18 SYSTEM CONFIGURATION
SYSTEM CONFIGURATION
(Figure 2) is on the screen, and the on-screen cursor
will drop down to the
DIGITAL IN line. Press
the
‹
/
›
Buttons n until the name of the
desired digital input appears. To return to the analog
input, press the buttons until the word
ANALOG
appears. When the correct input source appears, press
the
¤
Button q until the
›
cursor appears next
to
RETURN TO MENU, and press the Set
Button
o.
To change the digital input at any time using the dis-
crete function buttons and the Semi-OSD system,
press the
Digital Input Select Button Úp on
the front panel or the remote. Within five seconds,
make your input selection using the
Selector Buttons
5 on the front panel or the
⁄
/
¤
Buttons mq
on the remote until the desired digital or analog input
is shown in the
Main Information Display S and in
the lower third of the video display connected to the
AVR 225. Press the
Set Button o to enter the
new digital input assignment. When the Stereo-Direct
(Surround Off) mode is in use, you may only select the
analog input for a source. When the Stereo-Digital
mode is in use, you may select from any of the digital
inputs that you have connected to your source com-
ponents.
Surround Setup
Once the basic input setup has been completed, the
next step is to set the surround mode you wish to use
with an input. Since surround modes are a matter of
personal taste, feel free to select any mode you wish –
you may change it later. However, to make it easier to
establish the initial parameters for the AVR 225, it is
best to select Dolby Pro Logic II for most analog
inputs and Dolby Digital for inputs connected to digital
sources. In the case of inputs such as a CD Player,
Tape Deck or Tuner, you may wish to set the mode to
one of the two Stereo modes, as they are not typically
used with multichannel surround-encoded program
material. Analog Stereo-Direct mode bypasses the
digital signal-processing circuitry for a completely ana-
log signal path that preserves the purity of the original
signal, and Stereo-Digital mode provides bass man-
agement for optimal distribution of the low frequencies
between smaller speakers and a subwoofer.
Alter-
natively, the
Logic 7 Music mode is a good choice for
stereo-only source material.
NOTE: When a Logic 7 mode is in use with a Dolby
Digital 2.0 digital input source, that mode, rather than
Logic 7, will be used by the AVR after the digital bit-
stream is interrupted for any reason, such as stopping
or pausing the digital playback. Note, also, that Logic 7
is not available with digital playback unless a two-
channel bitstream is in use.
It is easiest to complete the surround setup using the
Full-OSD on-screen menus. From the
MASTER
MENU
(Figure 1), press the
⁄
/
¤
Buttons
mq until the
›
cursor is next to the
SURROUND SETUP menu. Press the Set
Button
o so that the SURROUND SETUP
menu (Figure 3 or 4) is on the screen.
Figure 3
Figure 4
Since the factory default for all inputs is Stereo, the
phrase SURR OFF will initially appear in highlighted
video (Figure 3). To change the surround mode while
the
›
cursor is next to the surround line, press the
‹
/
›
Buttons n until the desired surround
mode’s name appears in the highlighted video. As the
modes are changed, a green LED will also light next
to the mode names in the
Surround Mode
Indicators
˜ on the front panel.
Note that the data lines next to the items in the screen
display will show either numbers or a series of dashes,
depending on whether or not the specific parameter is
adjustable. For example, the Center Delay and Night
Mode items are only adjustable for Dolby Digital, and
the Delay Time is only adjusted for Dolby Digital and
Dolby Pro Logic II. Note, also, that Dolby Digital and
DTS will only appear as choices (Figure 4) when a
digital input was previously selected.
Depending on the surround mode selected, you may
now proceed to change the delay time. For Dolby
Digital and Dolby Pro Logic II, pressing the
⁄
/
¤
mq buttons on the remote will take you to the
delay settings.
Delay Settings
If Dolby Digital or Dolby Pro Logic II is selected as the
surround mode for an input, you may need to adjust
the delay time setting. Note that the delay time is not
adjustable for any other modes.
Due to the different distances between the front-chan-
nel speakers and the listening position compared to
the surround speakers and the listening position, the
amount of time it takes for sound to reach your ears
from the front or surround speakers may differ. You
may compensate for this difference through the use of
the delay settings to adjust the timing to tailor the spe-
cific speaker placement and acoustic conditions in
your listening room or home theater.
The factory setting is appropriate for most rooms, but
some installations create an uncommon distance
between the front and surround speakers that may
cause the arrival of front-channel sounds to become
disconnected from surround-channel sounds.
To resynchronize the front and surround channels, fol-
low these steps:
1. Measure the distance from the listening/viewing
position to the front speakers.
2. Measure the distance from the listening/viewing
position to the surround speakers.
3. Subtract the distance to the surround speakers
from the distance to the front speakers.
a. When setting the delay time for the Dolby
Digital surround mode, the optimal delay time
is the result of that subtraction. For example, if
the front speakers are 10 feet away and the
surround speakers are five feet away, the opti-
mal delay time is figured as 10–5=5. Thus, in
this example, the delay time for Dolby Digital
should be set at five milliseconds.
b. When setting the delay time for the Pro Logic II
mode, take the result of the subtraction and
add 15 to obtain the optimal delay time. For
example, if the front speakers are 10 feet
away and the surround speakers are five feet
away, the optimal delay time is figured as
10–5+15=20. Thus, in this example, the
Pro Logic II delay should be set at 20 milli-
seconds.
NOTE: The DTS, Logic 7, Hall and Theater modes use
a fixed, nonadjustable delay time.
The Dolby Digital mode also includes a separate set-
ting for the center channel delay mode, since the dis-
crete nature of these signals makes the location of the
