits are completely separated from the interference between the digital section and
digital circuits, wilh one at the left and the the analog section is greatly reduced. The
other at the right 01 the amplilier. With the result is purer transmission, of both the
power supply section between them, this digital and analog signals
layout is designed to leave even more space
at the center, between the digilal and analog
circuits. Furthermore, the mosl digital
sections which could produce noise are
completely shielded using solid plates.

"Opt Super-A" circuit (AX-Zl0l0TN)

In our ellorts to achieve superior amplifica­ When the level of analog input signal varies .
tion, we haven't ignored analog input the "Opt Super-A" circuit immediately
Signals. The result of our consistent pursuit follows the change of input signal level to
01 beller amplification is the "Opt Super-A" keep the amount of bias current supplied to
circuit - in which the bias current required the power amp stage sufficient for optimum
for power amplilier to drive the speakers is operation. And since the output level
controlled so that an optimum bias current is detector always checks the output level ,
always supplied to the power amp stage, if the bias current is higher than it need be.
and this bias current is Iransmilled optically it is reduced when the level drops. This
which gives the leature its name. The bias control is made in the optical bias control
current is controlled optimally, according to circuit, in which optical isolation using a
the level 01 the input music Signals so that high-speed photocoupler prevents any
an optimum value is always applied, to feedback from the output stage . Thus more
realize the class-A operation. linear amplification with class-A operation is
made possible with minimum switching
distortion .
Refer to "Technical Notes' page 58 for more
information.

Parallel push-pull power transistors fAX-Zl0 l0TN)

In an amplifier, push-pull circuits are usually Since the power output transistors are
used to amplify the signals that drive the arranged in parallel, more powerful
speakers. In this circuitry, the positive and amplification is made possible , and at the
negative portions 01 the waveform are same time, the ability of the ampliliers to
amplified separately by two independent drive low-impedance speakers is greatly
Iransistors belore being combined to form improved.
the output Signal. The output stage of the
power amplifier section incorporates power
transistors arranged in parallel, instead of
the series connection used in conventional
amps.

High-gain phono equalizer (All models)

A high-gain phone equalizer, using an active You are not restricted to MM cartridges; you
load in the lirst stage ollhe equalizer can also use a quality Me cartridge without
amplifier is provided 10 increase open-loop connecting a separate transformer or head
gain for use with either MM or Me amp .
cartridges.
 ~Fe~a~t~u=r=e=r=e=f;=e=re=n==ce======~/ Technology/Function Benefits

Two-amp construction (A X- Zl010TN )

ny possible JVC's Iwo-amp configuralion is simplified This simpler design retain s the integrity of
digital section and structure with only two active stage block ­ the audio signals throughout the
lily reduced . The the phono equalizer and the power amplifier. amplificati on process and ensures a better
on, of both the This two-amp design means that no separate signal-to-noise ratio, {or sound with greater
tone control amp is used; the tone control clarity
circuit is part oflhe negalive feedback
network in the high-gain power amp.

Connections for two tape decks (All models)

-
TAPE 2 MONITOR
Two tape decks can be connected for With these terminals, dubbing is easy in both
dubbing in bi-direclion and parallel directions, TAPE 1 to TAPE 2 and vice versa ;
recording. one source can be recorded onto two tape
decks at Ihe same time .

input signal varies.

t immediately ... ONAOFF
ut signal level to
current supplied to
ficient for optimum
output level
he output level,
D~nomic $upe....- ~ Dynamic Super-A circuit (A X-Z9 11SK )
Dynamic Super-A is a refinement of our Low distortion, excellent open-loop response
er than it need be revolutionary Super-A, the design that and minimized eHects on Ihe music due to
lei drops. This offers the silky, smooth, distortion-free counterelectromotive currenl fed back from
tical bias control sound of a class-A amp, and the efficiency the driven speaker are achieved and the
,olation using a of a class-8 amp . Dynamic Super-A was dyn amic noise and distortion that occur in
prevents any developed with the singular purpose of actual in -use conditions are reduced
i stage Thu s more catching up with the vast improvements
:Iass-A operation is that have been made in the dynamic range
lum switching of new software technologies, such as
digital mastering.
, pag e 58 for mo re

Gm driver fAil models)

Gm driver improves the real-life The eHects of the counterelectromotive

performance of an amplifier by driving the force and variations in distortion due to the
·anslstors are
power stage at a constant voltage to reduce inherent non-linearity of power transistors
: powerful
output impedance and achieve a lIat are reduced .
,sible, and at the
he amplifiers to frequency response.
akers is greatly

MM cartridges; you
cartridge without
nsformer or head

57
-,
Technical Notes
JVC Amplifier Technology
In Pursuit of Class-A Amplification
Amplification techniques and why class-A operation is superior
Before introducing the Digital Pure-A II driven at full power at all times. The output Class·B Amp
and Opt Super-A circuit, some basic from each transistor is symmetrical with
knowledge of amplifier design is necessary, the input signal and this is also true of the
including class-A and class-B amplification. waveform after the outputs are combined.
For efficiency. Class-B amplifiers use push- For this reason, class-A amplifiers
pull circuitry with independent transistors reproduce sound with the lowest possible
amplifying the positive and negative halves distortion which makes them Ideal for the
of the signal, then the outputs of the reproduction of music and, if it wasn 't for Dynamic Super-A
transistors are combined to drive the their low efficiency, they would be the
."
speakers. In this way, when the signal is choice of any true audiophile . /
positive, the transistor that amplifies
negative parts of the signal is off and vice
JVC developed " Opt Super-A" for
analog sources and "Digital Pure-A
/ ..

~\ , · · -l~·c,
versa. The problem occurs at the pOint Type II" for digital sources to further
where the two signals are combined, improve amplifier design . \ '­ ' ,, _ .... .
where sWitching distortion occurs . Output Signal of Power Amp
CtaSS -A Amp
In " non-switching" amps including our
Dynamic Super-A amplifiers, to eliminate
switching distortion, a small amount of bias Input

current is applied to both transistors at all

times, so that they are never switched off.
In this way, when the waveforms are
combined, the result is much smoother.
Class-A amplifiers, on the other hand,
are far less efficient as both transistors are Operating current waveform of transistors A and B

I. Opt Super-A circuit

"Opt Super-A" ­ another milestone in amplification of analog sources
As shown in the diagram, in the Opt currentlolloWS the input signal , so that the Even In the age of digital sound, JVC is
Super-A amplification circuit, the bias output stage is supplied with the bias doing everything possible to Improve the
current supplied to the power transistors is required to generate the optimum signal to amplification and reproduction of analog
controlled so that they have the optimum drive the speakers. signals.
operating condition for the music signals
supplied at any instant Part of the
constant-voltage signal from the Gm driver
is supplied to the Super-A Circuit and from
there to the Signal Level Detector. This
produces a DC signal which is proportional
to the level of the music signal; this is fed
to the Optical Bias Controller which, In
turn, supplies a bias-control signal to the
Super-A Circuit, to optimize the operation
Actual waveform
of the power stage . (Upper: Bias current, Lower: Output waveform)
The Optical Bias Controller uses a
photocoupler for electric isolation, so that
there is no feedback loop which could
degrade the performance of the amplifier.
As shown in the diagram, the input
music Signals are monitored to detect the
peak level of the signal, and this detection
signal is used to vary the bias current, so
that an optimum bias current is applied to
generate the signals required to drive the
speakers at all input signal levels. With this
operation , as shown in the figure, the bias Class·B operation
 II. Digital Pure-A Type 1/
Outline of "Digital Pure-A" Technology
JVC engineers used the lact that with prediction", possible only with input digital In Signal prediction , the level 01 the
alGI tal program sources the signal is signals, to maintain Class-A operation. The signal read into memory is measured to
processed digitally to make possible class- inpul signal is divided into two parts: one is ludge just how much amplification is
A operation with a lower power consump­ stored temporarily in a large capacity required . In this way, the transistors in the
tlon and the generation of less heat, for memory called a DRAM (dynamic random amplification stage can be supplied with
hlgner efficiency access memory) in the Time Base exactly the right voltage needed to amplify
By Including the D; A converter in the Processor, and the other part is used for the signal read out Irom memory
amolifier, digital signals can be Input . prediction ".
dirsc tl y to the amplilier With the signal in . - - - - -- - - -- - -- - - -- - -- -,
Block diagram 01 Digital Pure·A
dig I I form, it is possible to control the
de,ay time without any degradation 01 the
sigut. This characteristic 01 digital signals
wa;; employed in the . Digital PUle-A"
a m ~l iller , so that it coutd provide high­
power Class-A operation at all lime , but
witho ut the low efficiency inherent in
Cla;;s-A ampliliers
Digital Pure-A ampliliers use "signal

H w is prediction used to increase power output?

hen when the music seems to be at a When a higher level 01 amplification was In the AX-Z911 BK, the mu sic signal
relat,/ely high volume, amplifiers are only required, the voltage supplied to the power was delayed lor 150 msec in the Time
requ I ed to deliver their highest power for amplifier stage was increased for class-A Base Corrector while switching 01 the
sholt periods. The AX-Z911 BK which amplification with an output 01 100 watts power supply voltage was done 120 msec
Incorporated a Digital Pure-A circuit per channel. In th is way, the optimum belore the signal was read out 01 memory,
alalors A and B
norm<lily operated as a class-A amplilier voltage was supplied with high as well as allowing a sufficient margin lor the
with an output 01 20 watts per channel. low input signals switching 01 the power supply .

2nd generation ~ "Digital Pure-A II"

'[ngital Pure-A II" also uses signal trol Circuit which gently attenuates the bias figure below, as required lor class-A operation
nd, JVC is prediction , but in a different way: the digital As shown in the diagram, the bias Digital Pure-A, because the prediction
improve the signal prior to D/A conversion is used to current is raised in two stages, lust belore signal controlled voltage, required the
In 01 analog con trol the bias current. rather than the the rise in the music signal. This shows charging of a large capacitor and a relatively
volt age lor more effective operation 01 the that "prediction" is perlormed approx. high current, and this resulted in a much
power mplillcation stage 10 msec . immediately belore the high-level longer time delay (approx. 150 msec).
As shown in the block diagram, the music signal arrives, with sufficient bias By controlling the bias current instead
enCOde digital signal from the source current always supplied according to the of the drive voltage, Digital Pure-A II
component, after being decoded, is divided level 01 the music signaL The resultant reduces the time delay to 10 msec - an
into two parts : one is supplied to the Time output current will be smooth as shown In improvement over Digital Pure-A.
Base Processor in which the incoming r-- -- -­ - - - - -- -- - - - - - - - - - -- - - - - - - ,
digital ignal is stored lor approx 10 msec Block Diagram 01 Digital Pure-A Circuit Type \I
before entering the "K2 Interlace" and
subsequent D/A Converter, etc., and the
other to the Prediction Signal Processor to
be used for prediction , to control the bias
'ulpul wavelonn)
current supplied to the power amplifier
which drives the speakers.
Th e Prediclion Signal Processor
gener ates a signal which is proportional to
the instantaneous peak level of the music '
signal, thiSis supplied to the Optical Bias
ContrOl Circuit which supplies the bias
contrOl current to the Super-A Bias Control
CirCUlI !O optimize the operating condllion
of the amplifier The Optical Bias Control
Circuit Incorporates a photocoupler lor
etectrical lsolation, so that there is no
leedback loop that could degrade the 10

opera tion 01 the amplifier When the higher

bl.as curr ent is not required, the Super-A >CI I
Bias Control Circuit leeds a signal to the o ~---------------------
Signal Lt vei Detector and Optical Bias Con-
Operation 01 Olgllal Pure-A \I (conceptual) Actual wavelonn

(Upper: Bills current, Lower: Output wavelonn)

59
-,
TUNERS L

Feature Highlights of '90 Tuners

1 Our "Opticalink" optical

transfer system completely

eliminates digital/analog

interference

t:)) The computer-controlled "reception

~ selVo" system maintains optimum
reception .'
conditions at all
times
-­ - - T _ _ _ - - - -~ -

/ <~ ~/
Feature Comparison Chart

...~...~ ~~
......
'<~ '<~

Circuit
Opticalink ./ ./
Digitat Synthesi zer (FM/AM ) ./ ./
Reception Servo ./ ,/
2-Antenna Inputs .I ./
Function
Preset Stations (Random) 40 40
Station Name Memory (6 -col umn) .I ./
Variable Stop Level .I ./
Prog ram/Auto/Manual Memory .- .I .I
Preset Scan ./ ./
Preset Cancei _L ./
FM IF Selection .I (Narrow/W,de) ./ (Narrow/Wide)
FM RF Select ion .I (DX/local ) -;1 (O X/Local )
Au to OSC .I ./
Rec Cali b,ation .I ./
Display
dB Indication .I ./
Display Panel I FL FL
Alphanumeric Displav (6-column) I oL .I
60 I COMPU LINK Component .I
 Computer-controlled digital synthesizer tuner with "reception seIVo" system
Tltanilnl-linished

• Computer-controlled "reception servo" system

• "Opticalink" system
• 6-character station name display
• Direct-access numeric keypad
• Random preset memory for 40 FM/AM stations
·1010TN ~~~
puler-Conlrolled Digilal Synlhesizer Tuner

puter-controlled digital synthesizer tuner with "reception seIVo" system

,;;,.K.
'i.:f----- - - ~.
~
, . '. • Computer-controlled "reception servo" system

.....- . . • "Opticalink" system

-- :. ~ ... .!.::.~- - - • ..-
.-;: - _:-.-, ~: _~ . -':'_ .• - 0"
:- .;;.;..-;,,;. -­ •
•
6-character station name display
Direct-access numeric keypad
• Random preset memory for 40 FM/AM stations

Compuler-Conlrolled Digital Synlhesizer Tuner

~­
-
--..
---
---- Featur e reference Benefits
----

"Reception Servo" (All models)

Computer controlled reception servo Tuning is always optimized so the best

system automatically selects the operating possible sound is obtained regardless of
mode of the Iront-end, IF and multiplex your location.
decoder stages to provide optimum
reception considering the degree of
Interference and the strength 01 the tuned
signal.

Computer-controlled operation IAII models)

Operations are extremely convenient Tu ning operations are easy and accurate, so

thanks to the computer; auto memory, even if you do not know the frequency of a

preset memory and preset scan are station , you can tune to it exactly.

available, In addition, auto asc, dB­

referenced signal strength indicator and

variable stop level functions are available.

"Opticalink" (All models)

This system electrically decouples the A variety of noise from digital circuits
digital section (microcomputer and display) transmitted through the power supply line
from the an)log circuitry and transmits all and ground line is shut out and only pure
signals using a photo coupler. signals are transmitted as they are
converted to light.

61
~, =/=i=e=a=tu=r=e==r=e=fe=r=e=n=c==e==~/ Technology/Function Benefits

IF bandwidth select function IAII modelsl

The IF bandwidth select function using the When a station you are attempting to liste n
computer lets you tune to broadcasts in a to is sUOlect to Interference Irom another .
more listenable condition . stronger station . the com puter automatically
selects the narrow IF bandwidth 10 shar pen
selec tivity and reject Interference. Yo ur
desired station will now be received loud and
cle ar. On the other hand, If there's no
interference the IF band-Width remains wide.
so you can enjoy the best pos sib le hi-fi
sound .

Auto memory functions (AU modelsj

Auto memory functions using the computer Th iS function is extremely conven ien t
to automatically preset stations one alter presetting stations In optimum condition
another, with the user selecting the starling wherever you five , eliminating your haVing to
frequency, even in the middle of the tuning check broadcast Irequencies.
band.

Program memory and program monitor (All mOdels)

Program memory and program monitor let When used with a multi-programmable
you program several broadcasts and check timer , the program memory offers true
the programming for unattended recording. convenience It automatically tunes to
different stations held in the memory each
time the tuner is turned on and off, as
controlled by the timer.

Preset scan function (All modelS)

...__...1

1--_---'1 1 Preset scan funclion lets the user This is a very convenient way to sear ch lor a
automatically tune to each of Ihe preset FM station you want to hear, letting you check
(or AM) stations in memory and hear Ihem the programming offered by your preset
lor live seconds each. stations at any time .

Preset memory of 40 FMI AM stations (All modelsl

Preset memory function lets you preset 40 Once a station is pre set. you can instantly
FM and AM stations . recall it by simply touching a button; a to(al
of 40 FM and AM station s can be preset in
any order.

Preset Cancel function tAil models)

This function is used to delete preset Although our tuners provide up to 40 station
channels in which no broadcast station presets for FM and AM broadcasting.
frequency is stored, from the preset so metimes all of these are not always
memory. With this, unused preset channels required in actual use . In such a case.
will be skipped during preset scanning unused (or tempor arily unwanted) presel
operation. channels can easily be "cancelled" from the
internal memory . while only the required
pre set channels are held in memory ThiS
function could be convenient In an area
where only a limited number of broadcasts
are available.

62
 ~~e~a~
tu~r~e=r=e=f;=e=re::::;:n~c==e~:::::=,/ Technology/Function Benefits

Variable stop level function (All models)

ltlempting to listen This lets the user determine the muting Select a higher level and you'll only get
lce from another , threshold level in steps 01 5 dB over a 20 to powerful, good-sounding stations while
lPuter automatically 50 dB range for FM and a 50 to 90 dB range muting out stations with poor sound. By
1dwidth to sharpen for AM; this selling is effective only for choosing a lower level setting , all stations,
:rference. Your stations held in auto memory. unless they are extremely weak, will be
be received loud and
received . This leature is very handy when
, if there 's no
there are many stations to choose from .
-width remains wiae,
;t possible hi-fi dB-reference signal strength indicator (All models)

dB-reference signal strength indicator This feature is uselul when orienting the
displays the strength of tuned stations in antenna for optimum reception, etc. It also
dB. lets you check whether a station can be
received satisfactorily or not in your area.
Iy convenient. Auto QSe (All models)
timum condition
lating your having to The auto quieting slope control (aSe) Stereo broadcasts can be received with
Icies. circuit operates effectively when a stereo more listenable sound because stereo noise
broadcast with a weak signal strength is is removed when the signal from a stations
received; when the Signals is lower than is weak.
39 dB, this circuit is swilched to on
automatically and reduces noise by
controlling the Land R components of the
sub signal, resulting in a 5-dB improvement
in the stereo signal-to-noise ratio.
programmable
lory offers true
cally tunes to Station name display (All models)
the memory each
on and off, as A 5-figure display (leiter and numerals)) is The user can input letters as required , for
used in the FX-1010TN/FX-1100BK, making example, "JAZZ-3" for a third jazz-oriented
il possible to assign up to six alphanumeric station .
characters lor each preset station.

2 antenna inputs (All models)

t way to search for a
, letting you check 2 antenna inputs are provided lor the You can point these two antennas towards
j by your preset
connection 01 two antennas which can be different stations for the best possible
selected, reception of different broadcasts. In addition ,
each preset position can be programmed to
be received from either antenna "A " and
"8" so that as a station is selected, it is
aut~matically received from the optimum
antp.nna .

you can instan tty Record calibration signal generator (All models)
ing a button; a total
1S can be preset in Record calibration Signal generator outputs You can easily set the recording level for
a standard 400 Hz signal for recording different broadcasts or types of tape.
level adjustment.

Separate AM loop antenna (All models)

tide up to 40 station A separate AM loop anlenna with a stand is The user can move the AM loop antenna to
Iroadcasting, provided and can be placed in the location find the position for optimum reception The
re not always that gives the best recepllon. antenna can be installed anywhere; thiS
such a case, flexible antenna setting is as convenient as a
nwanted) preset portable radio that can be placed anywhere.
:ancelled" from the
nly the required
in memory. Tnis
lient in an area
Iber of broad casts

63
 COMPU LINK

JVC COMPU LINK control system

With JVC 's COMPU LINK control and stop recording /editing receivers, certain JVC video components
system, various COMPU LINK components And if one of the COMPU LINK - VCRs and TVs - can also be controlled
interact with each other via acommon "bus" components incorporates the COMPU LINK directly
It has two extremely important remote control feature, they can all be So, if you build a hi-fi system around
functions; one is "automatic source operated with the single remote control JVC COMPU LINK components, you can
selection" allowing simplified operation unit supplied with the COMPU LINK remote easily upgrade it to a comprehensive AN
when the input source is switched, and the control component. system with a unified remote control by
other is "synchro recording" which uses a For greater flexibility, with the unified simply adding a COMPU LINK remote
convenient synchronized system to start AN remote control unit provided with JVC control component.

• Automatic Source Selection

One of the most convenient features of single button - the CD button on the
the COMPU LINK system is its ability to amplifier, or the PLAY bulton on the CD
switch inputs and play the required source player. Whichever you press, the tape
component, by simply touching a button on stops , the CD player starts, and the signal
either the amplifier/receiver, the source path is automatically switched over so you
component itself, or the remote control. hear the CD, This automatic sequence
For example, if you want to listen to a works in the same way with other source
compact disc while you 're playing a components,
cassette tape, all you have to do is touch a

• Synchronized recording
Another convenient feature of the automatically recorded on the cassette MUSIC Scan and other playback function s
COMPU LINK control system is that it deck , And when the CD player finishes 10 operate correctly will be left automatically,
synchronizes the operation of the cassette playing, the cassette
deck with the CD player or turntable, so deck also stops auto­
you can dub from compact discs or matically , By program­
records to cassette tapes , by simply ming the compact disc
pressing a single button , to play tunes in a
To dub from a compact disc to cassette certain order, it's easy
tape. for example, first set the deck to the to record a cus tomized
record -pause mode, then select the tunes tape; when you use this
on the compact disc that you want to feature, the gaps
record Now, press the PLAY button of the interval between tunes
CD player: The required tunes will be on the tape required for

• COMPU LINK remote control system

The COMPU LINK remote control Signal is transmitted to
system goes one further than the the required component
conventional COMPU LINK control system, via the remote cable
With It, most JVC components respond to providing the signal bus,
signals from a COMPU LINK remote This gives you com­
control unit. All the operations described plete control of your CD
above are possible with the remote control, player , cassette deck,
putting complete control of your hi-fi tuner, DAT deck, SEA
system in the palm of your hand , graphic equalizer, and L~~~"","==,_~ •

Even if COMFlU LINK components are other components, from ---

not designed for remote control on their
own, when they are connected to COMPU
your listening position ,
A/ V UI'I,hfod remo_e con, 'o'
-------
un,' '10 .Jble 10 dore c tlV contr ul
LINK Remote Control Components with :l4 11C. ed JVC TV I .1nd V CR I •

remote cables , remote controlled operation

is pOSSible, At this time , the remote control

• Integrated Audio/Video remote control

Some COMPU LINK remote control VCRs and TVs) Audio components are by remote sensors on the front panels of
components are supplied with a unified A/ controlled via the COMPU LINK remote the video components and allow you to call
V remote control unit which works with component, while the video components up any TV channet directly, tune to TV
both audio COMPU LINK components and are controlled by signals directly from the channels in sequence, and operate the VCR
certain JVC video components (such as remote control; these signals are received for recording and playback, etc

64
 F rther enhancements of the COMPU LINK control

:omponents
I be controlled
system
• CCS: COMPU LINK Communication System
em around For greater convenience, we've certain receivers. way , new JVC COMPU LINK components
s, you can Inlroduced an interactive display feature For example , with JVC 's new line-up of make possible interactive communications.
hensive AN called the "COMPU LINK Communication receivers, whe n an FM broadcast is These interactive operation mal<e JVC 's
control by Syste m", or CCS, which indicates the selected with the remote control, the COMPU LINK system amazingly
remote source selected and operating mode using receiver's display first shows the selected convenient, and give it a vast potential for
ar informatio n-packed alphanumeric and source " FM", then it displays the station future expansion .
pic torial display on the front panel of name you registered for that station . In this

• CSRP: COMPU LINK Source Related Presetting

Thi s year's top -end receivers are
pr')'l lded with "CSRP ", COMPU LINK
Source Related Presetting. which
allows the user to save all the settings
(volume , balance, etc.) and parameters (for
SEA , the surround processor) for each
source independently, to be recalled Whenever the source is selected . the with the receiver . to achieve the required
whenever that source is selected. various settings will be shown on the sound field .
With CSRP, users no longer have to display, in sequence : finally the display With CSRP, our new receivers are no
readiust or modify settings when they shows the source and other important longer iust a amplifier that incorporates a
select a particular source . settings. These settings can then be tuner , but the control center of the user's
modified USing the remote control provided audiolvideo component system
;k functions
automatically . - "-.IIDI I I I&lV
~'~ I.lrv •••••,
'Component CD la ers
XL -Z 101OTN /XL-Z611 BK /XL-Z431 BKi
Cassette decks
TO-V1 010TN /TO -V711 BK/TO-V531 BKI
1hiS logo Indicated a component that XL-Z331 BK /XL-V231 BK /XL -V131 BKI TO -R431 BK/TO -X331 BK
incorporates JVC 's COMPU LINK control XL -VB5BK /XL-G512NBK TO-W901 BK /TO -WB03BK /TO-W503BKI
XL-M70 1BK /XL -M403BK/ XL -M303BKI TO-W303BK /TO -W203BK/TO-WB7BKI
syste m. When used With other COMPU
XL-MB7BK /XL-R202BK /XL -RB6BK TO-W85BK
LlN f components, this allows interactive
ope all ons such as one -touch automatic Am lifiers Turntables
sou e selection and playback , and AX-Z1010TN. AX -Z911BK AL -FQ555BKI AL -F353BKI AL -F97BK
coordlnaled operations such as
synchronized rec ording. Tuners
FX-1 01 OTN /FX-11 OOBK /FX -B7BK
ThiS logo indicates a component which
Am lifier
can work as the center component of a
remote control system, enabling total AX-RB7BK
remote control of the components con­ Receiver
nected to the unit. COMPU LINK remote
control components Include remote RX-10 10VTN /RX-903VBK/ RX-B03VBKI
RX -703VBKIR X-503BK/ RX-403BKI
controlled amplifiers. receivers and
RX-RB5BK
cassette receivers

PU LINK/
.~:~. ;':;H~I: I I [GMU­."7
other COMPU LINK components USing

exclusive synchro cables (bus cables)

UI
CHRO tenninal provided ; these are the control buses

l . J
COMPU LINK components are equipped between the components that make

with SVNCHRO terminals which should be interactive operation possible .

connerted to the SVNCHRO terminals of

-----.--~ --------­
, '-
,
1t panels of
)w you to call
ne to TV
erate the VCR
:c.

65
, .
DIGITAL ACOUSTICS P 0 ESSORS
Feature Highlights of '90 Digital Acoustics Processors

1 JVC's advanced symmetrical6-point

sound field analysis with specially
designed measurement microphones
used to determine
parameters

There are 20 programmed and 20 user­

L-----.....Jprogrammable sound
field patterns

3 Independent setting of five acoustic

parameters and four source/room
control parameters
t ;1_ '''0 J. _ }. ---. _- _ r - - •• 1111
 Lineup of '90 Digital Acoustics Processors _ _ _ _ __ __ _ _ _ _ _ __ __
DRS
6-channel full-digital ambience control digital acoustics processor with remote
control

• 16-bit quantization with sampling rate of 48 kHz

Titanium-finished
• Independent setting of five acoustic parameters
and four source/listening room parameters
• 20 preset and 20 user-programmable sound field
patterns
• 6-channel ambience operation with remote control
• Symmetrical 6-point sound field analysis

6-channel full-digital ambience control digital acoustics processor with remote

control o
Ci
::::;
l>
r-
• 16-bit quantization with sampling rate of 48 kHz l>
n
• Independent setting of five acoustic parameters oc
and four source/listening room parameters (fl
-<
fi
:::-- ---:-.~~.- ...... ' ~ . • 20 preset and 20 user-programmable sound field (fl

- - . .. ~ patterns o"
JJ
n
~ • 6-channel ambience operation with remote control m
(fl
_1
• Symmetrical 6-point sound field analysis (fl
o
-A1ooom
JJ
(fl
"",RDtGtFtnE

D'9.tal Acoustics Processor

-, Technical Notes
Digital Acoustics Processor Description Story
1 Propagation of Sound in Concert Hall
When we listen to the music In the
concert hall . the sound we hear is not only
the sound directly from the instruments or
the singers but also there are many
reflections from the side walls. floor and
the cei ling. (See Fig 1.)
The sound is made up from three major
components : direct sound (OS). early
reflections (ER) and reverberations (REV)
as shown in Fig. 2.
Among these signal components, the
key to the unique acoustic characteristics
of any auditorium are the early reflections.
generated by the direct. "original" sound ,
reflected one or more times from the walls
and ceiling. Each of the reflections has a
different level and appears to come from a
different direction (in other words, they
have individual "vectors"), while the
pattern of early reflections is different for
different concert halls , auditoriums and
jazz clubs, wherever music is performed
At the same time , each acoustic space
(concert hall, etc.) and home listening
r PuI'ITvt! SountJ I - 0

room has a unique pattern of reflections

r D 'ccl Sound 10SI
C Earlv Retlec hCY'ls (ERI
and reverberations, mainly caused by
these "early reflections ", which differ C Reyprcu' al'OI'
depending on the size of the hall (or \

listening room), its interior furnishings . etc

Some rooms are " live", with many reflec­
tions, and some are acoustically "dead" .
As shown in Fig . 3. the sound
50 10 ISO ms
generated on the stage is propagated in all T'm e _
Fig. 2 Typical pattern of sound
directions. Some of the signals reach the Fig. 3 Pattern of early reflections
listener's ears directly, and some are os
reflected from the side and rear walls and os
ceiling before reaching the listener.
As above. trom our study and analYSIS,
we found that the pattern of the early
reflections greatly depend on the type 01
acoustic space (concert hall or listening
room), mainly the shape of the space and
(a) Wide , less absorption
I
(b) Wide , greater absorption
the characteristics of the wall materials.
For example , as shown in Fig 4, when
the sound is generated in a wide space os os
with walls with less absorb~g character­
istiCS, there is not so much difference in
level between the direct sound and the
early reflections, while the interval between
reflections is longer. When the sound is
generated in a narrow space with walls
that absorb sound, the gradient with which (c) Narrow, less absorpl1on
IU
(d) Narrow. greater absorption
the level decays steep and the interval Fig. 4 Early reflection patterns and acoustic characteristics of different types of room
between the reflections becomes shorter.
 2 Virtual Image Sources
In Fig. 4, when a certain reflection is means that, from what we hear, the sound
Fig. 5
neard by the listener, the sound source source is at that position, in the sense of
seems to be at the position far beyond the level and the direction from which the
walls , as shown in Fig. 5. sound comes. - This is called the "virtual
As shown in Fig. 5, one component of sound image".
t h~ sound generated from the sound We found that distribution of the virtual
sour ce is reflected from the back wall of sound images is different for different
tM stage, and then reflected from the side
wall before it reaches the listener's ears. In
t h,~ case, the listener perceives the sound
source as coming from point I, far outside
concert halls, etc. Therefore, if the
distribution of virtual sound images in
famous concert halls, etc. are measured
and analyzed, their acoustic characteristics
- I .. ..............
s.. Soo~"""'"
'

the concert hall (listening room). This could be analyzed.

ewly-deve/oped Symmetrica/6-point Sound Field Analysis Method

To measure the various acoustic the acoustic properties of different listen­
param eters of places where music is ing environments accurately and precisely.
played - concert halls, churches, jazz In this system, microphones are
c l u ~, etc., - done in conJunction with the installed symmetrically at one position, in
development of our Digital Acoustics the directions of the X, Y and Z axes. The
Pr I'essing System, we developed a new sound sources used for measurement are
high-precision measurement system called very short pulsive sounds uSing three
the symmetrical 6-point sound field pistols used at the center, left and right of
analysis method". This innovative the stage. This use of a number of sources
compu ter·alded measurement system uses reveals the greater differences in the
a specially designed measuring instrument propagation of the sound and the
cons,r,ting of three pairs of microphones reflections, depending on the position of
installed parallel to each other; it measures the source .
Symmetrical 6-point Sound Field

Measurement microphone

4 Distribution of Virtual Image Sources

Vie measured the sound field sound images, from which the listener right of the stage.
charac teristics of concert halls and other perceives that the sound originated. The As can be seen from Fig 6, in addition
plac8'; where live music is performed using sizes of the circles show the relative levels to the direct sound (OS) which reaches the
this lIew system . In this way, actually of the signals and the centers of the circles listener directly, he/she also hears
Irly rellections mea:; Ired data was used for the total show the positions of the source of direct reflections at different levels, from different
analy"s of the ambience parameters, using sound and the apparent sources of early directions. The distribution of these early
an aovanced computer system. reflections. reflections, that is the virtual sound
Data from various measurements were From the results of our extensive study sources, is shown in the diagrams which
inpul lo an advanced computer-aided using data measured in various locations, were compiled from the measurement of
analYSIS system, and these results are we found that the dislribution of virtual sound in specific halls.
summ;Jrized in "Virtual Image Source" images changes greatly depending on the The diagrams in Fig . 6 show the
diagram . size of the auditorium and .on the points at distribution of virtual sound images in a
One shows "impulse response" to the which the measurement was performed. large concert hall where classical concerts
pulslve sound, another, the distribution And at the same time, we also found that are generally performed, while Fig. 5
diagram of "virtual" sources, and the third, the distribution of virtual images changes shows the sound images in a typical small
the three-dimensional distribution of when the point source shifts to the left or jazz club with a low ceiling,
"virtual" sources.
Fig. 6-a shows the measured results of
impulse response when a pulsive sound
Source

(like a PI tol shot) is generated on the Siage

Center
stage showing the pattern of decay in a
specik concert hall. And Fig. 6-b shows
the two dimensional distribution pattern of
sound linages corresponding to a pulsive Source

m
olroom
SOund source, obtained in the same Siage

Left
concert hall, while Fig. 6-c shows the
three -dimensional pattern 01 the same
resul ts
In these diagrams, the point where the Source / :;;;;4; I 7
S~age . ..... i
axes cr ySS at the center of the figure is the Righi / _ '-'_~
£"' L.....!.~~7
IIstenino position and the box is the hall;
the lar q~~t circle shows the direct sound
and th e smaller circles show "virtual" Ibl
fig . 6 Virtual sound images in large multi· purpose hall
69
-,
Technical Notes

5 Digital Acoustics Processing for the Ultimate Sound Field

Reproduction
The acoustic characteristics of various could result in an over-processed sound verted into a digital signal, using 16-bit
sound fields - in concert halls, etc . field that is exaggerated. quantization with a sampling rate of
were measured using our exclusive Or, if the user's listening room has solid 48 kHz, with a 64-times oversampling twin
"symmetrical 6-point sound field walls, the preset parameters could add too AI D converter, while the D/A conversion of
measurement microphone" All the much reverberation to the original sound. the processed data is done by a 16-bit 01A
measurements were performed with these To prevent these problems, the converter with a 4-times oversampling
special microphones placed at the best conditions when the source was recorded digitallilter.
seat in a number of famous concert halls and those of the listening room were also With this chip set, all signal processing
and places where music is performed , taken into consideration so that a more is done in stereo, and the 2-channel input
around the world. accurate sound field could be reproduced signals are processed as they are.
To simulate the sound field in any of As a result , we 've developed our Since all the signal processing is done
these places, the directions and levels of exclusive digital acoustic processing digitally, signal deterioration and' degrada­
reflections and reverberations 01 the hall, system, by considering all the possible tion are minimized, while all these
etc. must be recreated accurately. factors that might be related to recreating operations are performed under
But if the acoustic parameters where sound fields with extreme accuracy The microcomputer control for assured
the recording was made and the listening culmination 01 this research is the accuracy. With the XP-A 101 OTN , the user
room where the music is reproduced ­ XP -A1010TN Digital Acoustics Processor can easily recognize that the sound field is
each has its own characteristics - are not - the crystallization of our long expanded, for a listening experience that's
taken into consideration when reproducing experience in all fields of audio and results more exciting than ever .
the ambience of a hall in a home listening 01 our determination to recreate "real"
room , excessive reflections and sound fields, by using a number 01
reverberations may totally eliminate any advanced digital technologies
sense of realism . It has been achieved by the develop­
This is because, if the source sound ment of the three Digital Acoustics
(Compact Disc, etc) already includes the Processing VLSts, custom designed by
echoes and reverberations of the concert JVC, and ROM chips which contain data
hall , or if these effects have been added derived Irom actual measurements, in
intentionally by the mixing engineer , etc. to addition to highly accurate AI D and D/A
give acoustic presence, the programmed conversion circuitry.
Custom-designed Digital Acoustics

data will add further reverberatioQ, and this The input source signal is AI D con­ Processing LSI

6 Actual Operation with the XP-A 101 om

With the JVC XP-A1010TN , the user is possible because the speakers required digitally in the XP-A1010TN. So that digital
can experience the " true" presence of to give ambience can be relatively compact signals can be input with less distortion,
certain famous concert halls, clubs , and However, for convenience and economy, the XP-A 101 OTN has two opticall coaxial
even a cathedral , etc. in the user's own a simplified system is possible, using a digital inputs lor the direction connection
listening room, by recreating the ~ound single pair of additional speakers. Although of CD players, etc. as well as inputs and
field of the specified location. the XP-A101 OTN is designed as a 6­ outputs for the connection of a OAT deck .
The XP-A 101 OTN comes with the 20 channel processing system, it can also be All parameter settings and operations
sets of parameters programmed lor used in a 4-channel configuration. In this can be controlled from the listening
recreating famous concert halls, etc .; in case, the sound which is to be reproduced position, using the remote control provided
addition, it allows the user to store up to by the front "sound field" speakers is with the XP-A 101OTN, while parameter
20 sets of user-programmed patterns, with combined with the front channel signals settings, etc. are indicated on the FL
names the user can preset. and output from the front -main speakers. display on the front panel, lor operation
At the same time , the "listening room All the signal processing is done convenience and flexibility.
condition" and the "sound field condition "
A Sample Connection Diagram
can be adjusted in detail, enabling
extremely accurate reproduction of sound
fields , set exclusively for the user's own
listening room.
For the most accurate possible sound
field recreation, the XP-A 101 OTN requires
two pairs of "sound field " speakers with
the amplifiers driving them, in addition to
an existing 2-channel stereo hi-fi system .
The most effective speaker placement,
which gives the optimum effect. is with the
four additional speakers at the four top
corners of the room, with two at the top of
the wall facing the main listening position ,
and two behind This placement, with the
speakers above the listener is best, and it
70
 7 Superiority of this JVC-exclusive Method
1) We used a more accurate 2) Sound field analysis includes 3) Newly-developed signal
measuring method: listening room and source
Ising 16-bit processing VLSls:
All the measurements of the various condition: By considering all the above items, the
I rate of
concert halls, etc. were performed using In addition to the acoustic character­ signal processing data is all held in newly
lrsampling twin
our innovative "symmetrical 6-point sound istics of the concert hall , etc , we also developed OAP VLSls, including the data
A conversion of
field measurement microphone" rather include data derived from the analysis of held in ROM memory chips which store the
by a 16-bit O/A than the "closed 4-point " system used in
ersampling listening room and source conditions, such measurements made in the various
another manufacturer. At this time , we use as recording studio or hall, etc, while the concert halls, etc .
pulsive sources placed at three positions possible acoustic charac teristics of the At the same time, unlike the other
nal processing on the stage: stage left , stage right and at
·channel input listening room are also considered manufacturer's monaural processing
the center, whereas the other system used To accomplish this, the XP-A 101DTNlTN system, our OAP system employs stereo
lyare. a single source.
lssing is done has adjustable parameters for listening (2-channel) signal processing, made
This makes possible stereo signal room compensation as well as for source possible by our 3-point source signal
and degrada­ rl[ocessing instead of the other system 's
these conditions , making more accurate and measurement.
monaural signal processing, for more "natural" sound fields possible
nder accurate sound field measurement.
Issured
IOTN, the user
J sound field is
Sound Field Reproduction by JVC's DAP System
perience that's
Impulse recording where 2.channel
the recording is made mlx .down
Sound field analysis
of source
Sound field measurement in Sound field measurement In
concert hall. etc. typical listening rooms

ouslics

. So that digital Memory

;s distortion, (ROM)
ptical/coaxial Digital signal
In connection processing (OSP) LSI Digital tilter C'A converter

IS inputs and L Sound field

Sound L L speaker
)f a OAT deck. ~:\~ ~~-----l------{ output
R (Front)
nd operations R R
listening
:ontrol provided
l parameter L l Sound field
L speaker
In the FL output
or operation 2-chlnr,elsource
R R R (Rear)
(Inpu t )

R
XP-A t010TN
OSP LSI lor reverberalions
 Technical Notes

.--------~--------------------

Symmetrical 6-Point Sound Field Analysis Pattern

Large Concert Hall Small Concert Hall Stadium

,/

Cathedral y,l!" ~,,'iotltClI'

Opera HOU5e
Small-sized Jazz Clut

Acoustics Processing Mode Patterns

Table of Acoustic
ACOUSTICS PROCESSING MOOE PATTERNS
NO PROGRAM TYPE PARAMETE R LOW-PRESET VALUE - HI GH NO PROG~AM
TYPE
PARAMETER
LOW - PRESET VALUE -. HIGH
Processing Mode
NAME NAME NAME NAME
ROO M Slzr 05 2 ROO MSIZE 0, I 1 Patterns
05 05 I
~ -
LIVE'I1'SS I 2 UVFN£SS
I SYN PH ~y SHOEBOX i\1Il LIV ECLUB JAZZ LPf 16 kfl/ HALL 1: Typical European
HA l I Ty PE
LPi IkHl 1 6 '~~ 11 I CL UB
1 ~H~
2' -
REV oR DLEVEL 0 I REV ERB LFV(l 0 I concert hall with about
l-f - -
Hi RE VERB 01
0,
01
--- F REVE RB 01 I -2 2200 seals.

~t- r---!-
RO OM IZE I .1 ROO M SIZE HALL 2: Large concert hall

--2-
t+;~NfSS 05 I 7 lIV NESS I
t SY ~' PHO N Y S>tUE80X LPf I kHz 7)tll I60HI lHR 2 LI VE CLue DiSCO· LPf lkl-4 l 161HI THRU with about 2500 seats ; with

I1All 2 TYPE I 2 THEOIIE dynamic acoustic

AEVfi~B LEVEL 0 ? R,VE RB LflI'EL 0 I 1

- I Hi REVERB
800", 51Z
01
05
01
, !:--
I.
--,- - HF HEVlRB
ROOM SrZE
oI
05
I
I 2
- characteristics.

0,
HALL 3: Multi·purpose hall

lIVE NfSS 05 I 2 UV~ SS I

HALL )
I
J SYNPIIO"Y ~~OE8DX [ L-Pf- -
IYPE
I kH l kHI 16 kHl Tlf RU 13 PAVILION lIVf
W CFRI
LPf 1kHz 6lo. Hz 16 IH} THR U with about 1000 seats.

HALL 4: Large concert hall

R!VERa.EVEL
Hf REVERB 0
0
07
I 2
I
REVERB LeV EL
Hi REVERB
0
aI O'S
,
-t- with about 2500 seats

IIODIJ 511'
~E?S
0,
os ,
I __2_
2 HAAO
ROO M $lI E
LIVt UESS
GS
05 I 2
2
surrounding the stage,

S Y N PHt'J ~'r' VINfY ARD LPr iHFiU I' GYMr. A· HALL 5: Large hall with

"
~AL L , rvl't REVERS LEVEL
HHz
0
7 kHz Ib.k,
I 2
S,U M
FL OORED
HA LL
LPf
REVE R8 LflIEl
I l ti l
0 ,
8 ~ Hl 16 kHz . THA U
2 diHraction characterist;cs

0, 01
I- f--
Hf RE VE RB
, I
2'
Hf REVE R I 08 such that direct sound and

ROOM S~E
lI l/, NE SS
0:
05 , 2
ROO MSIZE
OUT DOOR UVEN ESS
05
05
I
I
2
reflections are well·

5- SYI1 PHm v VINEYA RD LP f

HALL S IYPE
1 kH.l 7 kHl 16 ' H, THRU 15 SI AOIUM LIVE LPf IHIl JlHI 16 kH; iiiRiJ balanced.

~VEL a I _ 2_ CO C AT RE VERB LEV El 0 2 HALL 6: Multi·purpose hall

, Hf RE VE RB 1
I-
Hf REVER B 01 07 01 03
, with about 1500 seats, with

ROOM SIZE
LIVENESS ,
~-~ r-'-
2
2
ROOM ST ZE
UVE~ESS
05
OS I
2
2 "dead" ambience,

6 SY"PHO NY VIN YARO LPf '1Il 1 :" Hz Ib IHI h1J!1!. , 6 MOVIE I ~,ALL LPf \ %l1l 16 i;Hl tliAU MOVIE THEATER 1:

HAll 6 IYPE
REVE RB LEVEL
Hf Rfll R~
0
01 01
I
;- rHf TER I ACE RrvERB LE VEL
Hf ReVE RB
0
01
I
I -
2 A small. cubic movie theater

with about 100 seats.

R ()MSm 05 I 2 REAR DELAY Sm> 20 m, 30 m.

l.M!lESf Jl: ROOMSIZ E 05 I 2 MOVIE THEATER 2:

St.uLL
AECII AL iHiiU )5 I Normal movie theater with

7
HAL
MUSICAL
SPACE
Pf
REVE RR LEVEL
1kHz
0 ,
Bk H' ,6 ;/
MOVIE
17 TH EAIER I
MEDI UM ·
SIZ ED
lIV ENESS
LPf 1 kHz 18 kHl 16 k~l~
2
about 400 to 600 seats.

-- HI REVERR 0' DB I SPA CE REVERB LEVEL 0 MOVIE THEATER 3:

I ROOM SIZE 0: I 2 __ Hf REVf.RB 01 OB I

Medium-sized movie

! OPE RA
HOUSE
lilT"
HEREO
LII/(NfSS
LP i
0,
I kH l
I 2
8 ki-l z 16 Y-I.z THRU
EAR DELAY
~allM.Sr Z [
I~
05
ms 20 ms
I ,
30 m
theater with about 1000

SEAm Uj REVERB LEVEL 0 I J'illIESS. a~ 1

I seats.

""0 1kHz,
Hf REVER B DI 08 I MOVIE LAR GE Pf 16 kHI IR RU
RO OM.; 12£ 05 I 1 '! lH EAIFR ) SP ACE EVE RS l VEl 2 MOVIE THEATER 4: Large

LNt NESS 0, I 2 HT REVERB I QI 1 movie theater with about

9 CAIHE· GOl IC
1
t)R ~ l SIYLE
LPf
RE VERB lEVEL
"Hz 5. kHl
0 , Hi .(nl THRu
-.L-
- REAR DELAV
ROOIA SIZE
15 m
OS
ZOrn 30 ...
.2.
1500 seats,

MOVIE THEATER 5:

Hi REVER B 0, 05 I lIVEN f SS 05 I Z

~,-" !
ROO", SIZE 05 1 EXIRA l Pf I ~ HI 8kHz 6 . Hl THRU Suitable to give a surround

19 MOV <f LAR GE

IHEA T[R' sound eHect, similar to

I~k.~
toIlGH llVtNfSS 05 I SPA r E RfVER8 LEVEL 0 I Z
CEILI NGED LPf I ~ Hl b kHI Hi ReVER B o, OB I Dolby Surround sound. to

SPACE I RE VER BLEVEL 0 I 2 HEAR DE LAY 15 ms 20 m1 30 fIl'S

movie programs.

72 Hf REVERe 01 06 1
IU MOVIE ~IAND·
R[A R DELAY 15 mi 20 m';!o 30 If'S
THEATER, A. RQ
 • Parameters
Inilial Inilial
Parameter Adjustable Range Step RemarWI Parameter AdJuatable Range Step RemarWs
Value Value
I ROOM SIZE 0.5 - 2 0.1 1 Can be 8 SPREAD/ POINT SPREAD/ POINT SPREAD LaSI
0.1 slored in 9 LISTENING ROOM 0.2 - 0.6 sec 0.1 sec 0.4 sec senlng
2 L1VENESS 05­ 2 1
Manual held In
16 kHz, THRU 1 kHz REVERB
J LOW PAS S FILTER 1- Presel Memory
J REVERB LEVEL 0 -2 0.1 1 Memory 10 LISTENING ROOM 10m' or less. 10 -
SIZE 10 - 16 m',
, HIGH-FREQ 01-1 0.1 16 m' or more
16 m'
REVERB
- -,- - ' 0 - 200 m S a 11 SOURCE REVERB 0- 5 sec 0.1 sec a sec
" OFFSET DELAY 1 ms
- REAR DELAY 15 - 30ms 1 ms 20 ms

The 20 preset patterns consist of the based on sound-field data measured using more of these parameters, you can create
para meters required by the DAP system to the symmetrical 6-point sound-field an original sound field of your very own
reCl eate the sound field in each of the analysis method. You can create your own
places where music is performed They are original sound field by changing one or

1. ROOM SIZE 2. LlVENESS 3. LPF (Low-Pass Filler)

Tile data on the size of the auditorium is The amount of sound reflected Indicates the overall frequency
0:
programmed with a standard value of measured in the auditorium is characteristics of the reflected sound. i5~
I O. You can change this parameter programmed with a standard value of The programmed standard value varies ~=
1>:
from 0.5 to 2, for an auditorium of half 10. You can change this parameter depending upon the auditorium. You can r-=
1>~
to twice Ihe preset size. between 0.5 (half) and 2 (double). select cut-off Irequencies of 1 kHz to 16 8~

.'Uh
kHz or by-pass the low-pass filter. c
VI

'II I'
~

ll][""
OI n~cl Sound (O.S. ) lo.s.

:;~lil~
E

.........
ED r1y Reflecllons (E.A .)

.
VI
,----..
~ Min Maw. -c
~
.•. Min Max :II

~I II I II
Tlme­
. Tlme __
11'1'1;;,
Time - Tlme­ , 2 1516kHz
o
n
m
VI
VI
Frequency ­ o
,coustic :II
VI
gMode
4, REVERB LEVEL 5, HF REVERB 6. REAR DELAY (Preset 16 - 20 only)
Controls the reverberation sound level Controls the reverberation time Sets the time by which the R/ DAP
'ical European Th~ data of each performance site is characteristics at high frequencies The output signals (the rear speakers) are
with about programmed with a standard value of standard value of 1.0 gives the same delayed relative to the main signals. You
1.0 You can change this parameter characteristics as at middle frequencies. can change this parameter from the
ge concert hall betw een 0 (no reverberations) and 2 You can change this parameter between standard value of 20 msec to between
500 seats; with
(t'JIICe as much reverberation) . 0.1 and 10 (double) . The standard value 15 and 30 msec.
)ustic
varies depending upon auditorium
cs.
iti-purpose hall IlDt ~'
r
'~.s.
E. R ~ E.R. where the data was measured .
000 seats. i ~ ~rber~ i ----- ~ Source Sound (S.S.) 5.S.
ge concert hall
500 seats
the stage.
lJS:. ," "
Tlme-
Min Max

Tlme­
I
t 0.5
~ '!:.R. (EP)
!!. High Level _ _ c.!..
i
I

t 0 .5

~ E.R (EP)

Me<tlum,
ge hall wilh Low Frequency
laracterist;es u..1L""'--'T~'"",=_ Reverb
eet sound and
re well- 7. OFFSET DELAY Notes:
Sets Ihe delay between the signals i) With analog input signals, you do not need to
ti -purpose hall supplied to the F/DAP (front speakers) use this parameter.
500 seats, with ii) The RIDAP output of preset patterns No. 16
and tne R/DAP (rear speakers) and the
ienee. - 19 cannot be compensated by this
HER 1: sig nal driving the main speakers in parameter.
c movie theater order to compensate for the time delay
00 seats. between digital input signals and analog
~TER 2: output ' ignals of an amplifier with a
ie theater with built·1O D/A converter. You can change
,600 seats. this para meter from the standard value
~TER3: of 0 up to a maximum of 200 msec.
3d movie

'IIili;·:~'~
about 1000
I,j"
- . .._..
Min Max
_______ !
.. ''
HER 4: Large
lr with about .b..-
Time --
: Tlma _
HERS: ~ t C.I IJY: ZERO ONset O.lay Time

live a surround
. similar to
Jnd sound, to
3ms. 73
_' ,·_ __e_m
_o_n_s_tf_G
_'_io_n__________--!._­
• Tips for the effective demonstration of the XP-A 101 OTN
Together with the XP-A101DTN, in normal stereo sound as the direci sound (Although this 4-channel configuration is
addition to an existing 2-channel stereo from the sound source, while the front and possible, it is recommended that the
system, two additional pairs of DAP (sound rear DAP (sound field) speakers are used XP-A1D1DTN is operated in its "normal"
field) speakers and two amplifiers are to reproduce the reflections and 6-channel mode t~ obtain full benefit from it.)
required for the 6-channel sound field reverberations. Therefore, the front main
reproduction, or one additional pair of speakers should be placed closer together
speakers and an amplifier, for 4-channel than in normal stereo reproduction,
system. When, however, the XP-A 101 DTN is
As shown in Fig 7, these DAP (sound used in the 4-channel mode, the main
field) speakers should be placed at the four speakers should be placed slightly further
corners of the listening room, surrounding apart, This is because, in this mode, the
the listener. main speakers are used not only to
With this speaker arrangement, you can reproduce direct sound but also for the
appreciate the resultant effect, however, if reproduction of the front·channel sound 6-channel mode 4-channel mode
the DAP (sound field) speakers are placed Jield signals, Fig, 7: Speaker Layout
more precisely, a more accurate and
realistic effect will be obtained, The Side View R' OAP

following shows how to obtain the

optimum effect.
As shown in Fig , 8-(8), the shape of the (A) Mam Spealtef s

listening room is typically rectangular.

(Here the length-to-breadth ralio is 1.5 : 1.)
The two speakers for the front-DAP / .

channels should be located at a distance

1/ 10· A (distance from front to rear of the Top View / //,... " "' ' '

room) behind the main 2-channel FDAP(~~ :

speakers,
Main (ll
The two speakers for the rear -DAP li.lenlng poinl

channels should be located at points .{]

1/ 3· A behind the listener.
These four DAP speakers should be (B)
placed slightly higher than the level of the
listener's ears, as shown in Fig . 8-(A) Main (A)

The values in these diagrams can be

used as a standard so long as the room is
rectangular Fig, 8 shows the average
setting condition of the sound fields
measured in various listening rooms.
You might think that the main speakers
are too close together, This is because the
main speakers are used to reproduce the Fig. 8: Speaker Arrangement for Precise Reproduction

• The following table shows source material we recommend for effective demonstrations
Genre Tune Tille (Example) Disc Title (Composer) Sound Field Plttem Effective demo method
1 Classic "Lighl Cavalry " Suppe NO. 1 (Symphony Hall 1) 2-CH - Presel No , 1
2 Jazz " High Jingo " No, 11 (Live Club 1) 2-CH - Preset No. 11
3 Popular "Help " Beatles Collection No, 7 (Recital Hall) 2-CH - Preset No 7
4 Big Band " Keeping Count" Tokyo Union No. 13 (Pavilion), 2-CH - No, 13 - 2-CH -
No, 15 (Stadium) No, 15
5 ClaSSIC (Organ) Symphony No3, Saint-Saens No, 9 (Cathedral) 2-CH - Preset No, 9
4th Movement
6 Opera (Airl "Toreador's Song " Bizet No, 8 (With tiered seating) 2-CH - Presel NO . 8
from "Carmen"
7 POINT/SPREAD 'line kleine Nachtmusik " Mozart No, 5 (Symphony Hall 5) POINT - SPREAD
comparison
8 Hall type (Same as above) No . 1 iSymphony Hall 1) No, 1 ­ No, 4
comparison No, 4 Symphony Hall 4) Compare "shoebox" and
"vineyard" concert halls,
9 AV source Dolby Surround-encoded Sci-Ii movies, etc are No.16-19 Compare theaters of
video source especially suitable, (Movie Theater 1 ­ 4), different sizes ,
No , 20 (Standard) (No. 20: Same effect as
normal Dolby Surround)
 .E.A. GRAPHIC EQUALIZER
hguration IS Feature ~lighlights of '90 S.E.A. Graphic Equalizer
lhat the
:s "normal"
Jenefit from iL)

-
7 electronic frequency
controls for each channel,

"____
" "1"1"1"
:.:1: : : " -..
:1:_: I_~-
"I
plus real-time spectrum analysis

nnel mode
yout
-- ~ - . -,"-. .,.~. ~ .. .

6 preset and 6 user- programmable

equalization patterns

Full-function remote control

with motor-driven volume

control

puter-controlled 7-band S.EA. graphic equalizer with remote control

itrations
Feature com ariS07.",..~.7
p
I method
,I No. 1
,I No . 11
,I NO . 7
3 - 2-CH- Control

,\ No . 9 .M770BK DIGIFlne
Electronic Control
ContrOl Elements '"
7 • 7
Remote Control Unit ./
S"EA. Graphic Equalizer IElectro Servu Volume
,\ No 8 J
REA D
7 electronic frequency controls for each

channel

Synchro Control
Display '"
Spectra Peak Ind'cato' I ./ (Peak Hold )
4
• FUll-function remote control with motor­
Display Level I ./
Memory
,ebox" and driven volume control
Number of User Program Memory I 6
ncerl halts.
• 6 preset and 6 user-programmable
Number 01 Programmed Memory I 6
lers of equalization patterns
, Function

effecI as
Surround)
• Real-time spectrum analysis
• Transfer function
Source
Rec
Tape MonllOr
'"
./
./
Presel Scan
Translcr Func tion '"
-'" 75
....1 ••
=/=I=e=a=tu=r=e==re=~=e=r=e=n=c=e====~/ Technology/Function Benefits F
==

IT
~ Transistor inductors ISEA-M770BK)
- - ~------~--------------------------
- ! JVC equalizers use semiconductor inductor Semiconductor inductors are highly resistant

~
.­
'r
~t-
-
- 1\ elements consisting 01 a transistor. a
resistor and a capacitor in an original JVC
circuit construction in the SEA resonance
to induction noise and magnetic distortion
that can occur with the coils used lor
filtering in conventional graphic equalizers.
· ,,,
c circuits lor higher sound quality than can They result in sharp filtering characteristics
·.
o
0­

~
be obtained using coil inductors. and make smooth operations possible With
•1---. JVC 's exclusively·designed circuit.
'" equalization will add nothing to degrade the
source signal being compensated; this is
,:;_-1
'00
Frequency (Hz)
'.. ,,,. particularly important when equalizing
signals from a compact disc or other digital
S.E.A. Characterislics
source which has lillie inherent deterioration
of sound quality

-..UVI:I."-:
"""
......
mHt ...

~
a-
.....

~
_
- - ­
~

_
~&:af.

_ _
Electronic Up/Down level controls
Instead 01 mechanical levers and variable
resistors , the SEA·M770BK uses an lSI
(SEA -M770BKI

Equalization has never been easier . Simply

touch ing the UP or DOWN button will boost
, ...... !- - - - ­
containing electronic switches. This lSI or attenuate the desired frequency band. The
chip developed exclusively lor S.E .A. equalized or compensated result can be
contains about 3800 elements and permits checked at a glance referring to the FL bar
all lunctions to be operated both lrom the display for correct and optimum
main unit and the remote control. Each compensation With their purely electronic
Irequency band is controlled electronically, operation, these switches provide trouble­
wilh UP and DOWN switches provided to free convenience and simple operation as
boost and attenuate response . well as high tracking precision .
. _.
.~ .. .. 1_ _t , .J. .:.. ~. 6 programmable preset patterns ISEA· M770BKI
------
... - -.

_ . ~_I_-.--
In Ihe SEA·M770BK, 6 "PROGRAMMED" The user can select the desired equalization

~
preset equalization patterns are provided, pattern instantly by simply touch ing the
= === = = =:..­ and can be recalled at any time. The 6 corresponding button. For example, if the
preset patterns are lor "Heavy", "Clear", user likes hard rock music, press the
"Soli" "Movie", " Vocal" and "Car" "Heavy" button to recall the optimum
equalization. In addition, the same number equalization pattern lor pop and rock music .
01 user·programmable " MANUAL" patterns Or il he or she likes light background music,
are also available. the "Soft" response will be most suitab le .
Furthermore , the user-programm able
memory accepts up to 6 equalization
pallerns lor the more critical, personalized
requirements of users. The user can lind the
optimum response in his/her listening room
or set up any customized characteristics to
be stored in memory lor different sources,
etc, to be recalled at any time by just
touching a button.
Refer to "Demonstration " page 79 for more
information.

SEA/SPI FL display ISEA-M770BK)

The SEA·M770BK has S.E.A.lS.P.1 (Spectro The frequency response display helps the
Peak Indicator) FL displays lor each user to "visualize" the music and
channel. When perlorming compensalion, compensate for room acoustics and
the FL display shows the response in each Irequency characteristics to suit his or her
Irequency band; in the SPI mode, it requirements . Equalization can be done
becomes a real lime spectrum analyzer easily while watching the FL display. The
, - , t:. ,[I.,PHIC [ QUh l '111
· ;:m:a; • that shows the output level 01 each band user can switch the display to a reat·time
•
·• :r::m
::::::; IIIIJII
~::m
•
.
. with Ihe varying input signal. Display level spectrum analyzer by simply pressing a
: :m::; ::::::.: :
controls allow the range olthe display to button. Demonstrating the SPI display
·· .. be adjusted lor high and low level signals . moving up and down according to the level
··· ..
.
of the music signal will attract the Interest of
potential buyers in a shop-front display.
76
 F~e~a~t=u=r=e=r=e="=e=re=n=c=e~===,",/ Technology/Function Benefits

Peak hold button (SEA-M770BKI

are highly resistant The SEA-M770BK has a Peak Hold function In the SPI mode with the SEA-M770BK, the
gnetic distortion used in the SPJ display. When this is Peak Hold button allows the peak levels to
IiIs used for activated, the peak levels of each be indicated for several seconds in each
aphic equalizers . frequency are held until the next higher frequency band. This function will be very
19 characteristics value is reached. helpful when checking the peak components
Dns possible With of the source signal for recording, etc .
d circuit,
ng to degrade the Remote-controlled motor-driven volume control (SEA-M770BKI
ensated; this is
In the SEA·M770BK, the output volume is Since the SEA-M770BK accepts the rec out
:n equalizing
controlled by a buill-in motor which can signal or pre out signal from the amplifier,
sc or other digital
also be controlled with the provided remote the overall volume level of any source signal
erent deterioration
control unit. (such as from the CD player or cassette
deck) selected by the amplifier's function
switch can be controlled via the graphic
equalizer . The motor-driven volume control
)n easier. Simply which incorporates an indicator permits the
I button will boost user to adjust the volume from a distance
'equency band. The with the remote control unit while watching
I result can be the easy-to-check LED indication. This does
'ing to the FL bar not cause signal deterioralion because the
timum volume control is driven by a special motor.
purely electronic Refer to "Demonstration " page 79 for more

provide trouble­ information.

pie operation as
ision. Preset scanning of preset patterns (SEA-M770BK)

In the SEA-M770BK, each of the 6 With this function , the user can recall each
programmed-preset characteristic patterns preset pattern by simply pressing a button
)sired equalization and 6 user-programmable preset patterns for an easy and convenient check of the
I touching the can be recalled in sequence, by pressing results of each setting. Each of the
example, if the the Preset Scan button. programmed and user preset patterns will be
;, press the recalled sequentially . When the best setting
he optimum is found , pressing the Preset Scan button
Ip and rock music. again holds it. These operations can also be
lackground music, performed from a distance with the provided
e most suitable remote control unit , while checking the
Igrammable results from your listening position . The user
)qualization can easily search for the best or most appro­
Ical, personalized priate setting to suit the source and mood.
e user can find the
her listening room Response transfer function (SEA-M770BK)
characteristics to
jiiferent sources, With the SEA-M770BK, the compensated This helps the user to compensate the
time by just response for one channel can be response of both channels to obtain the
transferred to the other channel. Entirely same equalization effect without performing
the same equalization effect of one channel the same control operations twice.
nge 79 for more can easily be applied to the other channel. Transferring can be done from the left
channel to the right channel or vice versa by
pressing the transfer direction button. II fine
adjustment is required, the user can
minutely adjust the required channel settings
after transferring the response from one
channel to the other.

isplay helps the Characteristics reversal (SEA-M770BK)

sic and L RE\I£RS€
This Junction reverses the compensated To use this function , the high frequencies
ustics and - - - response characteristics alter equalization. boosted in recording will be attenuated by
to suit his or her That is, frequencies boosted in recording the same amount when the recorded tape is
can be done will be attenuated by the same amount in played back, thereby achieving the same
:L display. The II 2.5kHz
playback, while frequencies that have been eflect as a noise reduclion circuit. When
y to a real-time attenuated will be boosted. frequency response data for the speaker
)Iy pressing a system is available, a flat speaker frequency
SPI display
,rding to the level f-----_-i ¢
f-
.------- - --1
response can be obtained instantaneously,
by preSSing the Reverse button.
ract the interest of
front display.
77
..... .'. =~=e=a=tu=r=e~re~fe=r=e=n=c=e~~~/ Technology/Function Benefits

FLAT
Flat response button ISEA-M770BK)
JVC's SEA graphic equalizers have a Flat With th is fun ction, flat response can be
~ ~ -- ---- button lor the instant recall 01 a lIat recalled instantaneously at any ti me, even
t I
frequency response. during equalization. That is, when adjusting
the equalizer knobs or swi tches, pressing the
83kHz Flat button willmstantaneously recall flat
ampli lication of the sou rce signal This
function will be very helpful when comparing
the equalized results with the original, etc .

•
SYNCHRO
CONTROL
• Synchro control lsEA.M770BK)
In the SEA-M770BK, with the Synchro This lunction enables the user to operate the L
button ON, level up/down adjustments and Rchannel control buttons simultaneously.
made for one channel will be performed This will be very helpfu l when the same
I ' simultaneously for the olher channel. compensati on is required for both channels.

. _ EI Fade muting on remote control unit ISEA·M770BK)

The Fade Muting button on the remote The outpul volume level can be attenuated
.;'." - '. 1
control unit provided with the SEA·M770BK instan taneously from a distance with the
,
iii; allows the output volume level to be faded remote control unit, but the attenuation will
gradually at a fixed rate of attenuation . be performed gradually at a fi xed rale, with
a smooth fad ing operation instead of the
sudden muting usually provided with an
am plifier. The reproduced music will lade
away more natu rally

± 12 dB control range ISEA-M770BKI

I'.t=~ The SEA·M770BK provides a control range The wide ± 12 dB control range allows the

-· =
=== . n~ 01 ±12dB for each frequency band so that user to compensate or equalize the requir ed

•.
= the level of any Irequency can be raised or frequency band precisely and correctly. Fine
=
=
I+i/O
..
.... ..
.. lowered by any required amount. adjustment of each frequency band will make
· =
====
the resultant characteristics optimum for any

· 0+0

~:~
I ••
1+.
desired re sponse. The user has fine control
over response in the differe nt bands as the
SEA-M770BK provides a sharp and solid
1
o equ alization effect in each frequency band ,
TOTAL •• while the wide control range adds fle xibility.

Remote selector ISEA-M770BKI

The SEA·M770BK has an exclusive remote The user can selec t the inpul source to be
control unit; most 01 its keys are the same equalized with the Remote Selector button
as the front panel controls, for adjustment on the remote con trol unit. Eac h time the
Irom a distance. The Remote Selector on Remote Selector button is pressed, the le ft,
the remote control unit also selects right or both channels of the source are
whether the L, R or L + R source signal is selected in sequence; th e selection can be
to be equalized, while the Iront panel easily checked from the Remote Select
Remote Select indicator shows the user's ind icator on the front panel of the main unit.
selection. A pair of arrows lights in green to show that
which signal is selec ted This indicator is
highly visible ; bright against a solid black
panel, the user can see it at a glance, even
from a distance.
 •
emonsfraflon
-
lanse can be
any time, even
5 A-M770BK syslem wilhout a remote volume controL
EI11~ loying advanced microcomputer With the SEA-M770BK added to the
, when adjusting technology . the SEA-M770BK is a fully­ system, increasing or decreasing the
Iches, pressing the computerized multi-function graphic overall volume, and muting the sound,
lusly recall flat eOLl afi zer , with a full-feature remole control as well as turning the power 01 the
signaL This unit whole system on and off can be done
II when comparing p, obably a demonslratlon using the remole Irom the remote control
:he original , etc . c I1l rol unit will be most attractive, as So , in demonstrating the SEA-M770BK,
fa lo ws. remote controller to interested these functions will effectively show how
• SEA disptay on the FL panel ­ customers to let them operate it while total control of the volume is possible
ser to operate the L Show it while varying the levels 01 each watching the Volume knob on the front from a distance.
JnS simultaneously frequency band with the remote panel which moves as the volume is • 6 line-adjusted "programmed" patterns
len the same controller changed. The moving red indicator is an - recall each pattern while changing
for both channels. • Aso demonstrate the character transfer eyecalcher the input source (with the amplifier's
function, from the L-ch to the R-ch , and The fade muting key allows the volume selector). Be sure to explain the
Ire versa . level to be attenuated gradually And characteristics of each pattern referring
• The spectrum analyzer (SPI) display will more, since the SEA-M770BK has a to the description below.
,n be attenuated be especially attractive when placed in SWitched AC outlet on its rear panel, • 6 user-programmable "manual" patterns
,tance with the the store-front - Input the source (such when the amplifier's power plug is can be stored - first recall any of the
,e attenuation wi ll as music from a CD player) and display connec led 10 this, the remote controller "programmed" patterns, and modily it
a fixed rate, with tho udio spectrum of the output sound . allows the user 10 switch the entire hi-Ii as required, then store the rodilied
instead of the At thi time, adlust the display level so system on and off . pattern in any of the " manual"
Ivided with an thai It IS most noticeable. ThiS extraordinarily convenient feature memories. After this, you can recall It to
music will fade • The motor-driven remote volume - one will be a power lui selling point lor a demonstrate how easy and convenient it
of Ihe mosl attractive points. Hand the customer who owns a CD player or stereo is to store and recall equalization patterns .

Six "programmed" With the SEA-M710BK, the following 6 Use them depending on the situation Dr the
equalization patterns equalization patterns are presel during the customer's taste in music when perlorming
range allows the manufacturing process. Any 01 these can a demonstration; reler to the brief guide
ualize the required be recalled by simply touching a button , below lor a description 01 each patlern.
and correclly. Fine
'ncy band will make
cs optimum for any HEAVY
!r has fine control Ideal lor music with a heavy beat such as rock. With this setting , low frequencies are
rent bands as the emphasized to produce sound that's deep and powerfuL Higher frequencies are also
;harp and solid boosted to add clarity to percussion and other instruments.
frequency band,
ge adds flexibility CLEAR
This setting provides crisp and clear sound with soaring highs. Lows and mid frequencies
that tend to be muffled are toned down. The mid to high frequencies are emphasized to
bring the vocals Into prominence
put source to be
~ Selector bullon SOFT
I Each time the Suitable for background music or easy listening music that doesn't sound harsh. Deep low
; pressed, the left, frequencies that lend to be lost at lower levels are given more emphaSIS. Highs are
the source are subdued to achieve better overall balance .
selection can be MOVIE
:emote Select This setting is perfect for video sound - from TV, video tapes or videodiscs. With Video
el of the main unit
programs, lows and highs tend to be weak, so they are given a boost to produce balanced
~reen to show that
his indicator is overall sound, while most other frequencies are reduced . Since video programs
st a solid black sometimes sound too bright, mid-Irequencies are cui
at a glance , even VOCAL
For singing or narratIOn. This position puts emphasis on the mid-range "vocal "
frequencies to make voices more distinct, while reducing other frequencies. To accent the
higher vocal regislers, high frequencies are also boosted .
CAR
For making tapes to be played in a car . As you may know. the acoustics of each car's
interior are very different for each model. However, in most cases, middle-low frequency
sound tends to be muffled due to the restricted space and, with speakers installed at the
rear, high frequencies are attenuated by the time the sound reaches the driver. To
counter this, mid -low frequencies are attenuated while high frequencies and very low
frequencies are boosted.

79
......
, ' ,,. AVSURROUNDPROCESSORS FE

Feature Highlights of '90 AV Surround Processors SUI

Do

1 DOLBY Surround Sound circuitry takes

full advantage of music videos encoded
with three-dimensional Dolby Stereo, for Oe

Va

Pe

total entertainment M,

DD I DOLBY SURROUND I Ca
Re

" Remote control capability with master

~ volume control

3 Hall Surround and Simulated

Surround modes expand

conventional stereo and
Front Speakers

~9

mono sources

Surround Speakers
 £ eature Comparison Chart / . /
~~ ",1:>
~,'i' .;y'l­
<,; <,;

/
surround Mode
~ rround I ./ I ./
HaJl 5 cr 'Jund j./ ./
Simul ,, 11 Surr ound 1./ ./
~Il
~ Rear·Channel Amp ./ .!
Surra, 1 Headphorle Jack .! ./
~ Surr o und TermInals ./ ./
~ ,1I tOr Terminals .!

1 Functilln

L/R C
~
·..::tIlon
~:.:....,--,---_
" Co ntrol
_ _ +-_ -=.,
.! -_--t_ _ ""::.!

./
' -_----l
v'
lr Variable ',flee t Level
Peak L· I Ind icator
./
./
./
_./
Master . ,~""m::::e'--:-:-:--_ __ l--_ _ :""-_
./ _ +---_ --'_ _ _ I
Callb~ Level Meier v' v'
~ 1nl ro l (PrOVided) v'
=

Lineup of '90 AV Surround Processors _ _ __ __ _ _ _ _ __ _ _ _ _ _ _

A/V surround processor with remote control

• Dolby Surround, Hall Surround and Simulated

Surround
• Wireless remote control
• Master volume control with indicator
• Built-in 10W + 10W power amplifier
• LlR calibration and delay time control

-A400
A V Surround Processor

AIV surround processor with 1OW + 1OW power amplifier

• Dolby Surround, Hall Sur~ound and Simulated

­ ... :---~
Surround
• LlR calibration and delay time controls
-M-

0- 1= _ -.

I . , .
_

_
,....,
.'
'""'- I
~
• Rear-channel volume control
• Built-in 10W + 10W power amplifier

-A30
AN 5.Jrround Processor

81
--
~, =~=e=a=tu=r=e==r=e=fe=r=e=n=c=e=====,/ Technology/Function Benefits

DOLBY SURROUND SYSTEM Dolby Surround decoder (All models)

The SU-A400/SU-A30 incorporates a Dolby Many movies have soundtracks encoded
Surround decoder. In the processing circuit, with the Dolby Surround system With a
the lefl-right difference signal is delayed and Dolby Surround decoder, these movies can
fillered with Dolby NR and output monaurally be reproduced with a 3-dimensional effect
from the rear speakers. For correct similar to that experienced in a movie
calibration, independent L/R Calibration theater .
controls and Peak Level Meters are Because independent LlR calibration
provided. The delay time can also be controls are provided, the user can adjust
controlled between 15 and 30 msec with the the response to obtain the optimum effect
independent Delay Time control. while checking the LED level meters. For an
........ §1

~."SurTound

- - ­ - -­ .... ­ ......~ --;. .. even better effect, so that the reverberation

time can be set to the ideal value for

• Main AudIO Qui and Canlm Out Jacks ate not prO'/lded
.. ".. . ~ ... -
,...
different listening/viewing rooms, an
independent delay time control is provided .
DOLBY SURROUND circuit In the SU·A400ISU · AJO . _r _ _r _ r. rr.
- L. Rear

R Rear

. DOLBY SURROUND 4nd th e doutlle -O symools are

Hall Surround (All models I

[Iademarks of Dolby L abOfaloll8S llc.ensmg COf[)('Jfallon

In Ihis JVC's exclusively-designed circuit, For movies and music video programs which
the lefl-right difference signal is delayed are not encoded with the Dolby Surround
and fillered by an LPF to be output to the effect. A 3-dimensional effect can be
HALL SURROUND circuit rear Land R channels. The characteristics obtained even when the sound track is not
L Rear of the filter have been carefully determined Dolby Surround-encoded in this mode;
by JVC engineers. With the Hall Surround especially suitable for films of concerts and
mode, the sound field from a normal stereo conventional stereo sources. The concert
R Rear source is expanded to simulate a large hall effect is especially desirable when a film
concert hall. of a live concert (classical music or rock) is
used. The delay circuit helps to add depth
and reverberation to the sound .

Simulated Surround (All models)

SIMULATED SURROUND circuli With the Simutated Surround mode, the With the Simulated Surround mode,
l Rear
mono signals are processed to create a monaural sources, which make up a greater
quasi-stereo sound field. The rear speakers part of conventional video and TV programs,
output the same monaural sound but It is can also be enjoyed with the surround effect.
R Rear delayed to provide an expanded sound This mode also uses the delay circuit to
field. In this circuit, the monaural L + R apply width and depth to the sound field
Signals are delayed and filtered with the which can be optimized with the Delay Time
LPF providing the optimum ellect. knob.

Remote control capability (SU-A400)

The AV Surround Processor SU-A400 With remote control capability, the user can
comes with an infrared wireless remote select the required surround mode lrom hisl
control unit, which allows the user Jo her listening position, while adjusting the
control the important functions from a overall volume 01 the lront and rear
distance. II controls the selection of the channels. And il SU-A400 is used together
surround mode, activates tape monitoring, with a JVC remote controlled receiver, it can
controls overall volume, and also switches be controlled with the single remote control
the muting function on and oil for added unit provided with the receiver (instead of
convenience . using two different remote controllers).
 ~
Fe~a==t=u=r=e==r=e=~=e=r=e=n=c=e======-'/ Technology/Function Benefits

4 /_ Master volume control (SU-A400)

acks encoded The SU-A400 provides a master volume After adjusting the balance between the front
'stem. With a control which allows the control 01 the and rear channel signals, the master volume
lese movies can ,---.--­ ilverall volume level lor the Iront and rear gives overall control for the adjustment of
nensional effect speakers simultaneously, while the the sound level from all speakers
in a movie independent rear volume level control simultaneously. Since the provided remote
control 01 the rear-channel speaker level; control unit also has the same master
~alibration with this, it can be used for front-rear volume control buttons, the overall level of
user can adjust balan~ing. Volume control butlons with the the four speakers can be adjusted from your
optimum effect same functions are also provided on the liste ning position without affecting the front ­
'el meters. For an remote control unit. rear balance. You don't have to adjust both
the reverberation the front -channel amplifier's volume control
I value for and the rear -channel volume control separately
rooms, an Built-in power amplifier with volume control (All models)
ntrol is provided An amplifier with an output of 10 walls per With JVC's Surround Processor, the user
chann:}1 is incorporated in the SU-A400/ can enJoy the surround sound by simply
SU-A30 so it can drive rear/surround adding rear /surround speakers (even old ­
speakers direclly, fashioned or small speakers will do). The
10 watts + 10 watts power amplifier will
drive these rear/surround speakers with
enough power to produce an excellent
surround sound effect. The level of the
JO programs which sound from the surroundlrear speakers
)olby Surround relative to that of the front speakers can be
'ect can be adjusted to balance between the front and
lund track is not rear speakers.
n this mode; Pre-out (surround) tenninals (All mod els]
s of concerts and The SU-A400 and SU-A30 are also The user can upgrade the sound quality of »=
~§
JS . The concert
iirable when a film
equipped with pre-amplifier (surround)
output terminals for the connection of an
the rear/surround speakers by connecting
an external power amplifier to these
c:=
~~
music or rock) is
ps to add depth
external power amplifier. terminals . These terminals output the
decoded signals necessary to produce the
c:=
0=
z=
C
ound surround effect which can be amplified 'tl
:c
independently by an external power o(')
m
amplifier , resu lting in surround sound with (J)

greater dynamic. ~
:c
(J)

!Od mode, Surround Sound Headphones jack (All models]

llake up a greater
The SU-A400/SU-A30 has a headphone jack A unique feature of JVC's Surround
and TV programs,
which will accept the specially-designed Processors is their Surround Sound
he surround effect
Surround Sound Headphones. Headphone jack which outputs the surround
elay circuit to signals, not just the main / front signals. When
he sound field the optional Surround Sounr1 Headphones
ith the Delay Time
are used, the user can enjoy the full potential
of surround sound by him or herself without
disturbing other people.

What is Surround Sound Effect?

In a live II tening situation, whether classical music in a concert hall, ha nd, with rear surround speakers added , reflections and
lility the user can five roc' music in a club or in the movie theater, sound is heard not reverberations created by the delay and specially-designed signal
ld ~ode from his! only from the front but there are also echoes from the sides , rear processing circuitry, are output from these rear /surround speakers.
J adjusting the
walls and ceiling, creating a " mUlti -dimensional " sound field . This greatly expands the sound fie ld when compared to sound from
: and rear However th e normal 2-speaker stereo system only creates a two ­ the front speakers on their own.
is used together dlmension,]1sound field with sound from the front. On the other
led receiver, it can Sound f ield in conventional Sound field in 4 -Speake( surround

system 2·speaker sound system

Ie remote control Fron! Speakp.rs Fi ori Spea kefs

,
~iver (instead of
controllers). / ~
Q \d 6J
;:/~ ~ .::::::..
::::%- ~

Sound
~
In live pertormance
Or In he movie theater
;~
~
Surr ound Speakels
@ I
., ..
" ~

PROGRAMM OTJ CONTJ

Feature Highlights of '90 Programnlable Remote Control

1 Extremely flexible programming

functions let you replace other infrared
remote controls
,-""". .....

Touch-sensitive LCD panel with menu

'-----' screens for 11 different source
components

Standard mode for control over JVC AV

components plus programmable mode
for control over other components

Universal AV programmable remote control with touch sensitive LCD panel screen

• Programmable with up to 200 commands of other

remote controls (with JVC standard code length)
• Touch-sensitive LCD panel
• Menu screens for 11 different sources
• Variable-length coding system
• Two display modes: JVC standard with 10 menus
and programmable with 18 menus

RM-S1
84 Universal Programmable Remote Control Unit
 Technical Notes

• Truly unified home remote control

A single remote control unit that Many recent home entertainment home appliances such as air conditioners.
controls nol only JVC remote-controllable components come with remote controls, JVC 's RM-S1 can learn all of these
audio/ video componenls, but that can be extending from video components like TV remole control codes and hold them in its
rogrammed with the codes of other sets and VCRs, to audio components like memory, so they can be operated from a
manufaclurer's infra-red remote controls. CD players and amplifiers, and even to single remote control.

• Full-programmable functions
The RM-S1 is equipped with the touch­ length as the JVC slandard code). controlled with the RM-S 1's
5 nsitive LCD panel screen which changes There are screen menus for 11 " programmable" buttons.
according to the equipment to be operated . program sources - two VCRs, a videodisc To achieve this flexibility , the LCD panel
When the user specifies the component to player, a TV, a CD player, a OAT deck , a has the two display modes; a [JVC
be remote controlled, by pressing Ihe conventional cassette deck, a tuner, a standard] mode with 10 menu screens ,
selector button, the LCD panel will change lurnlable, an auxiliary component (AUX), and a [Programmed) mode with 1B menu
accordingly In this way, the RM-S1 offers and a ulility unit (EXT). In addition , the screens.
a maximum of 200 remote control amplifier or receiver used as the AN
functions (if all the codes are the same syslem 's conlrol center can also be

A JVC exclusive
Unlike the "learning " or "pro­ codes. However , if the length 01 the codes from the other remote controls. Therefore,
gr Jmmable" remote controls from other is shorter than this, only part 01 the the number of programmable codes is
manufacturers, our RM-S 1 employs a new memory is actually used to hold codes, greatly expanded, while the wasted space
v r Jble-Iength coding system and the rest will be wasted, which limits are reduced.
Because the infrared beam coding the number of programmable functions. As a result, the RM-S 1 can learn up to
systems used by different manufacturer But with our innovative variable-length 200 remote control codes when the
a d ty pes of AN component are different, coding system, the memory area for remote control codes to be programmed
mo I programmable remote controls storing the remote control codes can be have the same code length as that of the
accept the longest possible remote control varied according to the transmitted codes JVC standard ones.

• Programming procedure -0=

ll=
PrOJl amming olher remote control codes 4) Place the RM-Sl's end facing to the top 7) Repeat the above steps to program 0=
G'l=
is qUite simple , of another remote . other functions. ll=
:1> =
Per fn rm in a following manner: ........ .......... ..., . . . l:=
1) Set Ihe USE/LEARN switch on back of aa C5 6 6 B) Set USE/ LEARN switch back to " USE". ~~
I h~ RM-S1 to "LEARN". 06060 ~ .­mtil
---.. 6 C:::::i::::::::
IilQ II
m
l:
QP

USE LEARN
AM-Sl USE LEARN o-i
m
n
o
Th e [PROGRAMMED] indication appears
I 2- 4'InChes
9) Only the programmed keys will be
visible on the LCD paneL
~
II

A
in \he LCD paneL Now, you can use the keys
o.­
lei screen programmed .

[ JL
ds of other j\~
Ide length) 5) Press the key on RM-S1 to contain the _25
.
~

function ; the SEND /LEARN indicator blinks. , , , ,

2) Cail up the menu screen corresponding
. . . ...• .
mEl

to the required source on the LCD using , ,

110 menus
the SOURCE SELECT key Keys which
can be programmed blink at this time. -• • •
•
.- 'i II
6) While the indicator is blinking (within 7
seconds), press the required button on
the other remole .
- -­ ...

3) Using ELECT-2 button, find the menu

most sUitable for your needs .
-

Li
....1 ,t'."
TURNTABLES
Feature Highlights of '90 Turntables

1 Our COMPU LINK control system makes

possible remote control and allows
interactive operations with other
components

" JVC's newly developed high-stability

~ cabinet support system minimizes
acoustic resonance

3 International standard plug-in cartridge

connectors make cartridge connection
simple
~~.--"- ­

~0~~
Feature Comparison Chart

~o ~~ ,~'
~...,; ~v ~v

Tvpe
Drive System Direct Drive J ./ I
Bell Dove I ./ I ./
Quarlz Loc k J 0{ L
Mec hanism
Motor Co re less DC FG Servo Motor ./
Opera tion Mode Fully Automat ic ./ ./
AulO Return ./
Suspension System New Ca Drnet SupDon System ,/
Others
Strobe ./
Carllidge Connector H P PlucHn Canrtd qe ,/ ,/ . .[
Avto DIsc SrLa Selector ,/ ,/
Auto Speed Selector ,/ ,/
Tonearm Cuein g Con trot ./ ,/ ,/
Space-EIf,c,ent Dust Cover ,/ ,/ ,/

II (PlaylStop) II (play/SlOp ) I
Lineup of '90 Turntables _ _ _ _ _ __ _ __ __ _ _ _ __ _ __ _ __

Quartz-locked fully automatic direct-drive turntable with COMPU LINK control

• Double-servo quartz-locked control

• Coreless DC direct-drive motor with super FG
servo
• Fully automatic operation
• Low-mass straight tonearm with low-center-of­
gravity support
• New cabinet support system and large insulators

AL-FQ555BK ~~f(
Turntable

Fully-automatic belt-drive turntable with COMPU LINK control

• Low-mass straight tonearm with low-center-of­

gravity support
• Precision DC servo motor
• Fully automatic operation
• Plug-in cartridge connector
• Auto disc sizefspeed selector

-F353BK
r rntable

Auto-return belt-drive turntable with low-mass straight tonearm

• Low-mass straight tonearm with low-center-of­

gravity support
• DC servo belt-drive motor
• Plug-in cartridge connector
• Automatic arm return
• Arm cueing control

-A151BK
Turntable
-

.... I •• =~=e=a=tu=r=e=r=e=f,=e=r=en==c==e::::::::::::===,/ Technology/Function Benefits

Coreless DC direct-drive motor with super FG servo JAL-F0555BKI

JVC's DO models feature a coreless DC Since the spindle of DO turntables is a direct
motor, for cogging-free smooth platter exlension of the motor shaft, there is no
rotation which results from eliminating Ihe transmission system requiring a complicated
iron core which could cause varia lions in slructure , with reduced mechanical wear
the rotation of fhe spindle molor, as well as because there is no belt or idler. Moreover,
large-sized rotor magnets for superior with their larger magnets, our DC-driven
stability . Furthermore, JVC uses an motors substantially elim inate unnecessary
originally developed Super FG (frequency oscillalions arising from varia lions in AC
generator) servo control system in our DO current. Also, since the molor rolates at
models. This checks the motor speed with ultra low speed, its accuracy can be
uncanny accuracy by sampling the conlrolled electronically and stabilized over a
hundreds of pulses generated by the long periods of use. With JVC 's turntables,
frequency generator circuit incorporated in the platter always rotates smoothly at the
the highly sophisticated speed-detection correct speed by the super FG servo system.
system. This is the ideal motor system for The user never has to worry about the pitch
DO turntables. of the music varying as it is being played.

Double-servo quartz-locked controIJAL-F0555BK)

Our top models incorporate a double-servo As a result, the stability of platter rotation is
- -­
;
~
AW'-"'C.~
quartz-locked control system in addition to further improved , with greater res istance to
the super FG servo control system, for even the effects of variations in temperature ,
more accurate speed control. In this Circuit, voltage, and load. This technology, in
the rotation otthe platter (that is, the motor conjunction with the direct drive motor
in a direct-drive system) is also monitored which drives the platter/record combination,
and corrected by a phase comparator and ensures accurate speed even if the total
F-V converter circuit which are used to weight of the platter and record is greater
compare the signals generated by the Even when the load of the stylus on the
rota lion with a reference signal obtained by record surface is high, as occurs in "highly
dividing the frequency of a buill-in quartz modulated" passages, Ihe speed is not
crystal Oscillator, which generates pulses affected , so there is no disturbance in the
with an incredibly accurate frequency. pitch of the music .

New cabinet support system with large insulators IAL-F0555BK)

In the Al-F0555BK, an anti-vibration Vibrations and acoustic feedback from the
structure called the New Cabinet Support speakers, etc . are effectively reduced before
System is used to overcome any unwanted they reach the turntable cabinet , while our
acoustic feedback ; large-sized insulators large-sized insulators have higher resistance
e/leclively support the turntable, rather to shocks as well as a stabilizing effect. This
than the conventional feet. In these models, combination works together and results in
Ihe motor and tonearm section is isolated higher resistance to dislurbances caused by
from Ihe main chassis and its center of the external vibrations or acoustic feedback . It
gravity is shilled to a point above that of allows the user to install the turntable in the
Ihe cabinet, which is, in turn, supported by position he or she wants, without having to
lhe large vibration insulators. worry about speakerlturntable placement.

Resonance-Damping Response of the JVC

Low-Mass Straight Tonearm
Low-mass straight tonearm with low-center-of-gravity
support JAil models)
i00i-----'1---+--+­ - Conllenl ional S -Shaped In tonearm design, JVC adopted the In practice, there are very few records
Tonearm straight tonearm with lower mass to match withoul at least a little warping or
!ft.-+-t-t-- JVC Low · Mass
the increasing number of high compliance eccentricity due to the vinyl material and
Sl f alghl Tonearm
cartridges, instead of the more usual S­ mass-production presses. Playing these
shaped and J-shaped designs. Our low­ records can cause mistracking which
mass straight tonearm has a resonance creates audible performance loss and
frequency region from approximately 6 Hz intermodulation distortion. However, our
- -I--t--l- - Warp FrequencIes
10 about 10Hz, while its center of gravity low-mass straight tonearm has a higher
is positioned 10 be lower than that of most resonance frequency so they are not
tonearms. affected by the infrasonic frequencies
generated by warped and eccentric records.
At the same time, low center of gravity
tonearm desig n reduces tracking distortion,
improving " effective " wow & flutter and
stability

88
 ==e:=a:=tu:=,=e==:,=e=fe=,=e=n=c=e=====:::::=,/ Technology/Function Benefits

'0 (AL-F0555BK) Illuminated strobe (AL-F0555BK)

ltables is a direct In the AL -F0555BK, a slrobe pattern is During playing, the red LED lights to
it, there is no provided on the edge of the platter . This is illuminate the stripe pattern; when this is
ing a complicated illuminated by a built-in LED when the stationary, it shows that the platter is
chanical wear platter is rotating, and if the speed is rotating at the correct speed ; 33-1 /3 rpm
idler. Moreover, correct, the stripe pat1ern will appear for LP records or 45 rpm for singles. This
lur DC-driven stationary. shows at a glance that the speed is
lie unnecessary absolutely right. With the AL-FQ555BK, as
iations in AC the platter is driven by a quartz-locked DO
tor rotales at motor, no adjustment is required.
y can be
JVC$ ,pace-ettic lenl dusl cover Convenllonill dust cove'
j stabilized over a Space-efficient dust cover (All models)
"C's turntables, I
moothly at the Untike most turntables which require a Space-eUicient dust covers do not require
FG servo system. relatively large space behind them to allow any clearance behind the rear panel of the
y about the pitch the dust cover to swing open, JVC cabinet. The user can install the turntable
; being played. turntables have dust covers with a new flush against the back wall without
design. The dust cover is hinged at the top restricting the opening of the dust cover.
rear of the deck, slighlly above the plalfer, This is a convenient space-saver which will
so it can be raised without protruding to the make installation easier.
platter rotation is rear, whereas conventional dust covers are
Iter resistance to hinged at the rear of the cabinet.
temperature,
Inology, in Plug-in cartridge connector (All models)
drive motor
Turntables with the T4P mark are equipped This marks replacing cartridges easier as the
;ord combination,
with a plug-in cartridge connector. T4P is a user can choose a cartridge from many
en if the total
standard which indicates Ihat Ihe manufacturers to upgrade performance.
:cord is greater.
components are "plug compalible" with Although the cartridge can be disconnected
stylus on the
each other. and connected easily, it is securely locked
lccurs in "highly
onto the tonearm . Mechanical strength,
speed is not
rigidity, and electrical contact are improved,
turbance in the
while simple connection eliminates the
chance of making wiring errors or poor
contac t.
(AL-F0555BKl

:dback from the Fully automatic operation (AL -F0555BK. AL -F353BK)

:ly reduced before
Many JVC turntables feature fully­ The user can play records simply by
Ibinet, while our
automatic operation, which allows all pressing one button without having to make
higher resistance
required operations to be performed adjustment or manually position the
lilizing eUect. This
automatically. Platter rotation and tonearm tonearm . The stylus moves over the outer
)r and results in
movement are accurately controlled by the edge of the record and is lowered onto the
)ances caused by
precise mechanism which incorporates a record surface when the platter starts
stic leedback 1\ rotating, and record play begins. When the
microcomputer. Repeat play is also
Ie turntable in the
incorporated in these models for added record is finished or when the stop button is
vithout having to pressed, the tonearm is lifted up and
convenience.
able placement. returned to the arm rest and the platter
stops. All these operations are performed
3vity automatically The user doesn't have to
worry about needless stylus and record wear
few records due to continuous playing of the lead -out
ping or groove, even if he or she lalls asleep belore
II material and the record finishes .
Playing th ese
king which Automatic disc size/speed selector (AL -F0 555BK, AL-F353BK)
;e loss and With the AL -F0555BK and AL-F353BK, the Most currently available records are divided
However, our disc size is automatically selected by a into two types: 12", 33-1 /3 rpm LPs and 7",
has a higher built-in photosensor, making it easy and 45 rpm singles Therelore , when the
ey are not convenient to play records. photosensor detects the record size, the
requencies record speed is automatically set to the
lccentric records. corresponding value . If you have records
er of gravity that don't conform to these standards, don't
acking distortion, worry as our fully -automatic models also
& flutte r and have a manual control position and non­
standard records can be played manually
.......

, .. SPEAKERS L

Feature Highlights of SX-911WD Speakers

1 "Fine" cloth-carbon midrange unit for

enriched, natural mid-band response

t)) Cloth-carbon woofer

~ for tight and heavy
bass response

3 Amorphous-diamond coated tweeter for

crisp and clear highs

Feature Comparison Chart / ' / '/

~ .;>
-:.:0).... 0"'i
0

Type

Acoustic Suspension System

.I
-
PassIve Rad,ator Syste m .t
Conf igura tion 3-Way 2-Way

Number of Uni ts
3 2

Unit

Speaker Units

Woofe r (in Ic m )
12 (30 5) 8 (20)

Midrange (In./cm )
4·1 /2 (11. 5)

Tweeter (in./cm )
1 (25) Dome 1 (25) Soft dome

Passive Radia lor (in./cm)

8 x 12 (20 x 30)

General

Power Handling Capacity (MusIc )

150W(300W) t30 W (200 W)

Sensitivity (dBM' m)
91 88

Impedance (ohms)
6 6

Frequency Response (Hz)

40-50.000 35 23.000

Dimensions (W x H x 0 ) In (mm)
tS x 26-3/16 x t3-7/8 t3-1/2 x 24-t/2 x 1t Slt6
(380 x 665 x 35 1) (342 x 622 x 286)

Weignt Ibs (kg)

628 (285) 34 (15)
-
 3-way speaker system with 12" cloth-carbon woofer
• 12" (30.5 cm) cloth-carbon woofer
• 4-1/2"(11.5 cm) "fine" cloth-carbon midrange
• 1" (2.5 cm) amorphous-diamond coated tweeter
• Low-resonance/vibration die-cast aluminium
speaker frames
• Power handling capacity: 150 watts/300 watts
(music)

3-Way Speaker System

2-way speaker with soft-dome tweeter and passive radiator

• 8" X 12" (20 X 30 cm) passive radiator
• 2-way design: 8" (20 em) woofer, 1" (25 mm) soft­
dome tweeter
• Self-restoring protection circuit with LED overload
indicator
• Magnetic shielding
• Power handling capacity: 130 watts/200 watts
(music)

,r DIGIFlnE

2­ ay Speaker System

Non-directional surround speaker system with black finish

(\'\& • Full-range 4-3/4" (12 cm) cone speaker
• High-dispersion design for enlarged listening area
• Floor-standing type
• Power handling capacity: 45 watts/gO watts
(music)

-XS6BK
Speaker System

Non -directional surround speaker system with wood finish

"l%;f I • FUll-range 4-3/4" (12 cm) cone speaker
• High-dispersion design for enlarged listening area
• Floor-standing type
• Power handling capacity: 45 watts/gO watts
(music)

91
"'1' •
=/=I=e=a=tu=r=e==re==fe=r=e=n=c=e====~/ Technology/Function Benefits f
=

Cloth-carbon diaphragms (SX-911WD)

In our cloth-carbon diaphragm, carbon fiber Since cloth-carbon diaphragms have high
is woven into the fabric of the diaphragm, rigidity, the oscillations of the voice coil are
to give it greater rigidity. The cloth-carbon transmitted more exactly to the diaphragm
diaphragm material specially selected for while the area of the diaphragm which is
use in our high-quality woofers has light subject to piston-like motion is greater,
weight, high rigidity and improved without the partial vibrations of less rigid
propagation speed; it combines these with diaphragms And the cloth-carbon diaphragm
optimum internal loss so that low frequency material has optimal internal loss, for an
sound is reproduced with greater power. improved frequency response throughout
the entire range Moreover, since the upper
limit frequency of a cloth-carbon diaphragm
is higher than that 01 a paper cone, a wider
range low-frequency sound can be
reproduced, so that our cloth-carbon woofer
can reproduce powerful, crisp and rich bass
sound.

Amorphous-diamond coated tweeter (SX-911 WD)

The tweeter of the SX-911 WD is coated Since the tweeter must reproduce high­
with a thin layer of amorphous diamond frequency sound, it must be made from a
using the high-technology CVD (Chemical light and hard materials. For this reason, we
Vapor Deposition) process. Featuring developed amorphous-diamond coating to
uniform thickness, high purity and high strengthen the surface. In this construction ,
surface smoothness, this coating increases a titanium-base diaphragm is coated with a
the diaphragm's speed of sound thin layer of amorphous diamond using our
propagation to almost that of a natural original CVD (Chemical Vapor Deposition)
diamond. technology The result is an extended
frequency response and a dramatically
improved transient response.

Soft-dome diaphragm (SX-A3)

Unlike conventional cone-type speakers, Although the dome-type diaphragm typically

soft-dome speakers have a dome-shaped has a lower sensitivity than other types of
diaphragm made from a soft material diaphragm, JVC uses low-mass, pliant
(potyester) which has a wider dispersion polyester for the dome so that the diaphragm
pattern. Since high frequency sound has a moves quickly and with improved sensitivity
narrow directivity, the area in which it can The dispersion of the tweeter and the
be heard is limited depending on the size of midrange speaker is widened, while the high
the speaker cabinet and the listening room. frequency response is extended and flattened.
However, JVC's top-end speaker systems As a result, crisp and clear high and mid­
employ dome-type diaphragms for their frequencies are obtained with smooth,
tweeters and midrange speakers, so they natural and coloration-free response. Our
are able to be heard over a wider area, due soft-dome diaphragms are especially suitable
to their wider dispersion pattern. for reproducing sound with a flat and wide
frequency response (even including excessive
highs), such as from digital sources.

Round-cornered front baffle design (SX-911WD)

The round-corner front baffles of our speaker Since the round-corner front baffles prevent
do more than lend class to overall design. sound diffraction, you can enjoy clear
They prevent the diffraction of sound that definition and a lifelike perspective from all
can occur at sharp edges, causing blurred our speaker systems
and indistinct sound images.
 ~a~t~u=r=e=r=e=f,=e=re=n=c=e====~/ Technology/Function Benefits

Self-restoring protection circuit (with LED overload indicator)

(SX-A3)
lms have high
To protect the speaker units from damage This circuit ensures safe operation at
he voice coil are
due to overloads, a protection circuit is excessive power levels. When a possible
>the diaphragm
provided just after the input terminals. In overload occurs, the signal is interrupted
agm which is
the SX-A3, an LED is also provided to before it is delivered to the speakers. The
n is greater,
indicate that the protection circuit has been LED overload indicator warns the user when
,s of less rigid
aclivated. Furthermore, the protection an overload is imminent, lor added
carbon diaphragm
circuit is designed to restore itself after the convenience . The user can drive speakers
al loss, lor an
power overload has passed. even at high power levels without worrying
lse throughout
about damage to the speakers.
, since the upper
arbon diaphragm
ler cone , a wider Magnetic fluid tweeter (SX-A3)
I can be In this model, the voice coil of the tweeter Another approach to improved resistance to
>th-carbon wooler is coated with magnetic lubricant. This excessive inputs. Magnetic fluid shielding the
isp and rich bass gives the tweeter improved heat dissipation tweeter effectively prevents the voice coil
characteristics, so that it can handle inputs from making excessive excursions, while the
with higher power and is more resistant to tweeter diaphragm is protected from
overloads. external damage. As a result, the tweeter
can be driven at higher output levels with no
>roduce high­ danger of the diaphragm being damaged,
Ie made from a while transitions in sound tevel are handled
)r this reason, we
more smoothly.
nand coating to
this construction,
I is coated with a Passive radiator (SX-A3)

amond using our In the SX-A3, an additional diaphragm is A passive radiator does not oscillate by itself
par Deposition) mounted over the port of the bass-reflex but is driven by air pressure from the back
n extended cabinet. This speaker diaphragm has no of the woofer, to oscillate at a frequency
dramatically voice coil or magnet and is driven by air around its own resonance frequency (10) to
se . pressure (back pressure) in the cabinet, effectively emphasize low-frequency
created by Ihe bass driver. A diaphragm of response. While the "actual" woofer
this type is called a "passive radiator". diaphragm radiates solid and rigid bass
sound , the passive radiator smooths out and
iaphragm typically extends the bass response, and produces a
n other types of greater output than would be obtained with a
mass, pliant conventional ported enclosure .
that the diaphragm
1proved sensitivity.
!ter and the
led, while the high
mded and flattened
r high and mid­
Nith smooth ,
:l response . Our
~ especially suitable
h a flat and wide
including excessive
al sources

ant baffles prevent

, enjoy cle ar
rspective from all
"', ., ..
Technical Notes

• Newly developed 3-way Speaker System ­ SX-911WD

High power handling High-density pine­

capacity based particleboard
150 walls/300 walls (music) enclosure
The panels are made from high ­
density pine-based particleboard,
Amorphous-diamond chosen for its superb musical
coated tweeter sonority,
It features a dome diaphragm
with a titanium base on which a
thin layer of amorphous
diamond is coated using CVD
(Chemical Vapor Deposition)

"Fine" Cloth-Carbon
midrange speaker
"Fine " Cloth-Carbon in the
midrange unit for clear and 3-part crossover
natural sound , network
In this network system, the high,
middle and low frequencies are
completely separated to prevent
Cloth-carbon woofer mutual interference so that each
The newly-developed cloth ­
of the frequencies is reproduced
carbon woofer is an ideal
independently,
combination of light weight, high
rigidity , high speed of sound
propagation and optimum
internal loss ,

Rigid pure-aluminum
frame for woofer
A heavy diecast aluminum
frame holds the speaker unit on
the front baffle with eight solid
screws , This configuration is
Computer-optimized extremely resistance to
speaker layout resonance,
Thanks to this advanced Round-comer front
technique, our speakers baffleboard
combine beller definition, This prevent the sound
smoother frequency response diffraction that can occur at
and more accurate phase sharp edges, causing blurred
response , and indistinct sound images,

Propagation Characteristics
ofSX-911WD
* In addition to the baffle having
rounded corners , each part is
positioned ideally so a uniform
propagation panern can be obtained
In any direction, making the repro­
duced sound field smooth and rich
 • Non-directional surround speaker systems enhance the feeling of
"presence" of the sound fIeld and allow flexible installation
The SP-XS6BK and SP-XS5WD are
ne­ surround speaker systems, and bo th are
oard available in black and wood versions. Wi th Front Speakers

compact full-range 4-3 /4" non-directional

from high­ driver s and ·' tower" cabinets , they are
Irticleboard, l eslgned for the effective dispersion of
musical ,>ound in even the biggest room . Non­
Ilirectional characteristics expand surround
,ound more widely while low-frequency
eproductlon IS excellenl thanks to their
ower cabinets, giving the ideal " presence"
Nlth any sound field As they have a high
l S-wall power handling capaci ty, these
5peakers can be used with future
npllfiers with high output levels
As these speakers are compact floor­
~ wding units, the user can locate them
~5 1 1 y in the optimum posi tions of a room ,
tf maximize the surround effecl. And
er b ~r a use two colors are available , the user
C.lII choose the ones that fit in best with
lm, th e high, hf or her intenor
Jencies are
d to prevent
so th at each
; reproduced

Surround Speakers

minum
fer
Iminum
}aker unit on
I eight solid
uration is
:e to

~.pon ..'
•
I'.' .
...,....­ -
,
I,",. COMPACT COMPONENT SYSTEM ,
Feature Highlights of the MX-1

1 New-concept styling; users can

arrange their units to fit in best with
any interior design

I:)) Dramatically high power even with

~ compact size, resulting from
3-amplifier configuration and forced
cooling system

3 Powerful bass from compact speakers

with labyrinth aeroport design
 Compact components
designed for maximum
flexibility in installation
h These compact components are styled to be interior design
accessones. wherever you install them. in your living room,
bedroom or den, and however you arrange them , horizontally or
vertically , they'll complementlhe room 's Intenor. Create your
own style . use these compact components as pan of your own
modern life style .

You'd never believe such

powerful sound could come
,_. - Heat Sink from such compact
components
In the 3 -amp configuration , in addition to poweriul amplifiers
Air Duct dnvlng the left and right speakers , there's another amplifier
prOVided to drive the subwoofers. An amplifier With a high power
output generates a great deal of heat. To diSSipate this heat we
.Ventilator
developed a new forced cooling system , With a ventilator cooling
the heat Slnk As a result, this arrangement allows the size of the
Magnet heat Sink to be reduced to one quaner that of a conventional
heat sink providing the same heat dissipation effect, which in
Diaphragm turn allows a pair of compact aeroport speakers to deliver the
high total power of 100 wa«s'
. Md'r ,l p"l E" :> "( 30 wa lts al no mOre Ihan 0 ~ H O lB ohms 20 Hz - 20 kHZ)

~~'~OOI'" ","p,d.• , ,' 0 wan, I no "1O<e Inan 09', THO 16 ohms al 80 HZI

4-15/1 6 (12.Scm) 5" (7.5cm)

Powerful bass sound from such
SubwolJfer Full-Range Speaker x 2 compact speaker systems
I ~~. .~. . . . . .~ I To reproduce bass more poweriully, the size of woofers must be
Increased. or the length of the ducts extended. However, in a
compact component system, increaSing the Slze of the woofers
IS ImpOSSible . To overcome thiS problem , JVC provides a
t 2.5-cm subwoofer inside the speaker cabinet which is driven
by a third amplifier eXClUSively for very low frequencies and a
new labyrinth duct which has suHicient effective length to
enhance the output of the subwoofer . With thiS system , high­
quality sound with dramatically improved reproduction at
extremely low frequencies is possible from speakers with
compact size
 Feature Comparison C h a r y
Compact Component System

General
Remole Conl rol Un ,l
CD Plaver and Amplifier Section
Power Output'
,/ (RM-SEMX I )
-:,:'
~

2 x 30 W (Mmn). 40 W (Subwooler)
/ Remote Control Unit

Malar- Driv en Volume ,/

3-Amp Conliguration with lorced co oling syste m ,/
SEA I Electronic ,/
I No. Or ElemenlS 7
Single Tray ,/
3-Beam Laser Pickup ,/
Dlqilal Filler 2rs 16-bll
3-Way Edit with Fade ,/
Numeflc Keys (Remole) ,/
Program Chari Display (Calendar) '/ 120)
No . 01Program s 32
Ti mer Play ,/
Search (Aula/Manual) ,/
Repea l Play ,/
HI -Balance (New V-Se rvo) ,/
ISS ,/
Tuner and Cassette Deck Section
Preset Slations (Random) 40
Presel Scan ,/
AulO Memory ,/
5-Way Proaram Timer ,/
FL Display ,/
Double-Mech anism ,/
Deck A (Play) ,/
Deck B (Reco ' d/Play) ,/
Full-Log ic Control ~
Auto-Reverse ,/
Hlqh,SDeed D ubbonQ !Dec k A 81 ,/
Contin uous Plav ,/
MUSIC Scan ,/
Elec lron,c Counlsr ,/
Rec Mule ,/
DOlb y NR B
Speaker Seclion
Labyrinth Aeroport Syslem r-
Speaker UnilS I Full -Range 7 Scm x 2 IC()(1e )
I Subwooler 12 5cm (Cone)
Power Handhnq Capac lly.8aled/MusiC 4S W (Maln1l30 W ISubwooler)
* Mi l \ ? x '10 'N ! 110 from than 0 T :>'.:t rHO Ie ullm!t 20 Hi 20 flHll IRMS,
SuIJ Nooier 10 W II no 'na'l" ' 1\.." 0'.1 - THO t Ohrrs. t 80 H/I

98
 Remote-controlled compact component system with the extremely high total
power of 100 W* and labyrinth aeroport speakers
• Power output: 2 x 30 watts + 40 watts·
• 3-amp high-power design
• Newly-developed forced air cooling system
• Labyrinth aeroport speakers
• 3-way editing function; auto, programmed and fade
• Computer-controlled S.E.A. graphic equalizer
• 5-way program timer with 5-step volume
* MiJln 2 x 30 W at no more than 0 g o\) THO (a ohms. 20 Hz. - 20 kHz) (AMS)
Su bwoolel 40 W at no more than 09,) . THO (S ohms. at 80 Hz)

MX-1
Compact Component System

• New-concept styling to match any life style

This compact component system has components are ideal for installation where stacking . you can arrange them as
"en developed from a completely new space is at a premium , in bedrooms. dens, required to complement your room 's
C Jilcept Even though th e componen ts are on a shelf , under a bed As these interior, without worrying about how much
Crl npact, their high power has not been components are designed especially for space they'll take up
c npromised These fashionable both horizontal or vertical placement and

99
,, =/=!=e=a=tu=,=e==,e==fe=,=e=n=c=e======-,/ Technology/Function
, ' ~ Benefits

3-amplifier configuration
In addition to a two· channel stereo As a third ampli fier is provided exclusively 10
amplifier , a Ihird amplifier is provided 10 drive Ihe su bwoofers, this compact sys tem
drive Ihe subwoofers , 10 make Ihe mosl of is able to reprod uce low fr equencies with
digilal programs with Iheir wider dynamic remarkable power.
range. With Ihis syslem, a pair 01 compact
aeroport speakers can deliver the high lolal
power of1 00 watts ·.

. MaorI 2 x 30 W al no m(MfI UUVl 0 9:10. TH O 18 OJ 'ms- 20 Hz ­

20 kHzI JAMSI
Subwoolm 40 W .)1no rrlOCC Ihan n .. THO '6 \)IlmS ;u eo Hz )

Forced cooling system

r This system uses a newly· developed lorced The cooling sys tem only operates when a
cooling syslem with a ventilator below the sensor detec ts tha t the tempera ture of the
heat sink providing a cooling flow of air heal sink has risen above a certain level.
which dissipates any build up 01 heat; this When activated . the ven tila tor's diaphragm
allows the size ollhe heat sink to be osc ill ates at a very low frequen cy; this
Air Duct reduced to only one quarter the size of Ihat freque ncy is too low to produce any
in a conventional amplifier with comparable in terference with the music . th ereby a
Ven tilator power . possible source of noise is elimin ated , while
the cooling effect is optimized . Thanks to the
Magnet new forced cooling system reducing th e size
Diaphragm of the heat sink and allOWing a compact
ampli fier to deiiver more powerful sound . the
over all size of th e sys tem is smaller , for
more lIexible installation .

~.~byrinth port system

4-15/ 16' ( 12.5cm ) 5' (7 5cm)
Full -Range Speaker x 2 To reproduce bass more powerfully, the Generally . the size of woo fers must be
Subwoole('
, 12.5·cm subwoolers in each oflhe two increas ed or the length of their ducts
speaker cabinels, driven by a third exte nded for the more powe rful re production
amplifier, use new labyrinth ducts with of bass freq uencies To ach ieve this while
suffic ient effective length to enhance the minimizing size . JVC uses a la byrin th port
output low·frequency sound . system ; the labyrin th ducts resona te with the
sound generated by th e subwoo fers . effectively
extending th e len gt h of th e ducts. So.
. ._ _ _• _ _ _ _-.;:.1 Labynnlh
despite th eir co mpact size. th e spe akers can
Pon deliver rich bass so und wi th the ideal
damping
 =~=e=a==tu===re~r=e=fe=r=e=n=c:::::::::e===~/ Technology/Function Benefits

Auto/program/fade editing function

JSlvely to The auto editing funclion allows you to With the auto and program functions , you
system record tunes from a compact disc in the can create original, customized tapes; the
) with order they're recorded on the disc lade editing function eliminates the
according to the tape length which is unpleasant phenomenon of music being
previously set by the user; if there is interrupted abruptly. You can also use lade
insullicient lime lell on the tape lor the editing to maximize use of your tapes by
next tune, the microcomputer searches for recording part of a tune and fading it out just
tunes that will tit into the lime remaining before the end of the tape is reached .
and shows their tune numbers so Ihal Ihe
user can specify the tune to be recorded, Refer to "Demonstration" page 103 for more
tor more ellicient use of the tape. With the Information.
program editing function, you can record
tunes in any required order and assign
which side of the tape (A or B) they should
be recorded on. With the fade editing
when a function, when the end ot side A ot a tape
re of the is reached while a tune is still being
n level. recorded, the tune fades out and the whole
aphragm of that tune is re-recorded at the start of
, this side B. For the most effective use of these
ny three editing functions, the fade function
:bya can be used together with the auto or
ated, while program editing function.
lanks to the
ing the size 5-way programmable timer with 5-step volume setting
)mpact
II sound, the The programmable timer operates in 5 modes, There are so many ways you can use this
lIer, for WAKE-UP, SLEEP, TlMER-', TIMER-2 and convenient facility to enhance your life. In
DAIL Y. In the TIMER-', TIMER-2 and DAILY the TIMER-1 and TIMER-2 modes, you can
modes, the volume can be set by selecting presel the times the playback or recording
one of tour factory-presel levels and one of any source is to start and end . In the
user-preset level, for each source; at the DAIL Y mode, you can listen to or record the
preset time, the required program is played same source at the same time every day
ust be back with its level gradually increased to the without having to preset the timer each day.
jucts level selected . With the WAKE-UP mode , you can be woken
reproduction up with the selected source at the desired
this while volume In the SLEEP mode, as the power is
/rinth port switched off automatically after a specified
)nate with th e time, you don't have to worry about
ers, ellectively lorgetting to switch th e power off when you
:s. So , listen in bed lust belore you fal l asleep
speakers can In addition, as the volume can be set
: ideal independently for each source, you don't
have to worry about the different output
levels of different sources and you can set 0=
0=
whatever volume you want for each . Further , ;:=
as the volume is increased gradually in the ~§
0=
TIMER-1, TIMER-2 and DAILY modes, the ~§
source selected to be played back need not 0=
;:
wake you with a sudden blast of sound, it -c
oZ
can wake you up in the gentlest way. m
~
Refer to "Demonstration" page 102 for more en
information. -<
en
....
m
;:
Six programmed and one user preset equalization pattern
-
- - Six programmed equalization patterns -
RDCK, JAZZ, PDPS, CLASSIC, HEADPHONE
The seven preset equalization patterns can
be recalled by just
I and CAR - can be recalled instanlly while touching a button ; they can then be adjusted
you can create one equalization pattern with the buttons on the main unit or Ihe
yourself and store it in memory. According remote control unit to obtain any reqUired
to the source you select, you can call up effect.
any ot these pallerns by simply pressing a
bullon. Refer to "Demonstration" page 102 for more
information .

101

.. --.­ .~
"
Demonstra ion

7-band computer-controlled S.E.A. graphic equalizer

with 6 programmed patterns and 1 user-programmable
pattern
The MX-, has 6 programmed patterns each representing the level of the signal in several seconds; this eye-catching display
and 1 user-programmable patlern and one of seven frequency bands with the makes the demonstra tion even more
these patterns can be recalled and fine peak level of each Irequency band held lor attraclive.
adlusled not only wllh Ihe fronl panel
controls, but also using the remote cortrol
unit. Use a variety of patterns according to
the situation and the customer's taste in
music, to perlorm demonstrations. The SPI
- spectra peak tndicator - display
shows seven constantly -changing bars

• 6 programmed equalization patterns

Briefly, these programmed equalization
patterns are as follow s.
ROCK: Adds power to rock , with heavy
bass and crisp highs . f - ----­

JAZZ Ideal lor the reproduction 01 live

recordings , making the most 01 the .. . _-----_.
tonal qualities 01 acouslic musical
Instruments.
POPS Makes pop music more atlractive
by emphasizing Irequencies In the .. : - - - - - - -
vocal register

CLASSIC: Orchestral music is enhanced

by " expanding" the sound . ;"
. - - - - - - -

H.PHONE ThiS pattern gives sound

heard with headphones greater ~ - -­ - -­ -­
clarity. !: t - -

CAR Record cassettes to be played back

by a car audio system lor better ,D _
O
- - - " ­

sound In a re stricted space :i -

• Recalling the preset equalization patterns

The programmed and user­ 1) Press the SEA button so that the SEA 3) So that customers can hear how much
programmable preset patterns can be indicator lights. dillerence the S.EA graphic equalizer
recalled by simply touching a button. To 2) Press th e SE A PRESET button; each makes, switch it 011 by pressing the SE A
show the preset patterns, lollow the time th is IS pressed, the preset patterns button (the indicator goes out), then
procedure below. are shown in se quence . switch it on again.

Versatile 5-Way Program Timer with 5-Step Volume

The program timer operates in 5 modes playback or recording . starts playing , the volume gradually
WAKE-UP, SLEEP, TIMER-1 , TIMER -2 and The DAILY mode lets you to listen to or increases to thiS preset level. Th is prevents
DAIL Y. With the WAKE -UP mode , you can record the same source at th e same time the music starting with a sudden blast of
be woken up at the preset time by your every day, without you're having to preset sound and wake s the user up more gently
pr elerred source , with the volume se t to the timer each day than the usual alarm .
the desired levels. Furth er , in the TlMER-1 , TIMER-2 and For an effeclive demonstration 01 these
With the SLEEP mode , the power is DAIL Y modes, any of lour volumes can be lunctions, we recommend that you use the
swi tched 011 automatically alter a specified selected - these are shown in the display TlMER-1 lunction and choose a CD as the
time, even if you've fallen asleep. as VOL 0 (when you don 't want to monitor sou rce; this allows you to demonstrate the
And with the TIMER-' and TIMER-2 the recording ), VOL A, VOL B, VOL C ­ se tting of the timer and the gradually
modes, you can program the times the plus an addi tional volume you can sel increasing volume as an especially
source selected is to start and end yoursell. When the source you 've selected attractive feature .
102
 (TIMER-1 funclion ; to play tJack a CD)
1) Switch the amplilier section ON.
2) Press (TIMER 1)

~'.'., ." .
splay

3) Press (TUNINGITIMER/ DIMMER) to set

the hours 01 the slaft time (The time is
shown using a 12-hour clock, with AM /
PM indicators) Then, press (MEMORY)

IP )

4) Press (TUNINGITIMER /DIMMER) to set B) Press (TUNINGITIMER/DIMMER) to Volume when timer

,
Indication
the minutes of the start time and then show the volume in the display; you can operation starts

press (MEMORY) set the most suitatJle volume.

n
5) Press (TUNING /TIMER/ DIMMER) to set
the hours of the stop time and then
press (MEMORY).
9) Press (TIMER 1) and press POWER
again to switch off the power.
I
JI
I

I I I- I
U
,
'­
-

-
-

­ n
--
0
O­
II U
6) Press (TUNING /TIMER/DIMMER) to set
After this, when the preset lime is reached ,
the CD will tJe played back with the volume
'­ U
n

the minutes of the stop time and then

press (MEMORY).
gradually increasing at the starL 1/
II
nl
U I­
- - --I
I Q
n
7) Press (TUNING /TIMER/ DIMMER) so that
the source 10 tJe played back is shown
1/
1/
,
U
I
'-
- - [IT!

-- ,­
0
a
in the display. In Ihis case, press until
"CD" is shown. Now press (MEMORY). / n I
1/ I- I L
'­
Convenient auto/program/fade editing function

The MX -1 is provided with auto editing , 5) SpeCify Ihe side 10 tJe recorded tJy 9) Press (FADE) 01 the CD player section
programmed editing and fade editing pressing (SIDE Al B)
FADE
functions. ComtJining the programmed
editing and fade editing functions is an
SIDE AlB
)
ellective demonstration , showing how easy (
It is 10 make a cuslomized tape.
much
1) Load a cassette in deck B. 6) Press (CD tOKEY) 10) Press (CD REC START) of the cassette
alizer
the SEA 2) Load a CD after pressing (OPEN! deck section .

len CLOSE) CD 10KEY

CD REC START
OPEN/CLOSE

C~_-=~=--')

ul Press (STOP!CLEAR ) 01 the CD 7) Use the numeric keys to specify the With these procedures, the select ed

I
prevents section . order In which tun es are to tJe tunes are recorded onto the cassette in the

STOP/CLEAR recorded. specified order , with the last tune fading

last of
ouL

! gently

of these
( 0 ¢ 0
2

0
6
0
J
0
4

8
use the Press (P.EDIT) to set the type of tape: 0 0 0 0
) as the C46, C54 , C60 , C74 and C90 are 9 10 .10 0
Irate th e shown in sequence. 0 0 0 0
Illy
P.EOIT
8) To record on the other side of the
tape, repeat steps 5 - 7 103
 JVC STYLISTIC HI-FI SYSTEMS
Feature Highlights of '90 JVC Stylistic Hi-Fi Systems

1 Carousel CD auto-changers provided

in two systems

I?)) Remote control units are provided

~ as standard with all
systems

3 Most system have an attractive

black finish

104

-
,
~ ........
-:-
110..
-.~ .... - -
,
. ..
.,
1\ - 1';"'t-. - .­
,........ _ .I : _' ~.~ .

Feature Come..arison Chart

//;{0~0~
JVC Stylistic Hi-Fi Systems & & & & &
q,<§J ~t)t$ ~<§J §l <;>,"Jt$
0->':'1> 0->':'1> 0->':'Ij 0->,:qf 0->':

AV Remote .I ." .I .I ."

Amplifier AX-RS7BK AX-RS7BK AX -R87BK
Power Output (watts) 125W 125W 125W
THD (%), Rated Oulpul Power 003 003 om
COMPU LINK Remole Controt ." .I .I
MOl or~ Dri ven Volume .I .I ."
SEA Graphic Equalizer IMechanical ." ." .I
INa. 01 Elements 7 7 7
GmOnver .I ." ."
LED Peak Indlcalor ." ." .I
Source ICD{funer/Phono{fape I {fape 2NCR{fV ." .I .I
Tuner FX-87BK FX-S7BK FX-S7BK
COMPU LINK Componenl ." ." ."
Preset Stations (Random) 40 40 40
AUla Memory .I .I ."
Presel Scan ." ." .I
Receiver RX-RS5BK RX-RS5BK
Power Outll.ut (watts) IOOW l OO W
THD ('10, Raled Ou ipul Power 003 003
COMPU LINK Remole Conlrol .I .I
v1010r- Dflven Volume ." .I
SEA GraphiC Equalizer I Mechanical .I .I
_I No. 01 Elemenls S 5
3m Driver ." .I
~ rce I CD,T uner!P hono{fape 1{f ap.o..2(V,deo Sound .I .I
Presel Sial Ions Random 40 40
" uiO Memor_y .I .I
:>resel Scan .I .I
CD Pleyer XL -M87BK XL-MS7BK XL-RS6BK XL -R86BK XL-VSSBK
' , pe I AulO Chan»er ."
I Car ousel
"'­ ." .I
I Single Tray ."
~ O MPU LI NK Componenl .I .I .I .I .I
:>9'lal Filler ." ( 4 15) r/ (4 Is) ." (4IS) .I (4Is) .I (215)
SS .I .I r/ ." ."
10. 01 Prog rams 32 32 32 32 32
ep eal r/ (4-way) r/ (4-way) ." (2 -way) r/ (2-way) .I (3-way)
r _ Display .I .I .I ." ."
C" ssette Deck TO-W87BK TO-WS7BK TD-W85BK TO-WS3BK TO-WS3BK
.JMPU LINK Component r/ .I ."
• II ,LoQic Conlrol .I r/ .I
[",,,-A (Plal'l ." ." ." ." ."
[ ' Ck B (Rec/P lay) ." ." r/ .I ."
,.., 'o-Reverse r/ .I
t­ ~n - Speed Dubbinq (Deck A--B) .r
.I .I .I .I .I
S chro Dubbing (Deck A- B) .I .I .I .I .I
Dcl by NR B/C B/C B B B
Turntable ~ AL -F97BK AL -F97BK AL-A95BK AL-A95BK
CL-AIPU LINK Componenl r/ r/
F . Aulomalic .I .I
s- ~ -Automalic ." ."
8~ I Dri ve r/ r/ ." r/
A" I SI7e Selector .I .I
Au' " ~eed Selector .I .I
Pl ld In CartridQe (HP) .I .I
@' ~ker SP-S7BK SP-S7BK SP-85BK SP-S3BK SP-93WD
Cc,,1.:.9.ural ion 3-Way 3-Way 3-Way 3-Wav 3-Way
~ -Reflex .I .I .I
We 'er (rnch) 12 12 12 10 10
Mr I , nge inCh 4 4 4 4 4
Ty,. ·rer (inch) 3- 1/S 3-1/S 3- 1/S 3- I /S 3- I/S
Pa , ve Radiator (inch) .I ( 12) r/ ('2)
Po .' Handtin g CapacIty. Rated/MUSIC (wallSl 12512 10 125/2 10 125121 0 100/ 180 I~
J::!tt d Otelln Cone .I .I
LO'.·. eakage Magnel Design .I .I r/ .I r/
Ro" Id Bailie Desogn .I .I .I
4 -~er Voice COIl _-L .I .I .I .I
~. Finish Black Black Black Black Wood
R~ RK -87BK RK-S7BK RK-S6BK RK-S6BK RK-95WD
~ r~ .I .I .I .I .I
2-G l OiS Doors .I .I
Cotvr Finish Black Black BlaCk Black Wood
~o~nd SU-A97
I Power OulPut (wailS)
-,
Surr "nd Amp
I Dolby Surround
10
.I
SP-XS6BK
Su", .M Speaker I Full-Range (I nch) 4-3/4
lPower Handllnq CapaClly. Raled/Muslc (walls) 45/90
,, Feature Comparison Cha~ / - /
Remote Control Unit 4-~ ~"'~
I¥C,~ I¥C,~
~ ~

General
Provided wllh AX-R 87BK RX-R8 ~ BK
Power ON/OFF _./ ./
Volume (UpJ1)ownl _./ ./
Fade Muting ./ ~
Source
FM ./ ./
AM
CD
-"­./ 0/
./
TAPE 1 ./ ./
TAPE 2 ./ ./
Phono ./
VCR -£ ./
TV ./
SEA
SEA Source 0/ I
Tuner
Dlreci Access (Numeric Keys) ./ ./
Presel Sta tions Up/Down ./ I
CD Changer
DIsc Seleci ./ ./
Track SeleCt (10-key ) ./ ./
Play Mode LConl lnue ./ ./
I Pro gra m 0/ 0/
CD Player
Numeric Keypad (H O. + 10. 0) I ...f ./
Play/S top I ./ ./
Auto Search I ./ ./
Surround
Surr ound Volume l ./
Mode I ./
Turntable
Play I ./
SlOP
Cassette Deck (Tape)
I -"'­
Play ./
SlOP ./
Rec _./
Pause -£
FF/REW ./
OAT
Play (10 Key Keypad) ./
SlOP 0/
Rec ./
Pause ./
FF/REW ./
VCR
Play ./ 0/
StOP ./ ./
Rec 0/ ./
Pause/Sill I 0/ ./
FF/REW ./ ./
10 Key Keypad ./
Channel Up/Down ./
TV
10 Key Keypad ./
Channel UpJ1)own 0/
Video 2 ./
Video 3 ./ ,-­
Lineup of '90 Hi-Fi Systems _ _ _ _ _ _ _ __ _ _ __ _ _ __ _ _ _ __

Top-of-the-line COMPU LINK A/V remote controlled hi-fi system featuring AIV
Surround system
Black-finished
AX-R87BK
Remote-controlled integrated amplifier
FX-87BK
Computer-controlled digital synthesizer tuner
XL-M87BK
Compact disc auto changer
TD-W87BK
Full-logic control double-mechanism cassette deck with Hi-Fi U-Turn auto-reverse
AL-F97BK
FUlly-automatic turntable
SP-87BK
3-way speaker system with passive radiator
SU-A97
AN surround processor
SP-XS6BK
Surround speaker system

GX 8800CDM
-
COI.N>UUHK
III/Remote /III
COIIfroI $ySI8m
RK-87BK
Audio rack
Stylistic HI -Fi System

High-power COMPU LINK remote control hi-fi system with CD auto changer and
bass-extended 3-way speaker system

Black-finished AX-R87BK
Remote-controlled integrated amplifier
FX-87BK
Computer-controlied digital synthesizer tuner
XL-M87BK
Compact disc auto changer
TD-W87BK
Full-logic control double-mechanism cassette deck with Hi-Fi U-Turn auto-reverse
AL-F97BK
FUlly-automatic turntable
SP-87BK
3-way speaker system with passive radiator
RK-87BK
Audio rack

GX-8700CDM g=;:,'!: Control $ySI8m

Stylistic Hi·Fi System

High-power COMPU LINK remote control hi-fi system with carousel CD auto-changer
AX-R87BK
Remote-controlled integrated amplifier
FX-87BK
Computer-controlled digital synthesizer tuner
XL-R86BK
Carousel CD auto-changer
TD-W85BK
Fuli-.Iogic control double-mechanism cassette deck
AL-A95BK
Auto-return turntable
SP-85BK
3-way speaker system
RK-86BK
Audio rack

~V
UA­ 8500C"M
1.1,
COMPUL..IAII(
Jill RenidiiiTii
Caltro/ $ySI8m
Stylistic HI-Fi System 107
" .

Hlan-DOWler COMPU LINK remote control hi-fi

tem with carousel CD auT,...-,,...... :~...."....

Black-finished RX-R85BK

Computer/remote-controlled receiver
XL-R86BK
Carousel CD auto-changer
TD-W83BK
Double-mechanism cassette deck
SP-83BK
3-way speaker system
RK-86BK
Audio rack

GX-8400CDM m~t:: Control System

Stylistic Hi-Fi System

High power COMPU LINK remote control hi-fi system with CD player

Wood-finished
RX-R85BK
@J
I Computer/remote-controlled receiver
XL-V85BK
Compact disc player
TD-W83BK
Double-mechanism cassette deck
1
AL-A95BK
Auto-return turntable
SP-93WD
3-way speaker system
RK-95WD
Audio rack

n
COAfP'UUM(
GX-930CD iJ!iii8mofel ffl
Control System
Stylistic HI-Fi System

108
 • Power output: 2 x 125 watts *
• Unified AN remote control
• 7-band S.E.A. graphic equalizer
• 7-segment LED power output indicator
• Motor-driven volume control with indicator
* at no mo'e tha n 003°0 THD (8 ohms. 20 Hz - 20 kHz) (RM S)

Remote Control Integrated Amplifier

• Preset memory of 40 FM/AM stations

• Preset scan
• Auto memory
FX-87BK ~
Computer-Controlled Digital Synthesizer Tuner

• Power output: 2 x 100 watts *

• 5-band S.E.A. graphic equalizer
• Preset memory for 40 FM/AM stations
• Full-function remote control
• 7-segment LED power level indicator
* at no mo'e than 003°'0 TH D (8 ohms. 20 Hz - 20 kHz) (R MSI

RX-R85BK f;;:Jl
Remote Control Receiver

• CD auto changer with 6-disc magazine

• 4-times oversampling digital filter
• Dual D/A converter
• Random access programming of up to 32 steps
• Random play
DIGIFlnE COAfIIfJ UNK
XL-M87BK
Compact Disc Auto Changer
-~ -

• 4-times oversampling digital filter

• Dual 01A converters
• Random play, continuous play and program play
• Multi-function display
• Random access programming of up to 32 steps

XL-R86BK DIGIFlnE

CarouselS-Disc Compact Disc Changer

• 2-times oversampling digital filter

__'l ---- _

~ •-­
- 1.- - - . - - ---·- ­ • Dual D/A converters
• Random access programming of up to 32 tracks
~~ • 2-way editing function
XL-V8SBK DIGIFlnE C~~P'J :'INK
c~
• 3-way repeat
Compact Disc Player 109
'. .' ~
,
,

ISurround processor I
• Dolby Surround, Hall Surround and Simulated
.....
= =..=.:= __ -..- -..-
~ ~ - ,---
- . Surround
- 0 '- -
- ~- '"
_ ~-
• Built-in rear-channel power amplifier (10W +
SU..A97
AN Surround Processor
10W)*
*al no mot e than 0 ~ "' Q THO 18 ohms Irom 40 Hz - 20 kHz) (RMS)

@ ICassette decks I
----- ------ - - -- ~ -­ • Hi-Fi U-Turn auto-reverse with Flip Reverse Head
(Deck B)
: - :::=:= - -~,~ . • Record/play and play-only tape transports
.. " """!!!.1Cl~ 1i ~ E"..!. I ~!! ~ _ • Computer-controlled full-logic control
~ ~"':"'- !.. :; - 7 . _ . -:­
• Continuous play of two tapes
TD..W87BK Cr~1( • Dolby B/C noise reduction
Full-Logic Control Double-Mechanism Cassette Deck with
Hi-Fi U-Turn Auto·Reverse

: -.. .­
--------~--~-------

• !:.:::!!!rro-..
I' , ....

- ; -. --.-.
--~:-
~
. -
.., =-
. -
II ~"!!!~"-;.. •
-- - - - ; ­
-~~-;
• Record/play and play-only tape transports
• Computer-controlled full-logic control
• Continuous play of two tapes
• High-speed editing with synchro start
• Dolby B noise reduction
TD..W85BK C~"IK
Full·Logic Control Double-Mechanism Cassette Deck

• Record/play and play-only tape transports

-' ­
• Continuous play of two tapes
~~-~~- ~ ~ • High-speed editing with synchro start
-=- i~- -=~- ..'. , J""!.~~"''' ~"::!!~~,. .- <II • Dolby B noise reduction
~ __-: :J liuiuu=iili ....... Il:lliIgjli _

TD-W83BK
Double·Mechanism Cassette Deck

ITurntabl~
• Fully automatic operation
• Auto record size and speed selector
• Plug-in moving-magnet cartridge

AL-F97BK c~~
Fully Automatic Belt-Orive Turntable

• Low-mass straight toneann

• Automatic ann return

AL-A95BK
Auto·Return BeIt·Drive Turntable
11 0
 SP-93WD
3-Way Speaker System

SP-87BK • 3-way tower design with

3-Way Speaker System with Passive Radiator 1O-inch woofer
• 3-way tower design with • 4-layer woofer voice coils
12-inch woofer with ma~netic fluid in gaps
• 12-inch passive radiator • Heat-resistant adhesive
• 4-layer woofer voice coils
with magnetic fluid in gaps
-iead
• Round-cornered front
baffle .

SP-85BK ISurround speaker system I

3-Way Speaker System

• 3-way tower design with ~ SP-XS6BK

12-inch woofer Surround Speaker System

• 4-layer woofer voice coils • FUll-range 5-inch cone

with magnetic fluid in gaps speaker
• Round-cornered front baffle • High-dispersion design for
enlarged listening area

SP-83BK
3-Way Speaker System

• 3-way tower design with

10-inch woofer
• 4-layer woofer voice coils
with magnetic fluid in gaps
• Heat-resistant adhesive

Examples showing how to install in the rack

The RK-B7BK audio rack is specially audio rack is for the Stylistic GX-930CD . The following shows the
designed for installation of the JVC Stylistic GX-B500CDM /GX-B400CDM: the examples of the most effective ways for
GX-BBOOCDM /GX-B700CDM: the RK-B6BK RK-95WD audio rack is for the Stylistic each syslem .

AX -RB7BK

~5B.J
Xl-V85BK

AL-F97BK Shelve..

Ie :::> \
L i

Use lor storage 01 COs,

~
co magazines. ;;;~)JJ- Use lor storage 01
COs and l'1eadphones,
LPg and headphones . Use lor storage 01
etc .
Ole
=3:::::::::::::'1 CDs and headphones.
/ etc,

For installing Stylistic For installing Stylistic For installing Stylistic

X-8800CDM in the RK-87BK GX-8500CDM in the RK-86BK GX-930CD in the RK-95WD

1. Installthe shelves as shown . The 1. Install the shelves and componenls as 1. Install the shelves as shown. The
turntable is installed on the bollom shelf. shown in the ftgure turntable is installed on the bottom shelf.
the cassette deck and the AIV surround the cassette deck on the next. and the
processor on the next. and the CD CD player and receiver are stacked on
changer. tuner and amplifier are stacked Ihe lop shelf.
(In Ihe top shelf.
Inslall the components as shown in the
figure
111
 MEMO

" ,
" '
Ne\N Hi-Fi Technology 1990

JVC

JVC-developed PEM DO (Pulse Edge Modulation

Differential-Linearity-Errorless DA) converter

1) Are DA converters using more bits required?

Basically, the DA converter determines the quality of sound

from a digital source, and the main competition to develop

better DA converters has been in the number of bits used in

conversion, from 16 bits, to 18 bits, 20 bits and even 22

bits.

For example, the signals recorded on a compact disc are

16-hit, so why is the number of bits increased above this? The

main reason is to reduce degradation of the SIN introduced by

the digital filter before tne DA converter. This digital

filter is used to reduce the complexity of the analog filter

after the DA converter, thereby improving the phase

characteristics. However, the digital filter degrades the SiN

because requantization noise (rounding-off errors) is added to

the quantization noise which is inherent in the system. In

spite of this drawback, the digital filter is used to increase

the sampling frequency and simplify the analog filter, for

higher quality sound.

1
" ,

There are two ways ln which the degradation of the SIN can

be reduced; by increasing the multiplying factor of

oversampling and by increasing the number of bits. While the

SIN is improved as the multiplying factor of oversampling and

the number of bits are increased, there are limits. with 4 fs

oversampling and 18 bits, the SIN becomes close to the ideal

value, that is, quantization noise generated in the recording

process cannot be removed, however much the reproduction

system is improved. So, increasing the values above these

figures has no effect on the SIN. Therefore, whichever of

these two methods, or whatever combination of them, is

adopted, there are limitations. Furthermore, even when the

number of bits is increased, only the SIN of the signal output

from the digital filter can approach the ideal value. with

regard to the entire DA converter, the SiN is not improved

unless the accuracy of the DA converter is equivalent to the

number of bits.

 2) Operation of a multi-bit DA converter (Fig. 1)

The digital signals recorded on a compact disc (as PCM

signals) are a train of data representing the amplitude of the

d signal in a fixed time interval (the sampling period). If the

5
bits making up this amplitude are replaced by voltages or

currents proportional to the values of the individual bits,

g using the same sampling frequency as that used for AD

conversion, the digital signals can be converted into analog

signals. This principle is used in conventional multi-bit DA

converters; as the currents are produced by a "resistance

ladder", these DA converters are generally called

"ladder-type" DA converters. In the most popular ladder type

)ut DA converters, there are a number of constant current sources

corresponding to each bit, from the LSB (least significant

bit) to the MSB (most significant bit), the weighting of each

e of which is double that of the next lower bit. According to

the instantaneous digital data, each current source is

Circuit converting Circuit converting

digital signal to current to voltage

Electronic
switch ON analog current
when 1 and
OFF when 0
Output

Time

Current '---'-4----'.......- _ ' " - - ' - + - - _ - - 0 Powe r sou rce

32,768
times
that of
LSB

Fig. 1 Principle of 16-bit current-summing type DA converter

3
"

switched ON or OFF to generate a current the total amplitude

of which corresponds to the instantaneous value of the data,

then this current is converted into a voltage.

As the signals produced by the above process are

step-shaped, an analog LPF (Low Pass Filter) is used to remove

pulse components and output smooth analog signals.

A current-summing type DA converter uses a ladder of at

least 16 resistance elements and the value of the largest of

these is 32,768 times that of the smallest, but it is

difficult to accurately provide resistances with such a large

difference; the problem is that any error in these resistances

results in a differential linearity error. These resistances

are influenced by changes in temperature and aging, which

again makes it difficult to maintain accuracy. Especially,

this error is noticeable around the 0 point of the analog

music signal, that is, the point where only the MSB is on.

When the signal drops 1 step below this value, the MSB

switches o~f and all the other bits switch on; if the values

of the resistance elements are not aligned with extreme

precision, this produces a phenomenon called "zero-crossing"

distortion because it occurs at the point where the analog

signal crosses the time axis.

And as these 16 resistances are switched independently, if

the timing of the switching is less than perfect, it can

introduce another form of noise, "glitches", which result in

waveform distortion.

4
 3) Operation of a I-bit DA converter

On the other hand, the I-bit DA converter has only 2 states,

1 and 0, high and low, or ON and OFF. Switching between these

two states is performed at an extremely high speed and analog

re signals are formed by varying the time for which the circuit

is ON and OFF, which corresponds to the digital data from the

source.

In a I-bit DA converter, there is only one amplitude, and it

does not rely on the accurate alignment of the weighted values

of a ladder of resistance elements which are vulnerable to

changes in temperature and aging; as the switching timing is

controlled by the high-precision clock generated by a quartz

crystal oscillator, low distortion can be obtained without any

adjustment while zero-crossing distortion and glitches do not

occur due to the circuit's principles of operation. This is

what gives a l-bit DA converter the ability to reproduce very

low level signals accurately, so as to reproduce the

"presence" of a sound field and musical nuances with extreme

fidelity. These are the most important advantages of a I-bit

DA converter (Fig. 2).

"'"'II.:: E

Current-summing type
i-bit converter converter

Input digital
signa 1

'E"
..,'" .....
'"
;>,
Conversion to
'"
C
analog signals . . Zero­
crossing
....o distortion
...'"
Q)
>
C
o
u
..: A. Amplitude -changed
Q

.... Pulse waveforms with due to bit errors

o quartz crystal accuracy

.....
..
c
o
....'"
...
..a. LPF LPF
E
o R"produced
U
analog signals Ze.ro-

dB
-60f4
::J
lzL------- ,,17
I
I
I
+J .~
t'(I I-t

~ ~
~ I U c:
~ r ~~
o I
I

o INPUT -60
dB

Fig. 2 Comparison of I-bit DA converter and current-summing

type DA converter

6
4) JVC PEM DD converter (Fig. 3)

The PEM DD converter is an original JVC ihvention and

consists of a newly-developed fourth-order noise shaper and a

"I-bit PEM DA converter".

--lOf- xtal
From digital

filter

Audio
output
IL _____________________ J

Fig. 3 Block diagram of a PEM DD converter

- Fourth-order noise shaper

The circuit of a fourth-order noise shaper is shown in Fig.

4. In this circuit, data which is 8 times oversampled by a

digital filter is input and it is further oversampled at a

higher frequency. The noise shaper circuit operates at this

higher sampling frequency (fa).

Q in Fig. 4 is a circuit called a "requantizer" which

performs bit compression so that high-resolution data is

compressed to data suitable for the l-bit DA converters in the

following stage. Distortion due to compression errors, called

"requantization noise", always occurs after bit compression.

The noise shaper's task is to remove this distortion so that

the errors do not affect the output after DA conversion.

As shown in Fig. 4, the noise shaper consists of a negative

feedback loop including the requantizer (Q). Requantization

noise occurring in the loop is suppressed by the effects of

negative feedback. The greater the loop gain, the greater the

noise suppression effect. In the noise shaper, integrating

7
" .

+
Adder
+
Adder ..
<IJ
Output
N

+ 1/4 ."".j.I
0::
ru To PEM
;:l circuit
0'
<IJ
tl::

1/2 time s
multiplier

Add er

(D i s a I-sample d e lay unit)

(a) Simplified block diagram of one JVC noise shaper

Fourth order Requantization noise

x + y

(16 '"'-'24 bits) (l'V3 bits)

Second order

01-4-----'

J shows an integrator.

(b) Simplified block diagram of a noise shaper

Fig. 4 Fourth-order noise shaper

 loop filters the gain of which increases at lower frequencies

are used to suppress noise in the audible band, that is at

lower frequencies. Therefore, the greater the degree of

integration, that is the higher the order of the noise shaper,

Output
the greater its noise suppression effect.
To PEM
circuit In conventional I-bit DA converters, when the order of noise

shaping is increased, the requantizer is required to have a

greater dynamic range. On the other hand, the local I-bit DA

converter in the following stage had low resolution, which

limited the dynamic range. Because of this, the requantizer

became saturated and the feedback loop became unstable.

mit)
However, even though the order of noise shaping is increased

and the SiN in the audible range is improved, the noise shaper

can only change the distribution of the noise. That is, it

reduces noise at lower frequencies but noise at higher

frequencies is increased. So, in JVC's noise shaper, a special

loop filter is used so that at lower frequencies, sufficient

negative feedback can be obtained to achieve the

characteristics of fourth order noise shaping while at high

frequencies, the dynamic range of the input to the requantizer

is reduced and stable negative feedback can be obtained to

achieve the characteristics of second order noise shaping. By

use of this loop filter and our new high-resolution PEM DA

9
" '
"

converters, an unsaturated, completely stable noise shaper

with fourth-order characteristics can be achieved.

The characteristics of noise shaping are shown in Fig. 5. As

you can see, noise in the audible range is suppressed with

respect to the original characteristics of requantization

noise as the order of noise shaping is increased. In this PEM

DO converter, with its fourth-order noise shaper and PEM DA

converters, requantization noise is reduced to a completely

negligible level.

Without Noise Shaper

,
~.- .

20kHz fa/6
-­-.
fa/2
Frequency

Fig. 5 Effect of a noise shaper

10
 - PEM DA conversion system (Fig. 6)

The PEM DA conversion system converts input digital data

into an extremely precise pulse train under the control of an

3

accurate quartz clock, for conversion into an analog music

signal by the subsequent LPF. The PEM DD converter contains

two PEM DA converters which produce two pulse outputs (A and

B), based on the input digital data, and these are synthesized

to produce the output signal.

The basic operation of the PEM DA conversion system is as

follows. If data +n is input, the edge moves by n clock

periods in the direction of increasing pulse width in the case

of DA converter A, while in the case of DA converter B, the

edge moves by n clock periods in the direction of decreasing

A
PEM DAC
Analog
Digital output
input (A - B)
PEM DAC
B

Fig. 6 Basic construction of a PEM DA converter

11

'. ,
"

pulse width. When data -n is input, the opposite occurs. As

the composite signal (A - B) is symmetrical on both sides of

the reference timing (shown by the dotted line), and on both

sides of the voltage axis (as can be seen from data +1 and

-1), phase distortion does not occur.

In Fig. 7, when data +1 is input from the noise shaper, the

edge of the pulse from DA converter A is shifted by one clock

period before the reference timing shown by the dotted line,

while the edge of the pulse from DA converter B is shifted by

one clock period after the reference timing.

Input value +1 o -1 +5

Quartz clock t t t t t t t t t t t t t t t t t t t t t t t t ftttttttt

I

Output A

Output B

Composite
output A - B

Fig. 7 Basic waveforms in a PEM DA converter

12
 The difference from a conventional 1-bit DA converter is

that, when the pulse stream is input, data is extracted using

the pulse width in the case of a conventional DA converter,

while in the case of the PEM DA converter, data is extracted

using the edge position of the pulse. By extracting data in

this way, using the edge position rather than the width of the

pulses, the PEM DA converter has a resolution more than twice

that of a conventional DA converter.

Also, with the conventional DA converter, the width can

change only within the input data period (the area between

full lines with the dotted line at the center), while, with

the PEM DA converter, the only precondition is that the edges

of the pulses from the two DA converters do not fallon each

other.

As you can understand from the third data -1 and the fourth

data +5 in the example shown in Fig. 7, edges can extend

beyond the full line which is the border between adjoining

data samples. For this reason, the PEM DA converter has a

wider dynamic range.

13

5) Conversion characteristics of the PEM DO converter (Fig. 8)

The advantages of the PEM 00 converter are:

1. Distortion which degrades sound quality such as

zero-crossing distortion is completely eliminated.

2. Optimum, stable music reproduction is possible because it

is not influenced by aging and temperature changes.

3. Low distortion (0.0015% with 16-bit input) thanks to

improved linearity and quartz crystal accuracy

4. Requantization noise of -120 dB (logical value in audio

band) and wide dynamic range with high resolution

equivalent to 20 bits (0 - 20 kHz)

The photographs show the conversion characteristics at a

very low level. The input signal consists of repetitions of

square-wave signals, with each of the 5 series of square waves

having an amplitude difference equal to the amplitude of the

 LSB. The conversion output passes through the same LPF and no

averaging was applied for any of the three photographs.

Photo 1 shows the waveform when a current-summing DA

converter is used and significant mismatching occurs between 0

.t and -1. This shows that zero-crossing distortion occurs and

the linearity at low levels is degraded.

Photo 2 shows the waveform when a conventional I-bit DA

converter is used. The linearity is satisfactory but there is

a significant amount of requantization noise. This decreases

the dynamic range at the levels used for listening.

Photo 3 shows the conversion characteristics of JVC's PEM DO

converter. This produces results which are closest to the

input signal while noise is minimized and perfect linearity is

maintained.
:s As described above, JVC's PEM DO converter is the ideal DA

converter with accurate linearity even at extremely low

levels, and a wide dynamic range.

"
"
.

[LSB J

+4
+2
o hnr Illl
jUU WUL
-2
-4

Approx. 25 msec Photo 1 Conventional current-summing DA converter

IThe value of the LSD is the smallest possible data increment)

Fig. 8 Input data (16 bits)

Photo 2 Conventional I-bit DA converter Photo 3 Conversion characteristics of

the PEM DO converter

16
JVC

VICTOR COMPANY OF JAPAN, LIMITED

Audio Products Division

U.S. Version
Pri nted In Japan
SBU-0063