Training Manual

S
Training Manual
Multi-Product Hi-Fi Technology and Troubleshooting
Digital Board
Model: STR-DE845
Hi-Fi Output
Troubleshooting
Switching Power Supply

Model: DAV-700/900 DAV-S500 HCD-S500 HCD-C700/900
Super Audio CD
New Technology
Course: A-124
Table of Contents
1. Introduction ..................................... 1
Purpose ............................................................ 1 Receiver ........................................................... 1 Layout .............................................................. 1 Regulation ....................................................... 32 How to Troubleshoot the Power Supply .......... 33 Testing the Power Supply Unloaded ............... 35 Troubleshooting Shortcuts .............................. 36
2. Sound Fields .................................... 2

What is a Sound Field? .................................... 2 Sound Field Types............................................ 2 Virtual ............................................................... 3 Cinema Studio .................................................. 6 Semi Cinema Studio......................................... 6 Theater ............................................................. 6 Music ................................................................ 6 Active Speaker Chart ....................................... 7 Table 2-1 - Input Software Format .................... 9
10. Hi-Fi Output Troubleshooting Overview ............................................. 37 11. Troubleshooting Driver Amplifier & Bias Network Circuits .... 39
Protection light will not go off after replacing Output transistors ............................................ 39 Excessive Current Draw .................................. 40
12. Troubleshooting Audio Protection Circuits ............................. 43

(+/-) Offset Protection Circuit ........................... 44 Over Current Protection Circuit ....................... 45
3. Digital Board Inputs ....................... 10

Analog Inputs .................................................. 10 Digital Inputs .................................................... 10 Software Formats Illustrated ........................... 12
13. Super Audio CD ............................ 46

Overview ......................................................... 46 The New Format for the Age of Digital Pure Audio ............................................ 46 The DSD Format: No Data Decimination or Interpolation Required ................................. 48 Delta Signal Modulation and A/D Converter .... 49 Disc Features and Watermark Technology ..... 53
4. Control Signal Block ...................... 14

Input/Output Select ICs Control Signal Block ........................................ 14 Digital Processing ICs Control Signal Block ........................................ 15
5. Analog signal Block ....................... 19

Circuit Description ........................................... 21
Appendix: Individual IC Functional Description ....................... i

IC1201 System Control .................................... i IC1101 Digital Audio I/F Receiver (DIR) ........... i IC1301 Digital Audio Decoder (DAD) ............... i IC1401 Audio DSP ........................................... i IC1503 Audio Codec ........................................ i IC1403 SRAM (Static RAM) ............................. i
6. Digital Signal Block ........................ 23 7. Mute Signal Block .......................... 25 8. Troubleshooting Block .................. 26 9. DAV-C700 Switching Type Power Supply...................................... 28
Safety for You and the Circuit .......................... 28 Power Supply Operation ................................. 28
1. Introduction
Introduction
Purpose
The focus of this book is on the digital board operation in the sample receiver (STR-DE845) and covers the following subjects: A working understanding of sound fields and what type of movie or music software should be used with each sound field for optimal performance. Proper use of the digital board inputs. Which speakers receive actual audio while in various sound field modes. Simplified circuit diagram and operation of the digital board for troubleshooting.
To properly troubleshoot the Digital board, a good understanding of what sound fields are and how they affect the input is essential. Once a good working knowledge of sound fields is obtained, the receiver can be better set up to process the movie or music software for the best quality audio output. The information in this book will also help the technician determine whether a customers problem is a receiver setup or an actual circuit defect.
Receiver
The main receiver used for demonstration throughout this book is the STR-DE845. The STR-V444ES digital board will also be covered, showing the DSP circuit changes as compared to the STR-DE845 only. The overall operation of the digital board in both models is the same.
Layout
Chapter 2 covers the theory and functional description of the various sound fields. Chapter 3 illustrates the proper use of the receiver (digital board) inputs on the rear panel. Chapters 4, 5, 6 and 7 provide the technician with block diagram descriptions of the four main systems found on the digital board. Chapter 8 describes a very practical troubleshooting method for determining a defective component on the digital board. There is also an appendix at the end of the manual that provides a brief description of the function of the main ICs on the digital board.
2. Sound Fields
Sound Fields
What is a Sound Field?
Each venue, be it a concert hall, cinema theater or small jazz club, has a characteristic sound field made up of direct sounds and reflections from the surfaces of the environment. Some venues sound large and spacious, others sound small and intimate. These characteristics are captured using special microphone pickup systems placed in the actual venue. The microphone pickup system captures the acoustic blue print of the venue, which contains all of the acoustic information about the venue, such as direct sounds, early reflections and reverberations (reverberations occur when the number of reflected sound-waves arriving at the listeners ear becomes very large; ref. Figure 2-1). All the acoustic data about the venue is stored in the computer and then downloaded to the A/V receivers microprocessor internal memory. So when you select the concert hall sound field on your A/V receiver, the information stored in the microprocessors internal memory is activated and your living room takes on the characteristics of an actual concert hall.
STAGE
Sound Field Types

Auto Format Decoding (press AFD button)
FIGURE 2-1 - Soundwave Reflection Diagram
This mode automatically detects the type of audio signal (Software Format) being input (e.g. Dolby Digital, Dolby Pro-Logic, or Standard 2 Channel Stereo) and performs the proper decoding if necessary. This mode presents the sound as it was recorded/encoded, without adding any sound field effects. NOTE: This mode can be used as a reference. Set the equalizer to OFF while using this mode to hear the source sound exactly as it was recorded. This mode can also be used to determine exactly what type of Software format is encoded on a given disc.
2 Channel (press 2CH button)

Outputs the sound from the front left and right speakers only. Standard two channel (stereo) sources completely bypass the sound field processing. Multi-channel surround formats are down-mixed to two channels. NOTE: No sound is output from the sub-woofer (LFE) when the 2 Channel mode is selected.
Normal Surround
This mode is designed to be used with a Multi-channel surround audio input (e.g. Dolby Digital/AC-3, DTS or Dolby Prologic) and the normal six-speaker surround system (front left/right, rear left/right, center and LFE) (ref. Figure 2-2). When the playback material is encoded with multi-channel surround audio, it will be heard as it was originally recorded (with no other processing for special effects). For example, a movie will be played back exactly how the producer recorded it during the movies production. If Dolby Prologic (2 channel audio) encode material is input, it will be processed to create surround sound effects using the actual six-speaker system.
Dire ct S oun dwa ve
ave dw n un So flectio y l r Ea Re
La te S Re oun flec dwa tion ve
2. Sound Fields
Note: Front Left FLT Low Frequency Effects - LFE Center Cntr Front Right FRT Rear Left RLT Rear Right - RRT Listening Position LP
L LFE C R
LS
RS
FIGURE 2-2
Virtual
The five different Virtual modes create sets of virtual speakers using the actual existing speaker system which could be a six or three speaker system. 1) V. Multi Dimension: Uses 3D image processing to create four sets of virtual rear speakers surrounding and positioned at an elevation of 30 degrees higher then the listener from a six-speaker system (two actual rear speakers). Depending upon where the actual rear speakers are positioned, the virtual speakers positions will vary (ref. Figures. 2-3, 2-4 and 2-5). The position of the rear speakers (Side, Mid or Rear) must be programmed in the A/V receiver SET-UP menu for this sound field effect to work properly. NOTE: The virtual speakers are placed at an elevation of 30 degrees higher then the listener to further emulate the theater venue. The surround sound speakers in a theater are always higher then the listeners position.
LFE
LFE
LFE
LS
LS
RS
2
RS 4 4
LS
4 LS RS
FIGURE 2-4 - Rear Speakers Middle
FIGURE 2-5 - Rear Speakers Behind
FIGURE 2-3 - Rear Speakers Side
2. Sound Fields
2) V. Multi Rear: Uses 3D image processing to create three sets of virtual speakers from a six-speaker system (two actual rear speakers; ref. Figures. 2-6, 2-7 and 2-8). The position of the rear speakers (Side, Mid or Rear) must be programmed in the A/V receiver SET-UP menu for this sound field effect to work properly. Note: No 30-degree higher effect.
L LFE C R
L LFE C R
LFE
LS
RS
2 3 3
LS 3 3
RS
3 LS RS
FIGURE 2-6 - Rear Speakers Side
FIGURE 2-7 - Rear Speakers Middle
FIGURE 2-8 - Rear Speakers Behind
3) V. Semi-M. Dimension: Uses 3D image processing to create five sets of virtual rear/surround speakers surrounding and positioned at an elevation of 30 degrees higher then the listener. This is accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure 2-9).
L LFE C R
4 5 5
FIGURE 2-9
4) Virtual Enhanced A: Uses 3D image processing to create three sets of virtual rear/surround speakers. This is accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure 2-10).
2. Sound Fields
L LFE C R
FIGURE 2-10
5) Virtual Enhanced B: Uses 3D image processing to create one set of virtual rear speakers. This is accomplished using only the front left and right speakers without using actual rear speakers (ref. Figure 2-11).
L LFE C R
FIGURE 2-11
2. Sound Fields
Cinema Studio
This mode is designed to be used with a Multi-channel surround audio input (e.g. Dolby Digital/AC-3, DTS or Dolby Prologic) and the normal six-speaker surround system (front left/right, rear left/right, center and subwoofer). Cinema Studio is similar to Normal Surround except now the acoustical characteristics of a Sony Pictures Entertainment cinema production studio are present. The 3D image processing of the V. Multi Dimension (a virtual speaker mode which will be discussed shortly) is added to the normal surround sound audio to produce the cinema studio atmosphere. There are three Cinema Studio sound fields: 1) Cinema Studio EX. A: Reproduces the sound characteristics of the Sony pictures Entertainment Cary Grant Theater cinema production studio. This sound field can be used when viewing almost any type of movie. 2) Cinema Studio EX. B: Reproduces the sound characteristics of the Sony pictures Entertainment Kim Novak Theater cinema production studio. This sound field is ideal for viewing science fiction or action movies with lots of sound effects. 3) Cinema Studio EX. C: Reproduces the sound characteristics of the Sony pictures Entertainment scoring stage. This sound field is ideal for viewing musicals or classic films where music is featured in the soundtrack. Note: The Cary Grant and Kim Novak Studios are actual Sony Pictures Entertainment Movie Production Studios where a movie is shot and produced. Each has its own unique acoustical characteristics, which in these cases even have particular characteristics for certain types of movies (e.g. The Kim Novak Studio is particularly good for Science Fiction movies). The Sony Entertainment Scoring Stage is an actual studio used for recording the music portion of the movie. Once again, this studio has especially good characteristics for recording movie sound tracks. This makes this mode particularly good for playing back certain movies where the sound track is a major part of the movie (e.g. a musical movie). Note: These sound fields use the 3D sound imaging of V. Multi Dimension. Reference figures 2-3, 2-4 and 2-5 for the three possible virtual speaker system positioning, which depends on the positioning of the two actual rear speakers.
Semi Cinema Studio

These three sound fields (Semi Cinema Studio EX. A, Semi Cinema Studio EX. B and Semi Cinema Studio EX. C) are identical to the above Cinema Studio mode except now the Sony Picture Entertainment cinema production studio sound characteristics are reproduced using only front left, right and center speakers. All other speakers are virtual (ref. Figure 2-12).
L LFE C R
4 5 5
FIGURE 2-12 - Listener, Actual and Virtual Speaker Setup
2. Sound Fields
Theater
There are four theater sound fields: 1) Night theate r: Retains theater-like sound characteristics while listening at a low volume level, ideal for late night movie viewing. 2) Mono Movie : Creates theater-like sound characteristics from movies with mono soundtracks. 3) Stereo Movie : Creates theater-like sound characteristics from movies with stereo soundtracks. 4) Headphone theater: Retains theater-like sound characteristics while listening through a pair of headphones. NOTE: Mono Movie and Stereo Movie modes do not convert input signals to Mono or Stereo signals. They are strictly used for optimal playback of analog 2ch movie soundtracks.
Music
Nine different sound fields reproduce the acoustical characteristics of nine different venues. Each one of these sound fields is designed for a 2-channel stereo input (e.g. from a CD, DAT, TV Broadcast, etc.). Some of these sound fields are designed to perform better with certain types of music (e.g. Jazz Club with Jazz, Rock music with Live House and so on). These sound fields are listed below: Small Hall Large Hall Opera House Jazz Club Disco Club Video Games Game: This sound field is designed to be used with video game software and a stereo input. This mode will produce dynamic audio while playing video games. Church Live House Arena Stadium
Active Speaker Chart

With so many sound fields and software formats, it can be very difficult to know which speakers are active (actual audio applied to them by the receiver) for the software while in a particular sound field mode. Chart 2-1 on the following page shows Sound Fields on its vertical axis and Software Formats on the top horizontal axis. It indicates which speakers are active with the chosen Sound Field and Software Format. This chart also indicates when Virtual Speakers are present. To get the same results as this chart at any location, the following conditions must be met:
Conditions
1) The input device (e.g. DVD, CD etc.) must be set up properly to output the desired Software Format (e.g. AC-3, DTS etc.). 2) The proper input on the receiver must be used to receive the desired Software format. a. Optical and Coax Inputs: Dolby Digital (AC-3), DTS, Dolby Prologic, Dolby Surround and PCM b. Analog Inputs: Dolby Prologic, Dolby Surround, Stereo and Mono c. 5.1 Channel Input: This input bypasses all surround sound processing of the receiver. Note: This is a good input to use to test if all the speakers in the system are receiving audio. The input device must have a 5.1 Channel output.
2. Sound Fields
3) Speaker wires must be connected correctly, e.g. the Positive (+) on the receiver terminal connected to the Positive terminal on the speaker. Same for the Negative (-) terminal. 4) The speaker impedance switch on the receiver should match the impedance of the speakers connected. Note: If only output A is used, the impedance switch should be set to match the speaker impedance (e.g. 4 or 8 ohms). Caution!!! - If the A and B output are used simultaneously, the impedance of each speaker must not be less then 8 ohms and the impedance switch must be set for 4 ohms. This is because the speakers are placed in parallel when in this configuration so the impedance of the speakers is cut in half. Notes for Chart: 1) The box around the speaker letter indicates that this is an actual physical speaker (not virtual) and audio is applied to the speaker. 2) There are notes under pictures to indicate if virtual speakers are being created. NOTE: The actual rear surround sound speakers will be inactive in the following sound field modes: Semi-Cinema Studio EX. A, B, and C V. Semi-M Dimension Virtual Enhanced A and B 2 Channel
2. Sound Fields
T A B L E 2 -1 - IN P U T S O F T W A R E F O R M A T S o u n d F ie ld L A .F .D . LS L N o rm a l S u rro u n d LS C in e m a S tu d io E x. A , B, C L C RS R LF E L S C S R L S C S R L S C S R C RS R LFE L S C R L C R L C R C R LFE L C R L R L R D o lb y D ig ita l (A C -3 ) 5 .1 C h a n e l S u rro u n d DTS D o lb y P ro lo g ic PCM S te re o M ono
LS RS W ith a d d itio n a l virtu a l speaker L C R LFE L
S e m i-C in e m a S tu d io Ex. A, B, C
A ll o th e r s p e a k e rs v irtu a l L LS C R RS C R RS C R RS C R RS W ith a d d itio n a l virtu a l s p e a k e rs LF E LFE LFE LFE
A ll o th e r s p e a k e rs virtu a l L C S L C S L C S L C S R (re ve rb ) R (re ve rb ) R (re ve rb ) R
A ll o th e r s p e a k e rs virtu a l L C S L C S L C S L C S R R R R
A ll o th e r s p e a k e rs virtu a l L C S L S L S L C S R R R R
N ig h t T h e a te r
M o n o M o v ie
L LS
S te re o M o vie
L LS
V . M u lti D im e n s io n
L LS
V . M u lti R e a r
L LS
R RS
LFE
C S
C S
C S
W ith a d d itio n a l virtu a l s p e a k e rs V. Sem i - M D im e n s io n L C R LFE L C R L C R L C R
A ll o th e r s p e a k e rs virtu a l L C R LFE
A ll o th e r s p e a k e rs v irtu a l L C R
A ll o th e r s p e a k e rs virtu a l L C R
A ll o th e r s p e a k e rs virtu a l L C R
V irtu a l E n h a n c e d A, B
A ll o th e r s p e a k e rs virtu a l L R
A ll o th e r s p e a k e rs v irtu a l L R
2 C hannel S m a ll H a ll L a rg e H a ll O p e ra H o u s e J a zz C lu b D is c o C lu b C h u rc h L ive H o u s e A re n a S ta d iu m G am e
L LS
R RS
LFE
C S
L S
T h is ta b le s h o w s w h ic h s p e a k e rs a re a c tive d u rin g a p a rtic u la r s o u n d a n d s o ftw a re fo rm a t in p u t.
3. Digital Board Inputs
Digital Board Inputs

Analog Inputs
2 Channel Stereo Inputs
There are nine analog inputs on the digital board. They are as follows: Tuner Phono CD MD/Tape TV/SAT DVD/LD Video 1, 2, 3
These inputs enter the digital board as analog audio and supply one of the following audio formats: Mono, Stereo or Dolby Prologic. They go through a switching IC and then onto the Audio CODEC to be digitized. The digital data stream is applied first to the Audio Decoder and then to the Audio DSP, which processes and applies the effects of the chosen sound field.
5.1 Channel Input

The 5.1 Channel Input is a full surround sound analog audio input that bypasses the sound field processing of the digital board in the receiver. All the surround sound processing required to produce the 5.1 Channel Input is performed by the device connected to this input, such as a DVD player with a 5.1 Channel Output. The 5.1 Channel Input is applied directly to the output selector IC1502. IC1502s outputs are connected directly to the amplifier system. The 5.1 Channel Input actual consists of six signals: Front Left, Front Right, Rear Left, Rear Right, Center and Subwoofer. The Subwoofer is the 1 in the 5.1 designation.
Digital Inputs
There are two types of digital inputs - the Optical input and the Coaxial input. The only difference between these two inputs is the medium used to transfer the signal between devices. The Optical input utilizes Fiber Optic cable to transmit data as light pulses down a glass fiber center conductor. Because light pulses are used, the Fiber Optic cable is virtually immune to any external electrical interference, making it the preferred digital signal source. The Coaxial Input uses Coaxial cable similar to that found in Cable TV connections. It consists of a copper center conductor, a foam insulator and an outer braided wire shield. The Coaxial cable has good external noise immunity characteristics, but cannot compare to the Fiber Optic cable. Also, the bandwidth characteristic of the Fiber Optic cable is much greater. Both of these input types are digital, using the same data protocol (S/P DIF format). There are three Optical inputs, one Optical Output and one Coaxial input on this receiver. Optical: DVD/LD input TV/SAT input DAT/MD input MD/DAT output Coaxial: DVD/LD
10

Table 3-1 Digital Input Sampling Frequency Compatibility Input Optical DVD/LD Optical TV/SAT Optical DAT/MD Coaxial DVD/LD Sampling Frequency 96KHz, 48KHz, 44.1KHz, 32KHz 48KHz, 44.1Khz, 32KHz 48KHz, 44.1Khz, 32KHz 96KHz, 48KHz, 44.1KHz, 32KHz
NOTE: If a signal with a sampling rate of 96kHZ is applied to the MD/DAT or TV/SAT inputs, intermittent audio at the receiver outputs may occur. These digital inputs are sent through the complete surround sound processing circuitry of the digital board to produce the 5.1 Channel Output signals. This processing and signal flow will be discussed in detail in the next chapter.
ANALOG INPUTS DIGITAL INPUTS
SOFTWARE DEVICES FORMATS MD/DAT DOLBY DIGITAL TV/SAT AC-3 (5.1) DTS (5.1) DOLBY PROLOGIC PCM 48kHz, 41.1kHz, 32kHz DEVICES DVD/LD DVD/LD (COAX) SOFTWARE FORMATS DOLBY DIGITAL AC-3 (5.1) DTS (5.1) DOLBY PROLOGIC PCM 96kHz, 48kHz, 41.1kHz, 32kHz
DEVICES DVD MULTI-CHANNEL DECODE NOTE: THE DEVICE MUST BE CAPABLE OF PROCESSING AC-3,OR DTS SOFTWARE AND OUTPUT 5.1 CHANNEL SIGNALS REAR FRONT L R SUB WOOF CENTER
DIPOLE
ANTENNA L FRONT REAR AM R 5.1 CH INPUT SUB WOOF. CENT.
OPTICAL MD/DAT MD/DAT IN OUT
COAX TV/ SAT IN DVD/LD IN DIGITAL DVD/LD IN
SPEAKERS
+
R
WIRE ANTENNA
COAXIAL FM 75 CTR S CTR S IN S-VIDEO STAT.IN S-VIDEO S-VIDEO IN OUT IN VIDEO OUT MONITOR VIDEO VIDEO IN IN VIDEO OUTVIDEO IN VIDEO VIDEO IN OUT CONTROL AII CTR S OUT CTR S OUT S-VIDEO S-VIDEO OUT IN IMPED
STRDE845 (REAR VIEW)
SIGNAL GND L
R IN IN OUT IN OUT IN A IN A IN AUDIO OUT A IN AUDIO OUT IN 2ND AUDIO OUT
ANALOG INPUTS
PHONO CD MD/DAT DOLBY DVD/LD TAPE TV/SAT PROLOGIC VCR VCR MONO DEVICES SOFT WARE FORMATS
13CA124 1380 10/15/01
DOLBY SURROUND
STEREO
FIGURE 3-1 - STR-DE845 ANALOG & DIDITAL INPUTS
11

Figure 3-1 illustrates the typical devices connected to the various receiver inputs and what software formats are compatible with each input. NOTE: The audio from the Tuner antenna section is also an input to the digital board. It is processed the same as any of the other analog inputs in order to apply the desired sound field effects. The input signals to the tuner are off the air (FM and AM) signals. There is also an analog Video 3 Input on the front panel of the receiver that can accommodate another VCR.
Software Formats Illustrated

Dolby Surround Prologic
Left Four Channel Signals Note: Dolby Right Surround Center ProLogic Surround Encoder From a live performance or recording LT RT Software Medium Laser Disk DVD Disk CD VHS Tape Cassette Tape Cable Satellite TV Regular Tv
S L
LT RT
Dolby Surround ProLogic Decoder
R S
DOLBY SURROUND PROLOGIC
FIGURE 3-2
Figure 3-2 illustrates the encoding and decoding of a Dolby Surround Prologic format. Note that this format can be encoded on the software medium (DVD disk, VHS tape etc.) in a digital data stream or analog signal. The original four channels are encoded into two channels (Left Total and Right Total). At the decoder, the twochannel signal is decoded back to the original four channel surround signals (Left, Right, Center and Surround). Also note that the surround signal in the Prologic format in fed to both rear speakers, so both speakers receive equal signals. There is a slight delay in time as compared to the front speakers.
Dolby Digital (AC-3), and DTS

Left Center Right Left Surround Right Surround Low Freq. Effect RS Digital Software Medium Laser Disk Data Stream DVD Cable Satellite TV Regular TV Digital Dolby Data Digital Stream or DTS Decoder
L C
5.1 Channel Signals
Dolby Digital or DTS Encoder
LFE
R
LS
Note:
From a live performance or recording
DOLBY DIGITAL & DTS
FIGURE 3-3
12

Figure 3-3 illustrates the encoding and decoding Dolby Digital and DTS 5.1 channel formats. These formats are encoded into a digital data stream only, such as a DVD disc, Satellite signal, etc. (no analog encoding). There are actually six channels in the 5.1 channel format (Left, Right, Center, Subwoofer or LFE, Left surround and Right surround). Note that the rear speakers are now fed totally separate surround signals that provide a superior separation between the speakers when sounds are traveling around the system. Also added to this format is the Low Frequency Effects (LFE) or Subwoofer signal.
5.1 Channel format compatibility

L C R LS RS LFE LT Decoder "B" RT L Decoder "C" R Two Channel Stereo Signals 5.1 Channel Signals
Decoder "A"
Dolby Digital or DTS 5.1 Channel Data Stream
Dolby Prologic Decoder
L C R S
Four Channel Dolby Surround signals
Decoder "D"
Mono Signal
FIGURE 3-4 - 5.1 Channel Downmixing
Figure 3-4 illustrates that the 5.1 Channel format is compatible with all of the other formats. The 5.1 channel signal as shown can be DOWN-MIXED into any other format depending on the decoding applied. This is similar to the Prologic format, which is compatible with stereo and mono system due to the way it is encoded.
New Development in Digital Surround Technology

Dolby Digital Surround EX (6.1)
L LFE C R
LS
RS
CS
FIGURE 3-5 Dolby Digital; EX (6.1)
A center screen channel (or speaker) is necessary to ensure the precise localization of the front sounds for the viewers. Dolby Digital Surround EX brings similar benefits to the surround sound field (side or rear speakers). With Dolby Digital Surround EX, a center surround channel is reproduced. This speaker driven by the center surround channel is positioned at the back/center of the listening room. Left and right surround sound is still reproduced by the side speakers (Ref. Fig. 3-5). This means that sounds can now be positioned behind the audience, opening the door to exciting new effects such as true 360-degree pans. The center surround channel also makes front-to-back and back-to-front transitions more realistic. Dolby Digital Surround EX is fully compatible with the current 5.1 Channel digital formats, and will play back normally on current 5.1 systems. Dolby Digital Surround EX basically adds a center surround channel to 5.1 digital formats.
13
4. Control Signal Block
Control Signal Block

Input/Output Select ICs Control Signal Block
DIGITAL BOARD
MAIN BOARD ANALOG INPUTS REAR PANEL TO JACKS IC1101/ TO PIN 3 IC304/ PINS 3 L R &5 12 17
AU SW BOARD
12
L TO IC304/ PINS 3 & 5
DIGITAL INPUTS FROM IC1001 OPTICAL IC1002 IC1003 COAXIAL J1001
IC1005 DIGITAL INPUT SELECT

2 14
IC303 ANALOG INPUT SELECT

15 14 16
17
R 2 CH. MODE FROM IC304
B ANALOG INPUTS REAR PANEL JACKS R1006
IC301 ANALOG INPUT SELECT CLK

15 14 16
EXTERNAL 5.1 CH. J307 5.1 CH. INPUT FROM IC1503 CE

5 17 4 18 15 2 19
IC1502 OUTPUT SELECT

14 1 AC 16
SDI CLK
CE
3 18
SDI
CNP11 CNP301
R1007 TABLE 4-1 IC1005 CONTROL LINES PIN No. (COAX) DVD/LD (OPTICAL)TV/SAT (OPTICAL)DAT/MD (OPTICAL) DVD/LD A 2 1 0 1 0 B 14 0 1 1 0
93
SDI CLK CNS306
CE
3
CNS5 19 R1282
108 107
R1281
47 48 46
SDI CLK IC1201 SYSTEM CONTROL B

92
CE
FIGURE 4-1 DIGITAL BOARD INPUT/OUTPUT SELECTOR ICs CONTROL BLOCK
X1201 16MHz
DIGITAL BOARD
1A124 1365
11/20/01
Circuit description
NOTE: Reference Figure 4-1 for the following circuit description: Data, Clock and Chip Enable Lines All control signals are supplied by IC1201 (System Control). IC1201/Pins 108 and 107 control the digital input selection of IC1005 (pins 2 and 14). These control lines are a simple two-bit input. Table 4-1 shows the two-bit code for the corresponding input. The resistors on the output of IC1201 (R1282 and R1281) and on the input of IC1005 (R1006 and R1007) are easy probe points to confirm the bit pairs in the table. The control lines for IC301, IC303 (analog input select ICs) and IC1502 (output select IC) are at IC1201/pins 46 (CE), 47 (Data) and 48 (CLK). These control signals are somewhat difficult to view due the fact that they are only present while switching between inputs via the front panel buttons of the receiver. However, the main concern here is that there is communications between ICs and that the actual inputs do change. Waveforms 4-1, 4-2 and 4-3 illustrate how the waveforms will appear on the oscilloscope while switching between inputs (e.g. Video 1, Video2, DVD/LD etc). Once again, these are not exact waveforms. Confirmation of data communications between ICs and data amplitude (5Vpp) are the important factors. All three pins (IC1201/46, 47 and 48) are at a low state (0V) while waiting for a button to be pressed (standby state).
14
Data and Control Line Waveforms for IC1301 and IC502

Oscilloscope Settings: 5v/div. 100us/div. DC coupling Trigger rising edge
PIN No.46 5Vp-p CE (R1202)
WAVEFORM 4-1
PIN No.48 5Vp-p CLK (R1204)
PIN No.47 5Vp-p DATA (R1203)
WAVEFORM 4-2
WAVEFORM 4-3
Digital Processing ICs Control Signal Block

12.282MHz
13
MCLK BCLK LRCLK DATA IC1401 AUDIO DSP

74 70 97 100 15 14 26
SDI
IC1101 14 36 CLK 38 DIGITAL 15 CE 37 AUDIO I/F 22 RECEIVER

48
IC1404
WE OE
17 41
IC1402 SRAM
6
RST X3501 12.282 12.282 MHz MHz CLK SDI CE R1288 R1270 R1289 R1286 R1265
112 110 111 100 1 2 3 5 17
PDI LR CLK
8 82 83
16 25
X1401 10MHz
IC1301 69 DOLBY 68 DIGITAL AUDIO 66 DECODER RST

62
HAD
CE
RST IC1202
5 4 39
IC1503AUDIOCODEC
43 42 41 17 11
CDTI CLK R1263 R1252 R1242

24 25 16 26 30 29
CE RST 96 KHz
R1245 R1285
R1275
28
32
35
SDO CLK
CE RSTCLK
SDO
CE RST
PDO
HAO
CE RST
93
CDTO
92
CLK
CE RST
90
IC1201 SYSTEM CONTROL
96 KHz
X1201 16MHz
RST FROM Q108 DISPLAY BOARD

2A124 1367 11/20/01
FIGURE 4-2 - DIGITAL BOARD PROCESSING IC's CONTROL BLOCK
15
4. Control Signal Block Circuit Description

Data, Clock, and Chip Enable Lines The control lines for IC1401 (IC1201/parallel data lines 17 to 24, pin 25 (address line) and pin 16 (CE)) and IC1503 (IC1201/pins 30 (data), 29 (CLK) and 28 (CE)) are only present during input switching. The waveforms on the control lines are the same as those shown in Waveforms 4-1, 4-2 and 4-3, except standby voltage state is high (5V dc). The waveforms on the control lines for IC1101 (IC1201/pins 112 (data), 110 (CLK), and 111 (CE)), and IC1301 (IC1201/pins 1 (CLK), 2 (data), and 3 (CE)) are always present as digital data is present at one of the digital input jacks (optical or coax). Waveforms 4-4 and 4-5 illustrate what is displayed on the oscilloscope. When the Input mode is set to Analog input, all three control lines on IC1101 are inactive and the chip select line on IC1301 is inactive (the other two lines on IC1301 are active with data, but the chip is not enabled). The following waveforms can be viewed on the oscilloscope continuously when digital data is present at the digital inputs and that digital input is selected. Oscilloscope Settings: 5V/div. 100us/div or 50us/div Trigger rising edge
Data and Control Line Waveforms for IC1101
DATA
DATA
CLK
CLK
CE
CE
WAVEFORM 4-4
WAVEFORM 4-5
Master, Bit and Left/Right Channel Clock lines

All the control lines discussed so far are used either for input/output switching or to set up an IC for a particular function (e.g. Dolby Digital decoding). The Clock lines that will be looked at now are used for data manipulation. The Clock lines MCLK (Master Clock), BCLK (Bit Clock) and LRCLK (Left Right channel Clock) are all developed by IC1101 using X3501 (12.282MHz). The MCLK is applied only to IC1503 (CODEC), while BCLK and LRCLK are applied to IC1301 and IC1503. These Clock lines are used to synchronize the system to the incoming audio data stream so that appropriate decoding and coding can be performed. The following waveforms are always present and can be viewed easily with the oscilloscope. Waveform 4-7 is an expanded view of Waveform 4-6. The frequency for each clock signal is as follows: MCLK 12.282MHz BCLK 3MHz LRCLK 48KHz Oscilloscope Settings: 5V/div. 2us and 200ns/div Trigger rising edge
WAVEFORM 4-6 WAVEFORM 4-7
LRCK LRCK BCLK BCLK MCLK MCLK
16

Reset lines and Crystals The main Reset line is applied to IC1201/pin 90. During normal operation, this line is High (5V dc). The other Resets are output to IC1101/ pin 48 (normal high 5V), IC1301/pin 62 (normal high 5V), IC1503/pin 17 (normal high 5V) and IC1401/pin 26. This output is Low (0V), but it passes through inverter IC1202 and a High (5V) is applied to IC1401. The crystal frequencies and amplitudes are shown in Table 4-2 below:
Table 4-2 Crystal Frequencies and Amplitudes IC Ref. Number IC1101 & 1301 IC1401 IC1201 Crystal Ref. Number X3501 X1401 X1201 Frequency 12.282MHz 10MHz 16Mhz Amplitude 4Vpp 3Vpp 4Vpp
SRAM Control Lines
D0 - D3 D4 - D7 D8 - D11 D12 - D15
7 - 10 13 - 16 20 - 32 35 - 38
53 | 69
IC1401 AUDIO DSP
IC1402 SRAM
A0 - A4 A5 - A7 A8 - A11 A12 - A15
5-1 44 - 42 27 - 24 21 - 18
53 | 69
WE 17 OE 41
74 70
XWE XOE
FIGURE 4-3 - SRAM BLOCK
9/26/01
There are 16 Data, 16 Address and two control lines (WE and OE) for the SRAM IC1402.. The SRAM is mainly used for the processing of the Cinema and Hall sound fields where reverberation (Delay) is required to produce the appropriate characteristics of a particular venue. The SRAM IC1402 is not used in any of the Virtual Speaker Modes. All processing is performed by internal RAM in IC1401, so no data is present on either the Data, WE or OE lines. Waveforms 4-8, 4-9 and 4-10 show the activity on the Data lines. WE and OE lines are in three different modes: AFD, 2CH and Mode (sound field selection mode). The main point of interest of these three
17

waveforms is the amount of activity in each mode. The first two modes (AFD and 2CH) show very little activity because no reverberation is necessary and all the processing is being performed in the DSP internal RAM. The third mode, where any of the Cinema studio and Hall modes can be selected, shows increased activity. Note: The Normal Surround mode does not use reverberation so when in this mode, the waveforms will look like the Waveforms 4-8 and 4-9. The increased data activity confirms that the DSP and the SRAM are attempting to produce the selected sound field. This does not confirm that the data is good; further testing is necessary and will be discussed in a later section.
Data and Control Line Waveforms for IC1402

Oscilloscope Settings: 5V/div 10us/div Trigger rising edge
DATA WE
OE
WAVEFORM 4-8
DATA WE
OE
WAVEFORM 4-9
DATA
WE
OE
WAVEFORM 4-10
18
5. Analog Signal Block
Analog Signal Block

NOTE: In Figure 5-1, only the left channel signal flow is shown but the same signal flow can be used to trace the right channel analog signal through the same ICs except pin numbers are different. Also, all resistors shown on this figure are surface mount components with easy probing points. Test Disk: YEDS-18 Track 2 (1KHz signal) Equipment: CD player connected to CD analog input jack. or DVD player connected to DVD/LD analog input jack Caution: The 1KHz test signal is good for signal tracing up to IC1301/pin 85. After this point, the signal output will depend upon the sound field selected. For example, if Normal Surround mode is selected, only audio will be present on the center channel. This is because the 1kHz signal is equal in both the Left and Right channels. It is detected as monaural and sent to the center channel. In other sound fields such as Cinema and Hall, the system sends certain amounts of the 1KHz signal to all speakers. Using the 1KHz signal for testing can help in understanding how the various sound fields process signals as described in the Sound Field section of this course. One important point to remember is that no LFE (subwoofer) channel will be present when using the 1KHz signal. Track number 4 (100Hz signal) on the YEDS-18 disk can be used to produce signals on the LFE channel. To fully test all channels on a sound field, a movie sound track or music should be used. Troubleshooting all Signal Paths: The above procedure is good for signal tracing up to IC1301/pin 85. The signal path after IC1301 is broken into three separate lines (IC1301/pin 24 SOA, pin 23 SOB and pin 22 SOC). All three lines are digital data. To view data activity on all three lines, a DVD disc with Dolby Digital encode information must be used for the audio source. For the following test procedure, the Dolby DVD Demo and Test Disc are is used. Test Disc: Dolby Digital Test DVD version 1.5 Test CD Ordering Information: TEAC AMERICA, INC. 7733 Telegraph Road, Montebello, California 90640 Tel: 1-(323) 727-7643, Fax: 1-(323) 727-7612 Email: Cyamaguchi@teac.com <mailto:Cyamaguchi@teac.com Cost: $40 plus $5 handling per order Set-up: Use the digital connection between the DVD and the STR-DE845 (Optical or Coaxial). Set the DVD to output Dolby digital; this is done in the DVD menu (audio section) in the STOP mode. Set the STR-DE845 to the DVD/LD input (digital cable should be connected to the DVD/LD input) and AFD mode. Set DVD player to Title Repeat From Main Title screen, select 5.1 Channel Test Signals Next select System Gain Next select 997Hz 20 dBFS
Test Track:
19

Description: This will exercise the Front Left, Front Right, Center, Left Surround and Right Surround channels. So, data can be viewed on IC1301/ pin 24 (SOA Front Left/Right), pin 23 (SOB Center/Subwoofer), and pin 22 (SOC Rear Left/Right). Reference Waveforms 5-3, 5-4 and 5-5 for example waveforms on IC1301/pin24, pin 23 and pin 24. Note that the Subwoofer (LFE) is not being exercised. The Subwoofer can be tested using the YEDS-18 disc (100Hz track). The signal path can now be traced from IC1301, through IC1401, up to IC1503. All lines should show data activity. The Dolby DVD Demo and Test Disc have several other useful tracks for test purposes. The description of each track is beyond the scope of this book, but would be very beneficial to explore.
Circuit Description
MAIN BOARD LEFT CHANNEL FROM ANALOG INPUTS IC301, IC303 C311 - + IC304 + 7 5 C381 CNP301 + 16
AU SW BOARD CNP11
5
TO IC1502 2 CH. MODE INPUT CNP10
R391
DIGITAL BOARD CNP7

1
- +
R1522
B+
C1522 R1571 R1570
IC1504 7 + 5
6 3 2
R1524
29
LIN23 | 28
+ -
30
LIN+ SDTO SDI 1 SDI 2 SDI 3 IC1503 AUDIO CODEC
R1526 R1401 SOA SOB SOC

2 9 6
5.1 CHANNEL OUTOUT TO IC1507, IC1506, IC1505
R1558
85
R1303 SDI SOA 24 R1304 SOB 23 R1305 SOC 22 IC1301 DIGITAL DECODER
2 3 4 5 6 4
R1450
117
SIA
R1451
118 SIB
R1402
3 7
R1452
119
R1403
4 8
SIC
IC1403 DATA SRAM IC1402 ADDRESS

53 | 69 76 | 94
IC1401 AUDIO DSP
NOTE: ONLY LEFT CHANNEL IS SHOWN IN THIS DIAGRAM. THE RIGHT CHANNEL HAS AN IDENTICAL SIGNAL PATH
FIGURE 5-1 - ANALOG SIGNAL BLOCK
5A124
11/20/01
20

The signal from the analog switching ICs (IC301and IC303) passes through Buffer IC304 (located on the Main board), and then splits off in two directions after CNP11. One path is to IC1502 (Output Select IC), which is used when the receiver is set to 2CH mode. Note: The digital board is totally bypassed when 2CH mode is selected. The other connection is to the Digital board through CNP7 pin 1. The signal at this point can be viewed on either side of C1522 (6Vpp). The signal then goes through R1522 (10kohm), which causes significant signal loss and the signal is too low to probe at IC1504/pin 6. The signal is amplified by IC1504 and the signal levels at the output are 1.4Vpp (pin 7) and 1.4Vpp (pin 1). The signals at pins 7 and 1 are identical, but 180 degrees out of phase. The signal is then applied to the IC1503 (ref. Appendix for CODEC functional description) to be A/D converted. The digital output signal at pin 9 (IC1503) is difficult to view on an analog oscilloscope. Waveforms 5-1 and 5-2 illustrate what can be viewed on an analog oscilloscope. Note: When attempting to view Waveforms 5-1 and 5-2, use the HOLDOFF control on the oscilloscope to lock the digital packets on the display as shown. The display will only lock on the packets when an audio signal is applied; otherwise, the display will be unsteady as shown below. Oscilloscope Settings: 5V/div 10us/div Trigger trailing edge Adjust Holdoff
WAVEFORM 5-1 DISPLAY LOCKED ON PACKETS
WAVEFORM 5-2 DISPLAY UNLOCKED ON PACKETS
NOTE: There is no output signal at IC1503/pin 9 when in either 2CH or Analog mode (MODE button selection). The audio outputs of IC304 are also connected directly to IC1502 (Output Select IC). IC1502 selects inputs on pin 19 and pin 10 and sends it to the outputs as a 2-Channel format. All the waveforms from IC1301/pins 22 (SOA), 23 (SOB) and 24 (SOC) to IC1503/pins 6 (SDI 1), 7 (SDI 2) and 8 (SDI 3) are identical throughout the path (IC1301, IC1403, IC1401 and IC1503). Once again, in the digital domain these waveforms are difficult to lock on the display of an analog oscilloscope. Waveforms 5-3, 5-4 and 5-5 show what should be displayed when probing the three signal paths (SOA, SOB and SOC) in normal operation. Use the HOLDOFF control to lock the data packets on the display. If there is not an analog input, the packets will not lock (unlocked waveform illustrated by Waveform 5-2). The main concerns while viewing these waveforms are: 1) there is no loss of data input (IC1301/pin 85) causing unlocked display condition; and 2) there is data present on all lines (no open traces).
21

NOTE: There is no data present on the SOB and SOC lines in the following sound fields: Mono, Stereo and all Hall modes. There is data only on SOA in these modes. Channel designation for SOA, SOB and SOC are as follows: SOA Front left/right SOB Center/Subwoofer SOC Rear left/\right
WAVEFORM 5-3 IC1301 (SOA) Pin 24
WAVEFORM 5-4 IC1301 (SOB) Pin 23
WAVEFORM 5-5 IC1301 (SOC) Pin 22
IC1503 takes the three inputs at pins 6 (SDI 1), 7 (SDI 2) and 8 (SDI 3), performs the D/A conversion and decodes the signal into the 5.1 Channel signals (Left, Right, Center, Subwoofer, Left Surround and Right Surround). At this point, all the signals are analog and easy to trace through IC1507, IC1506 and IC1505, and then onto the power amplifier stages.
22
6. Digital Signal Block
Digital Signal Block

D/LD IC001 OPTICAL RECEIVER IC1002 OPTICAL RECEIVER IC1003 OPTICAL RECEIVER B+ R1013 C1007 56k 22uF R1009 1k R1008 75 R1001 100 R1002 100 R1003 100
5
OUT
SAT
7 IN IC1005 DIGITAL INPUT 4 SELECT IN 3 6
DATA IN 3 IC1101 DIGITAL AUDIO I/F RECEIVER
IN IN R1011 100
T/MD
IC1301 DOLBY 23 CENTER SUB DIGITAL FRONT L/R AUDIO 24 DECODER SAME AS ANALOG BLOCK CIRCUIT SDI A DATA REF. ANALOG 16 84 BLOCK DIAGRAM R1108 100 R1102 10k
22
REAR L/R
J1001 COAX COAX DVD/LD
C1020 47pF
6 2
D1101 R1109 1M C1109 0.01uF

6
R1110 22k
IC1007 WAVE SHAPER

5 3
C1010 2pF
D SIG

3A124 1368 10/1/01
FIGURE 6-1 - DIGITAL SIGNAL BLOCK

Test Disk; YEDS-18 Track 2 (1KHz)
Circuit Description
The Optical inputs are fed into IC1001, IC1002 and IC1003 optical receivers. Here the Pulsing Light signal is converted to an electrical/digital signal and applied to IC1005/pins 5, 4 and 3 respectively. The signal at this point is in the S/P DIF format and is shown below in Waveform 6-1. Oscilloscope Settings; 2V/div 2us Trigger rising edge Adjust Hold-off to lock display
WAVEFORM 6-1 S/P DIF
23
6. Digital Signal Block

The desired input signal is selected by IC1005/ pin 7(Digital Input Select). The input signal is then applied to IC1101/pin 3(Digital Audio I/F Receiver) .The digital signal format is still S/P DIF. The Digital Audio I/F Receiver takes the S/P DIF format, strips off all of the overhead control data and sends the sound data (e.g. Dolby Digital, DTS and 2CH) to pin 16. The Sound Data stream is shown in the Waveform 6-2. Oscilloscope Settings; 2V/div 2us Trigger rising edge Adjust Hold-off to lock display
WAVEFORM 6-2 Sound Data Stream
The sound data stream then goes to IC1301/pin 84 (Dolby Digital Audio Decoder). The decoded extracts the three mixed channel signals (Front L/R, Center/LFE and Rear L/R). The outputs from IC1301 are Front L/R IC1301/pin-24, Center/LFE IC1301/pin-23 and Rear L/R IC1301/pin-22. NOTE: The digital signal flow after IC1301 is identical to the analog signal flow description. Reference the Analog Signal block diagram circuit description and signal flow.
24
7. Mute Signal Block
Mute Signal Block

DIGITAL AUDIO I/F RECEIVER IC1101 ERROR MUTE 34 R1110 1K 0V NORMAL Q1204 R1241 R1247 10K 10K R1218 10K Q1203 C1214 2200pf AUDIO CODEC IC1503 S MUTE
3
MUTE Q1507 QV S.W. BOARD
114
85
SURROUND MUTE
ERROR
SOFT MUTE
0V NORMAL
31
0V NORMAL
NOT USED ON STR-DE845
FIGURE 7-1 - MUTE SIGNAL BLOCK
4A124
1/21/02
Circuit Description
NOTE: Reference figure 7-1 for the following circuit description. The receiver is muted by one of three ways: 1) Surround Mute (front panel button); 2) Error Mute (an error in the digital data input to IC1101) or 3) Soft-Mute (through software in IC1201 system control). All mute lines are at a low state (0V) in normal operation (active high and are activated during the following actions: 1) Surround Mute : Output from IC1201 pin 85. a) Depression of front panel mute button b) While switching between inputs c) While switching between sound fields d) During power on 2) Error Mute : Output from IC1101 pin 34 and then applied to IC1201 pin 114. a) If an error is detected in the data to IC1101 (input must be S/P DIF format) b) If there is no connection to the optical or coaxial inputs (the device must also be powered on) c) If the analog input is selected d) During power ON 3) Soft Mute : Output from IC1201 pin 31. Not functional on this Model (Continuous LOW state). The active high from the Surround mute and Error mute lines is applied to the base circuits of Q1204 and Q1203 respectively. The active high turns the transistors ON, which then applies a low (ground) to the base of Q1507 on the AU SW board and hard mutes the audio outputs.
25
8. Troubleshooting Block
Troubleshooting Block
Aside from confirming the normal operating signals and voltage already discussed in this course, the digital board can be troubleshot by dividing the board into specific sections using various normal operating modes. Figure 8-1 and the text below will describe how this can be accomplished.
ANALOG INPUT PATH ONLY
5.1 CH. AUDIO FROM J307 2 CH. AUDIO INPUT SIGNALS
ANALOG INPUTS FROM IC304 MAIN BOARD
IC1504 IC1554 4R AMPS

9
INPUT CIRCUIT
IC1502 OUTPUT SELECT
5.1 CH. AUDIO SIGNALS TO AMPS
85
DATA
DIGITAL INPUT PATH ONLY DIGITAL INPUTS
IC1403 BUFFER
DATA DATA IC1401 DSP DATA ADDRESS
AUDIO INTERFACE
IC1005 DIGITAL INPUT SELECT
IC1101 DIGITAL I/F RECEIVER
IC1301 84 DIGITAL AUDIO DECODER
IC1402 SRAM
OUTPUT CIRCUIT IC1503 CODEC
5.1 CH. AUDIO INPUT SIGNALS
FIGURE 8-1 - TROUBLESHOOTING BLOCK
6A124
1/21/02
Troubleshooting Procedure
As can be seen from Figure 8-1, the analog and digital inputs follow two separate paths up to IC1301, and then the signal path is the same for both analog and digital all the way through to the speakers. This configuration can be used to divide the circuit into sections and to determine in which IC a problem is occurring. The digital board can be divided into five sections using various inputs and receiver self tests. The following steps are not in any particular order and can be performed in any order to better conform to the specific problem at hand: Procedures: 1) The 5.1 Channel Input (J307) can be used to completely bypass the digital board circuitry. This input is applied directly to IC1502. The circuits being tested are IC1502 and all audio and power amplifiers that follow. A DVD player with a 5.1 Channel output would be used for this test. 2) The 2 Channel (2CH) Mode (**with an analog Input signal**) can be selected to test IC304 (not shown on Main Board), IC1502 and all audio and power amplifiers that follow. Once again, all digital board circuitry is bypassed. 3) Set the receiver for AFD or any Sound Field (e.g. Normal Surround), and select an Analog Input to set up and test the following signal path: Analog input IC304 IC1504 IC1554 Partial IC1503 IC1301 IC1403 IC1404 Partial IC1503 IC1502 Audio Amps ****ICs bypassed are IC1005 and IC1101
26
8. Troubleshooting Block
4) Set the receiver for AFD or any Sound Field (e.g. Normal Surround), and select a Digital Input to set up and test the following signal path: Digital input IC1005 IC1101 IC1301 IC1403 IC1401 Partial IC1503 IC1502 Audio Amps ****ICs bypassed are IC304, IC1504, IC1554 and Partial IC1503 (Input Circuit) 5) The DSP/SRAM Self Test can be performed to check the operation of the DSP (IC1401), SRAM (IC1402) and their interface. The DSP also outputs a 1KHz test tone (digital data on IC1404/pins 2, 3 and 4). To enter the Self-Test mode from the POWER-OFF state, place the receiver in DSP test mode by pressing and holding the MODE and DIMMER buttons simultaneously while powering the receiver ON. The DSP outputs data to the SRAM and then reads it back. If the data does not match, an error will be displayed (internal operation of DSP and SRAM, and the data and address buses are checked). The 1khz test tone can be used to further section off the digital board. The following signal path is tested: DSP IC1401 IC1503 IC1502 Audio Amps ****ICs bypassed are IC304, IC1504, IC1554, Partial IC1503 (Input Circuit), IC1301, IC1005, IC1101 and IC1403 Example of a trouble analysis using above procedures: Customer complaint: Experiences distortion when connected to the DVD/LD optical input jack. Technician confirms complaint. Procedure: 1) Performing the DSP/SRAM Self Test will quickly divide the digital signal path in half. If the self test passes and there is no distortion in the 1KHz test tone, then the distortion is being caused by one of four ICs: IC1403, IC1301, IC1101 or IC1005. 2) Now perform procedure number 3 above - the Analog Input test. If the distortion is still not present, then the problem is with IC1005 or IC1101. If the distortion occurs on all digital inputs including the coaxial input, then the Optical receiver ICs can be eliminated (not shown on this diagram). The data on the output of IC1005 can be checked for any distortions (ref. S/P DIF signal waveform figure). If no distortion is present, the defective component is IC1101. With a little thought and creativity, most problems on the digital board can be troubleshot to component level using these five procedures in various orders.
27
9. DAV-C700 Switching Type Power Supply
DAV-C700 Switching Type Power Supply

This switching power supply description and troubleshooting currently applies to these three Sony models: DAV-S500 (HCD-S500) DAV-C700 (HCD-C700) DAV-C900 (HCD-C900)
Switching Power Supply Advantages

Although switching power supplies have the disadvantage of containing more parts than a 60 Hz. power transformer supply, the following advantages listed in Chart 9-1 outweigh this disadvantage:
Chart 9-1 - Advantages of Switching Power Supplies 1. Low cost (much cheaper power transformer) 2. Lightweight (small transformer) 3. Excellent voltage output stability (regulation) 4. Lower heat generated (higher efficiency) 5. Small or same size 6. Can operate over wide input voltages.
Concerns and Procedures

With switching power supplies, new safety concerns, circuit details and repair procedures are divided into the following sections: Safety for both you and the circuit Power supply operation Power supply regulation How to troubleshoot the power supply Testing the power supply unloaded Troubleshooting shortcuts
I - Safety for You and the Circuit

When repairing products with pulse power supplies, you MUST use an isolation transformer for technician, test equipment and product safety. The external isolation transformer just prevents immediate damage to your instruments and the product. In the power supply circuitry there is a HOT ground that is connected to one side of the AC line and a COLD ground that is often the same as chassis or speaker ground, isolated from the AC line. Use the correct ground when measuring voltages. Lethal voltages are still present during troubleshooting so caution must be observed.
II Power Supply Operation

This section is divided into the following topics: Power Supply Control what turns it ON/OFF Switching Power Supply Block Overall operation Power Supply Operation Standby Mode Power Supply Operation Power ON Mode
28

Power Supply Control See Figure 9-1 for the control of the power supply stage. In this A/V product there is: A front panel latching master power ON/OFF switch (S901) that applies AC power to the product; 5.6V applied to the CPU when the power supply is in the Standby mode; and Voltages output the power supply (not shown) when the CPU is instructed to turn ON the power supply.
AC Master Pwr S901 Figure 9-1 - Switching Power Supply Control Switching Power Supply Play Eject Remote Control SW Q002 M12V to Driver IC401
5.6V
13V
CPU IC901
Data
Serial to Parallel IC902
P Cont 1
P Cont 2
There are two power ON commands from CPU IC901 (DVD board) to the switching power supply. P Cont 1 takes the switching power supply out of the Standby mode and into the ON mode. The power supply will output four voltages (not shown), powering up the unit. Both P Cont 1 and 2 go HIGH when the DVD/CD mode is requested. The power supply produces an additional voltage of 3.3V in the DVD/CD mode (not shown). Switching Power Supply Block Refer to Figure 9-2 for the following power supply block description. Each switching power supply has a fundamental oscillator/voltage output section and a control section. The oscillator section always uses a high frequency oscillator (IC901) to feed a small power transformer (T901). The power transformer has multiple secondary windings to deliver the various voltages the product needs to function. The control section varies in any switching power supply to meet the product needs. In this product, the switching power supply must output 5.6Vdc when the unit is plugged in (standby mode) and the remainder of voltages when the unit is powered ON. This means the switching power supply is partially operational when AC power is applied.
F901 S901 5A
IC905 TH901 9.1 163V PRIM. SEC. 13V SW. Q907, 9 POWER TRANSFORMER T901
5.6V P CONT 1 13V 27V P CONT 2 3.3V 6.5V
62Vdc REG. Q903, D903 20V SW. Q901, Q902
D902
IC906 ERROR REG. IC902 SWITCHING REGULATOR IC901 STANDBY D912 STBY = 0V ON = 5V IC903
STBY = 11V ON = 20V
Vcc
SW. Q915
P CONT 1
9.1A124 1416 11/27/01
FIGURE 9-2 - DAV - C700 POWER SUPPLY BLOCK

29

This switching power supply actually has four modes of operation: OFF, Standby, Power ON and power ON in DVD. In the OFF mode, S901 is open. In the standby mode, S901 closes, the oscillator (IC901) outputs in bursts and the error regulator (IC902) is disabled (by D912) to prevent the oscillator from shutting down. In standby, the power supply only outputs 5.6 volts (and 19Vdc from the 27V line). In the power ON mode when P Cont 1 goes HIGH, the oscillator switches to a continuous sine wave output and the error regulator is enabled to maintain a stable 27Vdc output. In the power ON in DVD mode, P Cont 2 also goes HIGH, turning ON regulator IC906. IC906 outputs 3.3 Vdc to the DVD board. Power Supply Operation Standby Mode When front panel S901 is closed, AC is input to the switching power supply and the supply enters the Standby Mode to output 5.6Vdc. At one of the AC inputs of bridge rectifier D902, 62Vdc is available with respect to hot ground. This voltage is regulated by Q903 down to 20Vdc and applied to switches Q901-Q902. In the standby mode, only 11Vdc is passed by the switches into Switching Regulator IC901 at Vcc. With 11Vdc input IC901, the oscillator outputs bursts of 200kHz. See Waveform 9-1.
ch1: pkpk= 246 V ch1: freq= 11.6kHz
1 CH1!50.0 V= MTB1.00ms- 0.78dv ch1+
Waveform 9-1 - Standby Mode IC901 Output Name Location Voltage/div Channel 1 Drain Output C916 / IC901/pin 3 248Vp-p Time base 1msec/div
The burst output of IC901 is applied to power transformer T901. T901 outputs two (standby) voltages, listed in Chart 9-2: Chart 9-2 - T901 Output Voltages (after rectification) Standby Mode Power ON
9Vdc 19Vdc 13Vdc 27Vdc
To keep T901s output voltages present but reduced in the standby mode, the error regulator (IC902) must be disabled. That is the function of D912. To prevent IC901s oscillator from shutting off, D912 is enabled to bring up the error input voltage at IC901/pin 1 to within the operating range of 0.8V 4Vdc. See Figure 9-3. D912 is enabled using inverters Q905 and Q908. In the standby mode, P Cont 1 = 0Vdc. This voltage is inverted by Q905 and Q908, placing 0Vdc (gnd) at D912s Anode, enabling it. D912 clamps the voltage into PC901 (disabling IC902) and PC902 outputs 9.5V at pin 3. This 9.5V output voltage is reduced by R912 to produce 1.1Vdc at IC901/pin 1 to keep the oscillator alive.
30

If a circuit failure disabled D912, error regulator IC902 would be operational, outputting a correction voltage of about 0V to Switching regulator IC901/pin 1 in this oscillator burst (standby) mode. This 0Vdc is output because IC901 is producing less power (outputting only bursts), but error regulator IC902 outputs 0V attempting to raise the output to normal. Unfortunately, 0V is below the normal operating range of the oscillator in IC901 so IC901 would attempt oscillation a few times and finally shut off. If shutoff occurs, removing Vcc to IC901 will reset it. Consequently, both of these two control voltages must be input for oscillator IC901 to function in the Standby Mode. See Chart 9-3 below:
Chart 9-3 - Standby Mode IC901 Control Voltages Switching Regulator input IC901/pin 4 (Vcc) Voltage 11 Vdc Purpose Vcc input for burst oscillator output Fixed error correction voltage to prevent oscillator shutdown
5.6V TO CPU IC901 (DVD BD.) P CONT 1 (DVD BD. CN008) STBY=19V ON=28V
IC901/pin 1 (Error correction) 1.1 Vdc
S901
F901 5A
TH901 9.1
13V 163V + C902 T901 POWER TRANS.
IC905 REG BA05
CN905
4
10 1 2
62Vdc R908 33k 1W D904 N R907 Q903 D903 18V 18V SOURCE R905 P D902 24V SOURCE
27V LINE R919
Q902
IC901 SW REG 4 STRF64265 11V=STBY 20V=ON

1
C916
CN904 R920
1
+18V Q901 P R904

3 4
5.6V R912
1
HEAT SINK
IC902 ERROR SE-B2

3
6.8V=ON 18V=STBY
PC902 TLP421 R917 ISOL. 3 PC901 2 ISOLATOR TLP421

4
CHASSIS HOT COLD
R916 D912 (15V) Q905 Q908 STBY=0V ON=4.7V
5.6V Vcc IC901/1 PC901/3 D912/A IC902/2 STBY 1.1V ON 2.2V 9.5V 7.5V 0V 13V 17V 27V
4 5
24V
IC907 INV. TE85R 2
Q915
FIGURE 9-3 - DAV- C700 POWER SUPPLY CIRCUIT
9.2aA124 1415
11/27/01
Power Supply Operation Power ON P.Cont 1 comes from the CPU and is used to toggle the power supply between the Standby Mode (LOW) and the Power ON Mode (HIGH). In the Power ON mode, the HIGH has two purposes. The first is to apply full voltage to switching regulator IC901/pin 4 (20Vdc). See Figure 9-3. This changes the oscillator output of IC901 from a burst signal to a continuous oscillator output.
31

To do this, P.Cont 1 turns ON Q915, which forces Inverter IC907 to output a HIGH at pin 4 for PC902. The transistor in isolator PC902 turns OFF, allowing switches Q901 and Q902 to fully conduct (via R905). As a result, the entire regulated 20Vdc from regulator Q903 (emitter) is applied through Q902 (e-c) into switching regulator IC901/pin 4. The higher Vcc voltage causes IC901 to change from a burst output to a continuous sine wave output in the Power ON Mode. The continuous sine wave output is shown in Waveform 9-2.
PM3394, FLUKE & PHILIPS ch1: pkpk= 301 V ch1: freq= 213kHz
1 CH1!50.0 V= MTB2.00us- 0.54dv ch1+
Waveform 9-2 - Normal IC901 Output at Power ON 213kHz (205kHz in DVD) Name Location Voltage/div Channel 1 Drain Output C916 / IC901/pin 3 300Vp-p Time base 2usec/div
The HIGH at P.Cont 1 has a second purpose. It is also used to enable error regulator IC902. In the Power ON mode when P.Cont 1 is 5Vdc, D912 is switched out of the circuit. Q908 turns ON and Q905 turns OFF so D912s anode is floating and effectively out of the circuit. When D912 is no longer clamping IC902/pin 2s output voltage, IC902 can regulate the 27Vdc output from T901. Figure 9-3 shows the regulating circuit. The regulation components consist of IC902 and PC901. Both act as inverters. IC902 is the error regulator, monitoring the 27 volt line at pin 1 (Pwr On = 6.3Vdc). PC901 is an optical-isolator, isolating the cold ground from the hot ground signal. PC901 also acts to invert the signal from IC902. If the 27V-output line increases, the resultant correction voltage input the switching regulator IC901/pin 1 also goes high to compensate.
III - Regulation
The power supply output regulation was not fully explained in the switching power supply operation. The mystery of how the DC error correction voltage input IC901/pin 1 controls the power supply output voltage is not necessary for repairs, but is important to completely understand the switching power supply regulation concept. Concept In this switching power supply there is a frequency controlled oscillator (IC901) and a resonate circuit load. The resonate circuit is formed by power transformer T901 (the inductor = L), and C916 (the capacitor = C). These parts are located at the top of Figure 9-3.
32

T901s output voltages are dependent upon the match between its resonate frequency and the input frequency from the oscillator (IC901). When IC901s oscillator frequency is the same as the T901-C916 resonate frequency, there is maximum power transferred from T901s primary to secondary, producing maximum output voltage (peak of Figure 9-4s bell curve).
T901 Output Figure 9-4 T901 Output Curve Frequency Normal Operating Point (200kHz)
By setting the input oscillator frequency (the Normal Operating Point in Figure 9-4) to above the resonance point, T901s output voltage can be adjusted by changing the input frequency. The input frequency can be changed by adjusting the DC error voltage into IC901s oscillator (pin 1). When the normal operating point is above resonance as shown in Figure 9-4, T901s output voltage is inversely proportional to its input frequency.
IV - How to Troubleshoot the Power Supply

There are three complicated failures that require a troubleshooting plan: Power Supply is Dead - No voltages Power Supply will not Power ON - Standby voltage is OK Output Voltages are Low One or more voltages are low or high
OUTPUT CN904 27V OUTPUT D912 COLD GROUND D911 D909 CN905 1
1 2 3 4
Refer to Figure 9-5 for the location of grounds and accessible components used for troubleshooting.
INPUT
10 11
13V 6.5V 3.3V
P.CONT 1 P.CONT 2 (DVD ONLY)
11
5.6V RESET 5.6V - STBY/ON HEAT SINK=COLD GROUND
T901 D902 R908 C912 820 200V TH901

5
R902 PC901 (REG) R903

2 3 1
HOT GROUND C916

4
PC902
DAV C700 POWER BOARD
SW REG. IC901
FIGURE 9-5 - DAV C700 POWER BOARD
9.5A124 1383
10/19/01
33

Power Supply is Dead Normally when you press the front panel ON switch, the CPU (on the DVD board) is powered with 5.6Vdc. The unit can then power ON when you press either the front panel Play or one of the five Eject buttons. The display will then illuminate, showing the units model number and then the input mode - DVD. In the following steps, you will verify the voltages necessary to sustain the oscillator operation. You must use an isolation transformer and be cautious when probing the components to avoid shorting parts. First, locate the hot and cold grounds using Figure 9-5. 1. Plug the unit into AC and press the front panel Power button IN (should latch in). 2. Measure the PS Output voltage at CN904/pins 1 or 2 (normally 19Vdc in this Standby Mode). Refer to Figure 9-5 to locate the cold ground for this voltage measurement. NO voltage - proceed to step 3 (next). The power supply is dead. 19V is present - Go to step 8. The power supply is running in standby mode but may not power ON. 3. Verify 163Vdc from the bridge rectifier at either end of 9.1-ohm TH901. Use the HOT ground at R902 (Fig 95). 4. This 163Vdc should pass through T901s primary winding and appear at IC901/pin 3, which is inaccessible from the top. Check for this voltage at the lead of C916 nearest R903. Use HOT ground at R902 (Fig 9-5). 5. Verify about 60Vdc and 24Vdc at the two leads of R908. This is the lower voltage from the bridge rectifier D902, reduced by R908. Use the HOT ground at R902 (Fig 9-5). 6. This voltage should be regulated by Q901-Q903 down to 11Vdc at IC901/pin 4 in this Standby Mode (20Vdc when the unit is ON). Use the HOT ground at R902 (Fig 9-5). 7. If these voltages in steps 1-6 are present, IC901 should be oscillating, producing the two Standby Mode voltages listed in Chart 9-5. Use the cold ground at D909s heat sink (Fig. 9-5). If the two standby voltages are present, the standby section of the supply is OK, the problem is that the power supply will not turn ON (go to step 9). If the supply voltages are missing, the power supply is in protection (next step 8) or the oscillator (IC901) is defective.
Chart 9-4 - Power Supply Output Voltages Use Cold Ground Location Standby Mode Power ON Mode CN904/pin 1, 2 CN905/pin 1 CN905/pin 2 CN905/pin 3 CN905/pin 4 19Vdc 0.22Vdc 0.08Vdc 0V 5.6Vdc 27Vdc 13.6Vdc 6.4Vdc 3.3Vdc 5.6Vdc
8. If there are still no standby output voltages, the power supply may have started and gone into protection. When the front panel power button is pressed and the oscillator at IC901/pin 3 (actually scope probed at C916) appears (as bursts), then stops, IC901 is in protection. An incorrect voltage input to IC901/pin 1 could cause this. An applied voltage above or below 0.8-4Vdc will stop the oscillator. This operating voltage comes from the regulator parts PC901, D912 and IC902 all of which must be checked. Power Supply will not Power ON 9. If both standby voltages are present (see Chart 9-4), the power supply works in standby but will not power ON, causing the dead power supply symptom. Check for a normal 5.6Vdc (reset) from the power supply to the CPU at CN905/pin 9. Zero volts inhibit the CPU (held at reset) so the CPU cannot turn the power supply ON. This reset line (not shown) comes from the power supply board. 10. P Cont 1 at CN905/pin 10 should change from 0Vdc (standby) to 4.7Vdc (ON) when the front panel PLAY or any Eject button is pressed. Measure P Cont 1 at CN905/pin 10. If this voltage:
34

Remains at 0V - CPU IC901 on the DVD board is not outputting this power ON command. Goes to 4.7Vdc - the problem is on this power supply board. Go to step 11. 11. Use Figure 9-5 to locate D912/Anode and measure its voltage. A normal 13Vdc when P Cont 1 is HIGH (powered ON) means the regulator parts are defective. Check or replace IC902, D912 and PC901. If you measured 0Vdc at D912/Anode, Q905 or Q908 is defective. Output Voltages are Low in the Power ON Mode One voltage missing - If one output voltage were missing, you would troubleshoot that output line for a dead short in the load or an open in the source voltage line. One or more power supply voltages missing - When one or more power supply output voltages are low, the problem is either an excessive load or the power supply cannot deliver the normal current. Use Chart 9-5 to determine if the load is within the normal range.
Chart 9-5 Power Supply Load Current Location Tuner Mode Video Mode CN904/pins 1 and 2 CN905/pin 1 CN905/pin 2 CN905/pin 3 CN905/pin 4 367 ma 200 ma 823 ma 2.6 ma 70 ma 367 ma 227 ma 843 ma 2.5 ma 70 ma
Output Voltage 27V 13Vdc 6.4Vdc 3.3Vdc 5.6Vdc
DVD Mode 367 ma 581-1,200 ma 823 ma 446 ma 82 ma
The wires from CN905 may be removed for current tests by lifting the plugs wire holder.
All T901 voltages are LOW or HIGH - If ALL the T901 power transformer output voltages are proportionally low or high, the regulating stage or the basic power supply cannot deliver the voltage or normal current. Use Chart 9-6 (steps 1-3 along the top) to help determine which of these stages is not operating properly.
Chart 9-6 - Troubleshooting for Incorrect Output Voltages 1. Power ON and measure 2. Measure PC901/pin 3 (use HOT 3. Suspect CN904/pin 1 voltage gnd). Typical voltage is 7.5Vdc 27V Output Voltage= Higher than normal 27V Output Voltage= Lower than normal This voltage is Higher This voltage is Lower This voltage is Higher This voltage is Lower Basic Power supply IC901, T901, C916 Error regulator parts about IC902, PC901 Error regulator parts about IC902, PC901 Basic Power supply IC901, T901, C916
PC901/pin 3 voltage is normal - If the voltage at PC901/pin 3 is a normal 7.5Vdc (Chart 9-6, step 2), either: 1) test the power supply unloaded in the next section; or 2) follow the troubleshooting steps in Power Supply is Dead because the supply may be partially in the standby mode causing the low output voltages.
V - Testing the Power Supply Unloaded

You can run this power supply unloaded to determine if the power supply could generate a voltage, but the output voltages will be a little higher than normal. 1. Unplug both output connectors CN904 and CN905. 2. Connect CN905 pin 4 to pin 10. Caution: When counting pins, the second pin has no number so the pin complement of connector CN905 is: 1, X, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11. When in doubt, count from pin 11 to the pins you want. Connecting pins 4 to 10 places the standby voltage into the power ON line.
35

3. Plug the unit into AC and press the front panel Power ON switch so it latches in. The power supply should start and produce the following voltage. See Chart 9-7 below:
Chart 9-7 - No Load Power Supply Output Voltages Use Cold Ground Location No Load Voltage Normal Power ON Voltage CN904/pin 1, 2 CN905/pin 1 CN905/pin 2 CN905/pin 3 CN905/pin 4 27-29Vdc 14.3Vdc 6.8Vdc 0V * 5.6Vdc 27Vdc 13.6Vdc 6.4Vdc 3.3Vdc 5.6Vdc
* 3V will output if a HIGH is also placed at CN905/pins 10 & 11.
VI - Troubleshooting Shortcuts
Because the circuit board is dense, access to some parts is difficult or impossible from the top of the board. Temporally changing circuit conditions to see if some circuit groups work in this power supply is a good way to speedily arrive at the non-working part. These shortcuts do not replace a complete troubleshooting plan.
Purpose See if CPU pwr ON command arrives at PC902 Chart 9-8 - Shortcut Procedures Conditions Procedure Normal Result Standby Mode (front panel button in) Press the Play or an Eject button to power ON. Short PC902/pins 1 and 2 together. Press the Play or an Eject button to power ON. Voltage at PC902/pin 2 should change from 4.7V to 5.6V Voltage at IC901/pin 4 should change from 11V to 20V. Voltage at D912/Cathode (band) should change from 14.8V to 28V Parts Tested Stby voltage, IC907, Q915, Pwr ON Path from CPU (DVD bd.). Q901-Q903, D903, PC902
See if CPU pwr ON command finally arrives at IC901/pin 4. See if CPU pwr ON command also enables the regulating circuit (cancels the Stby Mode).
Standby Mode Release front panel Pwr to turn OFF unit, then press button in again. Standby Mode Release front panel Pwr to turn OFF unit, then press button in again.
D917, Q905, Q908.
PS. Shorting pins of PC901 (regulating circuit) will cause IC901s oscillator to stop until power is removed (no damage will result). The power supplys 27V output line will momentarily rise from 19V to 38Vdc when pins 12 are shorted, or decay toward 0 when pins 3-4 are shorted. Caution: Never cause the power supply output to go to a maximum of 38Vdc while connected to the load.
36
10. Hi-Fi Output Troubleshooting Overview
Hi-Fi Output Troubleshooting Overview

Troubleshooting Audio Power Amplifiers is frequently a matter of simply changing a pair of output transistors. Other times the protection light just will not go off. In the worst-case scenario, the newly replaced transistors are destroyed as power is applied. In this document we will examine troubleshooting methods for the more difficult problems. We will break down our problems into two types: Excessive Current Draw Constant Protection Light Indication
We start with the following assumption: you have changed two or more output transistors. Because of the possibility that the new transistors will be damaged, it is wise to take a cautious approach when applying power to the unit. A Variac will be used to slowly increase the AC power to the unit while watching for excessive current draw. Before power can be applied in this way, the power relay must be bypassed. Of course, you can locate the power relay and simply add jumpers to the relay contacts. There is a quicker way to bypass the power relay, but it requires a very dangerous tool. This tool (shown in Figure 10-1) is like an extension cord only it has two male ends. If this cord is ever plugged in to the AC outlet first, the other end will be live and exposed. Keep this tool safely away from anyone not familiar with electricity.
SWITCHED AC OUTLET(s) (Outlet shape and position varies according to destination)
FIGURE 10-1
10.1A124
10/26/01
By FIRST plugging this cord into the SWITCHED outlet on the rear panel of the receiver, then SECONDLY plugging it into the AC outlet of a Variac, you will bypass the power relay. Now, slowly increase the AC voltage while watching the current meter on the Variac for a sharp increase in current. If the current raises rapidly, STOP, lower the voltage back to 0 volts and turn to the Excessive Current Draw section of this document. If the unit does not draw excessive current by the time the AC voltage reaches 100 volts, turn the Variac voltage back to 0 volts. Then remove the bypass cord and connect the unit to an AC outlet in the normal manner and press the power button. The Power Amplifier can be broken into three sections (shown in Figure 10-2): Output stage Bias network Driver Amplifier
37
10, Hi-Fi Output Troubleshooting Overview

(+)
+ AUDIO IN
DRIVE AMP
FB
BIAS NETWORK
FB
OUTPUT TO RELAY
(-) OUTPUT
FIGURE 10-2
10.2A124
10/26/01
Problems with the bias network usually cause excessive current draw. In rare cases, bias network problems may cause crossover distortion. Problems with the Driver amplifier cause small DC offset voltages to appear at the amplifiers output (speaker connection). Problems with the output stage cause either excessive current draw (both outputs shorted C/E) or large DC offset voltages at the amplifiers output (one output transistor shorted between C/E). As problems with the Output stages are the most common and easily found with an ohmmeter, we will focus on the other two areas.
38
11. Troubleshooting Driver Amplifier & Bias Network Circuits
Troubleshooting Driver Amplifier & Bias Network Circuits

Protection light will not go off after replacing Output transistors
Most modern Power Amplifiers use an IC package for the Drive Amplifier (shown in Figure 11-1). If you have small DC offset voltages at the Driver amplifier output, the protection circuit will be triggered and the receiver will enter the protection mode. In this case, change the Driver amplifier IC. If that does not solve the problem, check the positive and negative power supplies to the Driver amplifier IC. Sometimes there are switching networks in the B+ and B- paths to the Driver amplifier IC. These switching networks are used to limit the gain of the Driver amplifier. NOTE: Small offset voltages on multiple channels are usually caused by bad ground connections (troubleshoot for open ground trace or traces).
IC601 STK350-230
TR3 TR1 INPUT NF

1 2 3 4
R1
TR2 TR4 R2
-VEOUT 5 +VEOUT 6 V55 7 GNO 8 D1 VCC 9 R9 TR8 D2 R5 R8 R7 R4 TR5 R3 D4 D3 TR7 TR8 R5
+VEOUT
IC601 STK350-230 -VEOUT INPUT HF
(+) VSS VCC

8 9
R605 470
C603 54.3
54.4
1.1
R601 1 IN
C601 10 50V +
-57.5
-0.1
-0.1
-1
(+) (-) OUT T RE
C606
BIAS NETWORK
FB
C602 100
R603 330
R602 68
R604 68 C604 C605 + 47 16V (-) OUTPUT FB
FIGURE 11-1 - PROTECTION MODE
11.1A124
10/30/
39

In a discrete Driver amplifier circuit, DC offset voltages are usually caused by the differential amplifier stage (TR1 and TR2 are the internal differential amplifiers in the STK350-230, shown in Figure 11-1). The differential amplifier has two transistors with their emitters tied together. The base of one transistor is the power amplifiers main input and the other is the negative feedback input. The negative feedback input is tied to the Power amplifiers output. Always change both of the differential amplifiers transistors as a pair. Do not substitute unless you know that the substitute transistors are a GAIN MATCHED pair.
Excessive Current Draw

Excessive current draw is usually caused by problems in the bias network. The bias network keeps current low when the amplifier is in the Idle state and prevents Thermal Run-Away. Because of its job as Thermal RunAway protection, the active device in the bias network must be mounted to the heat sink near the Output transistors. This makes the Bias network active device easy to locate. It is the diode or small transistor mounted to the heat sink.
Locating the Bad Channel

The first step is to determine which power amplifier has the problem. If you have changed the shorted output transistors, it is a good bet that the same amplifier has a bias network problem if you still experience excessive current draw. There are two methods to determine which channel is drawing current if there is any question as to which amplifier has the problem. First, you follow the procedure for bypassing the power switch detailed in the Overview chapter. As you raise the AC line voltage, you will hit a point where the current draw starts to increase. If you leave the AC line voltage high enough to provide about one-half an amp of current, you can then feel for heat in the defective channels output components. NOTE: USE EXTREME CAUTION WHEN USING THIS METHOD. The other method is to put jumpers (short circuit) across all the bias networks (one for each amplifier). Reference Figure 11-2 for the following description. Since the bias networks are connected to the bases of the output transistors, it is usually easy to find a place to connect the jumpers. Then follow the Power Relay bypass procedure and verify that the unit no longer draws excessive current. Next, turn the AC voltage all the way down and remove one of the jumpers. Slowly raise the AC voltage again. If the unit now draws excessive current, the amplifier without the jumper is the one with the bias network problem. If it does not draw excessive current, turn the AC back down and remove the jumper from another amplifier. Keep following this procedure until you locate the amplifier with the defective bias network. If you have just changed the Output transistors on one channel and the unit draws excessive current, try one jumper on the channel you worked on first. If the current drops, the bias network in that channel has a problem.
(+)
IN
DRIVE AMP
FB
OUT
BIAS NETWORK JUMPER STR-DE615 (-)
FIGURE 11-2 - EXCESSIVE CURRENT DRAW
11.2A124
10/26/01
40

Obviously the Jumper Method is much slower (but a lot safer) than the Find the HOT transistor method. I recommend practicing both methods as physical access limitations shift the advantage from one method to the other. NOTE: Service bulletin HPF0643 covers a Bias Circuit change for receiver models STRV555ES, (+) STRV444ES, and STRV333ES.
Troubleshooting Bias Network Circuits
IN
DRIVE AMP
FB
FB
OUT
BIAS NETWORK STR-GX47ES (-) (+)
IN
DRIVE AMP
FB
OUT
BIAS NETWORK STR-D315 (-)
(+)
IN
DRIVE AMP
FB
OUT
BIAS NETWORK STR-DE615 (-)
FIGURE 11-3 - TROUBLESHOOTING BIAS
11.3A124
10/26/01
41

Once you have located the bad channel, it is time to shotgun (due to very few components) all the active components (diodes or transistors) in the bias network. Shotgunning is preferred since intermittent bias components can cause expensive damage to the Power Amplifier. While changing the active components, carefully inspect all resistors and potentiometers. Now it is time to verify that the unit does not draw excessive current while following the power relay bypass procedure.
42
12. Troubleshooting Audio Protection Circuits
Troubleshooting Audio Protection Circuits

The most common problem in audio receivers is protection light is ON and no sound. The usual cause is one or more shorted Output transistors in one of the Power amplifiers. In many cases, you can find the source of the problem with an ohmmeter by checking the E/C junction of the audio Output transistors. In some cases, the symptom remains the same after the Output transistors have been replaced. This is the type of situation we will examine here. It will be assumed that you are an experienced technician and have checked for the obvious defects (e.g. checked all Output transistors for E/C shorts, looked for Burned resistors, checked for shorted diodes and Protect transistors). It will also be assumed that you have good access to all components (though this may be a ridiculous assumption). When access to live circuits is limited, shotgun methods are usually the most productive. When shotgunning circuits, keep in mind that PNP transistors fail more frequently than any other component found in the shutdown circuit. Always check PNP transistors and steering diodes for leakage. When a surround sound unit is in Protect Mode, the most difficult task is determining where the problem is coming from. Problems can be in any one of the Power amplifiers or in the Protection circuits themselves. We will use the Magic Voltage (0.6V to 0.7V) to determine which amplifier is causing the problem. If a transistor is ON, the B/E junction voltage will be 0.6 volts. If a diode is conducting, it will have a voltage-drop of 0.6 volts. The voltage-drop of 0.6 volts will steer us towards the problem amplifier. Before we go into troubleshooting, it is very useful to understand how the circuit is supposed to work. Virtually all Protect circuits protect against three dangerous situations that all occur at the Power Amplifiers output: Positive DC Offset voltage Negative DC Offset voltage Excessive Output current
PROTECTION RELAY TO SPEAKER CH1 POWER AMP +/- OFFSET PROTECT CH2 CH3 CH4 CH1 OVER CURRENT PROTECT CH5 CH2 OCP CH3 OCP CH4 OCP CH5 OCP PROTECT IN PROTECT OUT SYSCON MP
FIGURE 12-1 - PROTECTION BLOCK
12.1A124
10/26/01
The output from the +/- Offset and the Over-Current detect circuits are monitored by the System Control microprocessor. If the protection line is pulled low, the microprocessor will disengage the protection relay. Most Protection circuits are very similar. By imaging +DC, -DC or too much current in the Output transistors, you can easily identify the circuits that protect against each situation.
43
(+/-) Offset Protection Circuit

CH1 CH2 CH3 CH4 CH5 47K 47K 47K 47K 47K Q2 D1 C1 R3 Q3 D3 OCP R1 BC2 R2 Q1 D2 TO PROTECT IN L = PROTECT
FIGURE 12-2 - +/- OFFSET PROTECT
12.2A124
11/20/01
Q1 and Q2 detect DC voltages at the Power Amplifier Outputs (Ch1 through Ch5). Both transistors have their emitters grounded. +0.6 volts at the bases will turn Q1 ON. 0.6 volts will turn Q2 ON. The +DC-offset voltage is easiest so it goes first. If there is a positive DC voltage at any Output (Ch1 through Ch5), the base of Q1 will be Pulled up through one of the 47K ohm resistors. When the voltage at Q1 base reaches +0.6 volts, Q1 will turn ON. When Q1 is ON, its collector will go LOW (ground), activating the Protection circuit. Positive voltage at the base of Q2 will keep it OFF. A DC-offset voltage at any of the Outputs will pull the base of Q2 LOW through one of the 47K ohm resistors. When the voltage at the base of Q2 reaches 0.6 volts, Q2 will turn ON. When Q2 turns ON, Q3s base will be pulled up to ground through Q2 E/C, D1 and R3. Q3s emitter is pulled down by the negative (B-) supply voltage through R1. When current flows through Q3s E/B junction, Q3 turns ON. When Q3 turns ON, its collector will go LOW, activating the Protection circuit. NOTE: The output transistors used in most receivers are Darlington pairs (in a single package). The voltage measurement across the B-E junctions for a Darlington pair will be approximately 1.2V.
Troubleshooting method
Note: reference Figure 12-2 If either Q1 or Q3 turns ON, the Protection circuit will activate. The best place to start is to check the B/E junctions for 0.6 voltage drop. If Q1s B/E junction reads 0.6 volts, check for a voltage drop across each of the 47K ohm resistors. The one with a voltage drop will point to the bad channel. If Q3s B/E junction reads 0.6 volts, check D1 and D2 for 0.6 voltage drop. If you measure 0.6 volts across D1, check Q2 B/E junction. If you measure 0.3 volts on Q2s B/E junction, Q2 is probably leaky (common with PNP transistors). If you measure 0.6 volts on Q2s B/E junction, check for a voltage-drop across each of the 47K ohm resistors. Again, the one with a voltage-drop will point to the bad channel. If you find 0.6 volts across D3, you have a problem in one of the Over Current protect circuits, which will be discussed next.
44
Over Current Protection Circuit

47K CH2 CH3 CH4 CH5 47K 47K 47K 47K Q2 Q100 R100 0.22 D1 R6 TO RELAY R200 0.22 Q200 (-) CH5 R5 6.2K CH2 CH3 CH4 1.5K Q4 47K 47K 47K 47K 47K BR1 D3 C1 R3 Q3 C2 R2 Q1 D2 TO PROTECT IN L = PROTECT
CH1 POWER AMP
FIGURE 12-3 - OVER CURRENT PROTECT
12.3A124
11/28/01
Since current in the Output transistors also flows through the 0.22 ohm emitter resistors, the voltage-drop across these resistors will be proportionate to the current in the Output transistors. The Over Current Protection (OCP) circuit monitors the voltage-drop across the 0.22 ohm resistors (R100 and R200) in the Power Amplifier. R5 and R6 are in parallel with R100 and R200. Since R100 and R200 are very low ohm values as compared to R5 and R6, the current through R5 and R6 will be insignificant to the Power amplifiers normal operation. As current increases through Q100 and Q200, the voltage-drop across the resistor pairs (R100/R200 and R5/R6) will also increase. When the voltage-drop across R6 reaches 0.6 volts, Q4 will turn ON. When Q4 turns ON, current flowing through Q4 E/C junction, R4 (the 15K ohm resistor), D3 and R3 will pull up Q3s base and Q3 will turn ON. When Q3 turns ON, its collector will go LOW, activating the protection circuit.
Troubleshooting Method
When D3 is conducting (0.6 voltage-drop), check the B/E junction of Q4 for a 0.6 voltage-drop. If you find 0.6 volts, the problem is in Channel 1s Power Amplifier. A similar OCP transistor will be found in each Channel. Check each Channels OCP transistor for 0.6 B/E voltage-drop. The one with 0.6 volts is the Channel with the problem. If you find 0.3 volts across the B/E junction of any of the OCP transistors, that transistor has become leaky (replace). Over Current Protection problems are usually caused by a defect in the Bias Network circuit in the Power Amplifier. Shorted Output transistors may also cause OCP. (It is assumed that you have checked the output transistors with an Ohmmeter long before reaching this point.)
45
13. Super Audio Cd
Super Audio CD
Overview
Developed by Sony and Philips in early 1982, the compact disc (CD) was a revolutionary development that overturned conventional thinking about audio media. Unlike the analogue recordings, which were mainstream at that time, the CD system converted music signals into digital signals for recording and playback. Users were amazed by the dramatic improvement in sound quality, the quick access and the handling convenience provided by the compact 12cm discs. With so many merits, the CD quickly penetrated the market and has become one of the most commonly used audio formats of our time. The CD uses a PCM (Pulse Code Modulation) recording format, in which music signals are converted into digital data for each sampling frequency and represented at each stage as a quantization bit number. When the PCM format was being developed, engineers aimed to achieve a 44.1kHz sampling frequency and a 16-bit quantization for recording and playback of digital data. This goal, which they hoped to establish as the standard for the CD format, represented a level that greatly exceeded the technology available at that time. Eventually, progress in A/D converters and other equipment on the recording side, as well as technical developments for digital filters and D/A converters on the playback side, enabled engineers to achieve this goal. At the time the CD format was being developed, PCM represented the most advanced technology available in the recording field, and rightly so, the music industry welcomed it gladly as a playback standard. However, although the playback frequency range and dynamic range were designed to match the audible range of human hearing, they represented just one small portion of the sounds that exist in nature. With the continuous progress being made in digital technology, it became possible to make recordings that contained a greater volume of information, allowing for further improvements in sound quality. These technical developments opened the door for the creation of a new source media format with even higher sound quality, surpassing the limits of the CD. As expected, the music industry welcomed these new possibilities as a means to assuring the quality and longevity of their new masters and for preserving their valuable archives from deterioration over time. In response to these technical developments, Sony and Philips once again joined forces, resulting in the creating of the Super Audio CD. The Super Audio CD is expected to become the new source media for the next century. Rather than simply offering improvements in the sampling frequency or level of quantization, Super Audio CD represents a revolution in the way digital data is recorded and played back. With Super Audio CD, sound signals are converted using Direct Stream Digital (DSD) technology, a completely new approach to digital recording.
The New Format for the Age of Digital Pure Audio

Simply put, the DSD format expresses music signals according to the concentration of their pulse waves, as shown in Figure 13-1. The shape of the wave is the same as that of a wave of compression and rarefaction that travels through the air. Although the sound signals expressed by DSD are digital data, they contain properties that are extremely similar to the actual sound wave. In principle, by passing these signals through an analogue low-pass filter, it is possible to retrieve the original analogue signals in the playback stage.
46
13. Super Audio Cd
ANALOG INPUT SIGNAL
DSD OUTPUT SIGNAL
SHOWS TYPICAL BITS
01 11111 01 1111111 01 11111111
1 000000 1 00000 1
FIGURE 13-1 - DSD WAVEFORM
13.1A124 1392
11/1/01
Compared to PCM, in which numerical data is clearly demarcated, the digital data processed with DSD is extremely similar to the analogue data. DSDs simplified mechanism for recording and playback results in a frequency response of over 100kHz and a dynamic range of over 120dB across the audible frequency range. The end result is music reproduction that is remarkably pure and faithful to the original. Furthermore, the DSD format can accommodate more than four times the information as the current CD/PCM format, prompting the development of large-capacity discs for Super Audio CD use. With this extra capacity, a standard Super Audio CD can provide space for 2-channel stereo data, as well as an area for up to 6-track, multichannel data and an extra data area for still pictures, text data or other information, both of which will be used in the near future. Three disc variations are available for the Super Audio CD format. The single-layer Super Audio CD and dual layer Super Audio CD discs contain either one or two high-density (HD) layers, respectively. A hybrid disc has also been developed that consists of one HD layer and one CD layer. Since the CD layer of the hybrid disc can be read by a conventional CD player and Super Audio CD players can play back current CDs, complete compatibility between the Super Audio CD and CD formats is achieved. Of course, with the growing popularity of the disc format and improvements in sound quality, it has become particularly important to protect the copyrights of musicians and music software manufacturers, as well as consumers, against illegal copying of music software.
47
13. Super Audio Cd

To combat the problem of software pirating, Super Audio CD utilizes Pit Signal Processing (PSP) technology to impose a faint image, or Watermark, on the signal side of the disc. The inclusion of this Watermark makes it easy to ascertain whether a disc is a fake, an effective means of protecting the rights of artistes and copyright holders. The Super Audio CD offers many improvements on the CD format, including exceptional sound quality through the DSD system, multi-channel recording, storage capacity for text and images, disc variations, copyright protection and much more. Clearly, it is the ideal audio disc for the next century. That is not to say that the Super Audio CD system will replace the current CD. At present, some 600 million CD players and 12 billion CDs have been produced worldwide. We expect production of the conventional CD to continue, with Super Audio CD providing a system for those music enthusiasts who demand even great audio fidelity. In other words, Super Audio CD will complement the current CD format, offering more variety to an even great audience. A Scarlet Book is being developed for the Super Audio CD standards, similar to the Red Book created for the CD format standards. The Scarlet book will help make the Super Audio CD as familiar as the CD, helping to ensure market success for both Super Audio CD and CD.
The DSD Format: No Data Decimation or Interpolation Required

The Sound Format for Conventional CDs: PCM
The vast majority of A/D converters used in PCM recording for the conventional CD format are 1-bit converters with a high sampling frequency. As a rule, in order to create PCM signals, a 64fs 1-bit data pulse stream is created in the Delta Sigma () modulator and then passed through the decimation filter, after which the data is converted into multi-bit PCM data through a decrease in the sampling rate (64fs >fs). On the playback side, most CD players utilize a 1-bit D/A converter to convert digital signals back to analogue. In this process, the PCM signals are subjected to oversampling at high frequencies via a digital filter. After interpolation processing, at which time the data is recreated, the signals are passed through a modulator that converts the signals back into a 1-bit data pulse stream. Additionally, when recording decimated PCM data to a CD disc, signals undergo 16-it (216, or 65,536-stage) quantization at a sampling frequency of 44.1kHz. Data exceeding this sampling frequency is eliminated, rounding off data volume at each stage. Also, frequencies exceeding the playback frequency in principle half that of the sampling frequency, or 22.05KHz, are cut off. Finally, the 16-bit demarcation process limits the dynamic range, burying subtle sound signals in the quantization noise floor.
DSD Format Developed for Super Audio CD

Though conventional CD and the DSD format for Super Audio CD both utilize a 1-bit A/D converter and modulator for recording, they differ drastically regarding signal processing. For conventional CDs, the decimation filter requires additional data processing in the recording stage, while with Super Audio CD, the 1-bit data is recorded directly in 1-bit format to the disc. This direct recording process is one of the leading advantages of Super Audio CD. The sampling frequency for the DSD format is 2.822MHz, 64 times higher than the 44.1kHz frequency of conventional CD. This frequency means that quantization is conducted at a rate of 2.8224 million times per second and is recorded as 1-bit data on the disc. Although the bit number is just 1/16 of that used for the CD format, the sampling frequency is 64 times higher, resulting in a data capacity for DSD which is four times greater than that of the CD. In principle, it is possible to expand the frequency range to approximately 1.4MHz. As shown in Figure 13-2, the DSD format data is send directly from the PCM format modulator. PCM format digital data, on the other hand, has to pass through a variety of extraneous filtering processes, such as decimation and interpolation. Because DSD does not require these extra processes, re-quantization noise and passbaud ripple, for example, are not produced. This way it is possible to transmit data that retains all of its freshness and purity, something that has been impossible to achieve with PCM digital data.
48
13. Super Audio Cd
SUPER AUDIO CD
Input Signal RECORDING PROCESS Delta Sigma Modu -lator (Noise Shaping) Super Audio CD PLAYBACK PROCESS Analog. Low Pass Filter Output Signal
64fs 1 bit
64fs 1 bit
CONVENTIONAL CD
RECORDING PROCESS Input Signal Delta Sigma Modu -lator PLAYBACK PROCESS Interpol -ation Digital Filter fs 16 bit Delta Sigma Modu -lator Analog. Low Pass Filter Output Signal
Decimation Digital Filter 64fs 1 bit fs 16 bit
CD
(Noise Shaping)
64fs 8fs (Noise 1 bit 24 bit Shaping)
Note fs: 44.1kHz FIGURE 13-2 - DIFFERENCES IN RECORDING -TO- PLAYBACK PROCESSES FOR SUPER AUDIO CD AND CONVENTIONAL CD 13.2A124 1393 11/27/01
Delta Signal ( ) Modulation and A/D Converter
As shown in 13-3, the 1-bit quantiser decimates incoming analogue signals at a standard level and outputs these signals as one of two values, 0 or 1 (1 bit). Suppose that we input sine waves into this 1-bit converter. As shown in Figure 13-4, the portion above the base level is output as 1, while the portion below the base level is output as 0. The result is a square wave output.
BASE LEVEL INPUT SINE WAVE BASE LEVEL 1 BIT QUANTIZER OUTPUT WAVE
ONE SAMPLING INTERVAL SAMPLING RATE
ONE SAMPLING INTERVAL
COMPARISON OF INPUT & OUTPUT
1
BASE LEVEL
0
QUANTIZATION NOISE ONE SAMPLING INTERVAL SAMPLING RATE
13.3A124 1393 1/21/02
FIGURE13-4 - OUTPUT FROM 1-BIT QUANTISER
49
13. Super Audio Cd

1-BIT QUANTIZER
ANALOGUE SIGNAL INPUT
Q Q
1-BIT QUANTIZATION OUTPUT
FIGURE 13-3 - EXAMPLE OF 1-BIT QUANTIZER CONFIGURATION

13.4A124 1394 1/21/02
The difference between the shape of the incoming and outgoing wave forms (gray area, bottom of Figure 13-4) is known as quantization noise. As this example illustrates, even the 1-bit conversion process itself can result in significant distortion in sound output. Figure 13-5 shows the construction of a very simple modulator system. The output from the 1-bit converter consists of 0 and 1 1-bit data. This output data is analysed against the incoming signal to detect errors. The error data is retarded the duration of one sample by the delay device and reintroduced to the incoming analogue signal as compensation data to be subtracted. This process of continually returning error data for input to the 1bit converter for each sample is the concept for this system.
BASE LEVEL
INPUT SINE WAVE
BASE LEVEL
1 BIT QUANTIZER OUTPUT WAVE
ONE SAMPLING INTERVAL SAMPLING RATE
ONE SAMPLING INTERVAL
COMPARISON OF INPUT & OUTPUT
1
BASE LEVEL
0
QUANTIZATION NOISE ONE SAMPLING INTERVAL SAMPLING RATE
FIGURE 13-6 - OUTPUT FROM THE DELTA SIGMA MODULATOR

13.5A124 1395 1/21/02
This method for extracting and returning output error data to the incoming signals to be subtracted as compensation data is called negative feedback. It is the most typical method for generally eliminating distortion. Figure 13-6 shows the waveform that is output when a sine wave is input into the modulator. Compared to the results shown in Figure 13-4, the output from the converter switches between 0 and 1 with more precise timing. As a result, the number of 1 pulses increase as the sine wave reaches a peak, while the number of 0 pulses increase as the sine wave dips below the base level.
50
13. Super Audio Cd

In this way, modulation accurately expresses the level of the signal by adding a density characteristic (referred to as shadow density) to the pulse waveform. As opposed to PCM, which only handles the computed data, modulation converts analogue signals directly into a pulse stream of 0s and 1s. Thus, the system is properly named Direct Stream Digital. The shaded portion of Figure 13-6 represents quantization noise that occurs with modulation. If we consider the quantization noise only, we can see that compared to when a 1-bit converter is used (ref. Figure 13-4), the quantization noise resulting from the modulator is more segmented, even though the original input sine wave is the same. Because of the higher sampling frequency, the amount of low-frequency quantization noise is reduced, while the amount of high-frequency quantization noise is increased.
DECIMATOR ANALOGUE SIGNAL INPUT INTEGRATOR 1-BIT QUANTISER
D
DELAY DRIVE
1-BIT QUANTISATION OUTPUT
FIGURE 13-5 - EXAMPLE OF DELTA SIGMA MODULATOR CONFIGURATION

13.6A124 1396 1/21/02
In reality, whether the process is conducted by the modulator or a 1-bit converter, the volume of quantization noise (total volume of the shaded area) is the same. The difference is that the quantization noise that results from the modulator is shift to the upper frequency range. This is possible because the integrator ( ) functions as a sort of low-pass filter. Therefore, the quantization noise floor from the modulation is shaped, not flat. Because of this, this process is also referred to as noise shaping. In general, the quantization noise floor resulting from the PCM is flat, according to the number of hits. With modulation, the noise floor is subjected to noise shaping. Because the DSD method uses a high sampling frequency of 2.8224MHz, the quantization noise is shifted to a higher frequency range. This reduces the amount of noise in the audible range for humans, which is relatively low.
WITH NOISE SHAPING
SIGNAL LEVEL WITHOUT NOISE SHAPING fm FREQUENCY AUDIBLE RANGE fm= 20kHz fs/2= 1/2 OF SAMPLING FREQUENCY fs/2
FIGURE 13-7 - EFFECTS OF NOISE SHAPING ON THE NOISE FLOOR

13.7A124 1397 11/2/01
51
13. Super Audio Cd

Additionally, the effects of noise in the upper range can be eliminated by passing the signals through an analogue low-pass filter at the time of playback. By incorporating modulation, the DSD format can achieve expanded frequency characteristics and a greater audible dynamic range. The modulator, as used in a real DSD system, has many high order feedback stages. Depending upon the modulators degree and circuit structure, the noise-shaping floor is determined. The modulator is an essential technology for Super Audio CD. With the continuous improvements being made in this field, the playback sound quality of the Super Audio CD format will enjoy even higher quality sound. With future advances of this specific technology alone, the broad dynamic range that so characterizes the Super Audio CD format will be even more of a reality. Figure 13-8 shows a theoretical simulation of a very simplified modulation system. In principle, it is possible to achieve an audio range and a dynamic range exceeding 120dB. With DSB, playback frequency characteristics for the high frequency range can be extended up to approximately 1.4MHz. However, in the real world, in order to reduce quantization noise, the characteristics are most commonly determined by a low-pass filter on the player side at the time of playback, allowing for an optimum playback frequency range. The playback frequency range of Super Audio CD features a smooth curve that accurately expresses the analogue signal, allowing playback of signals that exceed 100kHz. On the other hand, the PCM frequency curve for CD has severe drops, completely cutting off the playback signal. The difference in playback frequency for both formats is therefore very noticeable.
10kHz SQUARE WAVE INPUT
10kHz SQUARE WAVE INPUT
44.1kHz/20-BIT OUTPUT (PCM)
DIRECT STREAM DIGITAL (DSD) OUTPUT
FIGURE 13-9 - REPRODUCTION OUTPUT DIFFERENCE FOR A 10kHz SQUARE WAVEFORM

13.8A124 1398 1/21/02
52
13. Super Audio Cd

Figure 13-9 illustrates the difference in outcome when a 10kHz square waveform is converted with the DSD format compared to the PCM format. A square waveform is made up of a fundamental waveform and multiple sine waves. That is, the square wave contains many odd-number harmonic waves. With CDs PCM format, the wave cannot be reproduced beyond the second harmonic wave, resulting in a sine wave output that cannot exceed 20kHz. In contrast, the DSD format is able to reproduce harmonic waves up to a high order, achieving output that is extremely similar to the original square waveform. This example demonstrates how the DSD format can achieve faithful sound conversion, resulting in sound output almost identical to the original source.
0 LEVEL (dB) -100 (ANALYSIS LIMIT: -200dB) 20 100 1k FREQUENCY (Hz) 10k 100k
-200
FIGURE 13-8 - DELTA SIGMA MODULATOR NOISE FLOOR SIMULATION

13.9A124 1399 1/21/02
DSD signal processing has a more detailed sound image, and therefore the potential to record instrumental harmonic components, the calls of animals and all of the sounds that exist in the natural world. In addition, it is able to express the ambience of a live performance, often expressed as being able to feel the air. The DSD system used in Super Audio CD is able to express the artistic quality of a performance like never before, communicating the liveliness of the performer and the vividness of the hall.
Disc Features and Watermark Technology

New Large-Capacity Disc
Thanks to the DSD format used by Super Audio CD, data capacity was increased to four times that of a conventional CD using PCM. Even with more capacity, a Super Audio CD disc features the exact same dimensions as a current CD disc: a 12cm diameter and a 1.2mm thickness. The most elementary Super Audio CD disc (singlelayer) features about six times the capacity over a CD disc, or 4.7Cbytes. For 2-channel stereo, this translates into over 100 minutes of recording capacity. Actual recording time depends on the content of each title.
Table 13-1 Comparison of Super Audio CD and Conventional CD Format Items Super Audio CD (Single Layer) CD Disc diameter 12cm 12cm Disc thickness 1.2mm 1.2mm Playback side One One Coding system 1-bit DSD 16-bit linear PCM Sampling frequency 2.8224 MHz 44.1kHz Disc data capacity 4,700MB 780MB Disc minimum bit length 0.40m 0.83m Disc track space 0.74m 1.6m Laser wavelength 650nm 780nm Lens aperture 0.60 0.46 Playback frequency range* DC over 100kHz DC 20kHz Dynamic range* More than 120dB (audible range) 96dB Maximum recording time Approx. 110 min. (2-channel) 74 min. Additional functions Text, graphics, video Text
53
13. Super Audio Cd Separate Space for Multi=Track Recordings and Extra Data
The Super Audio CD is standardized, with disc space reserved for multi-channel recordings of up to six tracks, extra data and audio signals, including conventional 2-channel stereo recordings. In short, allocated disc space ensures that Super Audio CD will be able to handle all future applications. The disc space reserved for multichannel data includes high-quality multi-track audio recorded in DSD, for an auditory experience never before possible. The space for extra data can be used to include text, song lyrics, liner notes and even still images (see Figure 13-10). Both of these areas will be used in Super Audio CDs of the near future.
MULTI-CHANNEL EXTRA DATA AREA
MASTER TOC
2-CHANNEL STEREO
FIGURE 13-10 - RECORDING AREAS AVAILABLE FOR HD LAYER

13.10A124 1400 11/1/01
When a disc is inserted in the player, disc information that has been recorded in the Master Table of Contents (TOC) is automatically read. This Master TOC contains information regarding the disc and artist. There is also an Area TOC for each section of a Super Audio CD 2-channel, multi-channel and extra data. Each Area TOC contains recorded information about the tracks included in that particular section. Thanks to the combination of these two, player-side operation and track access become very simple. With Super Audio CD, disc title, track title and artiste information, for example, can be easily displayed on the player, very similar to the CD TEXT feature with conventional CD.
Up to 24 Music Titles and More

With Super Audio CD, it is possible to record and index up to 255 separate tracks, a considerable improvement over CD formats 99 track limit. With Super Audio CD, it also becomes possible to produce recordings like a 200track Best of Classical, for example, or even language education software that features flexible access. Super Audio CD was designed with future applications in mind, surpassing conventional CD standard for TOC and track configuration.
Copyright Protection
Current audio systems protect against illegal copyright infringements by incorporating the Serial Copy Management System (SCMS) on the hardware side. Super Audio CD features high capacity and therefore carries a high value as a software asset, necessitating an effective copyright protection system. Super Audio CD, therefore, incorporates copyright protection technology not only on the hardware side, but also on the disc itself to prevent illegal copying of protected property.
54
13. Super Audio Cd Three Disc Variations

Super Audio CD offers three types of discs (ref. Figure 13-11). The most elementary of these is the single-layer disc that contains one high-density (HD) layer of information. As mentioned previously, this disc provides a 4.7Cbyte capacity. There is also a dual-layer disc, which combines two Super Audio CDs into one disc for providing extended playback with a maximum capacity of 8.5Cbytes. The third disc type is hybrid, featuring an HD layer and a CD layer. The layers of both the dual-layer disc and the hybrid disc are 0.6mm thick. Two of these layers sealed together have a total thickness of 1.2mm, the same as all types of Super Audio CD and conventional CD discs. The CD layer of the hybrid disc can be played on a conventional CD player, as well as on a Super Audio CD player to ensure complete compatibility between Super Audio CD players and existing CD players (ref. Figure 13-12).
SINGLE LAYER DISC HD LAYER
DUAL LAYER DISC
HD LAYER HYBRID DISC CD LAYER HD LAYER
FIGURE 13-11 -TYPES OF DISCS

13.11A124 1401 11/1/01
CONVENTIONAL CD DISC
SUPER AUDIO CD SINGLE LAYER DISC
SUPER AUDIO CD DUAL LAYER DISC
SUPER AUDIO CD HYBRID DISC
SUPER AUDIO CD PLAYER
CONVENTIONAL CD PLAYER
FIGURE 13-12 - DISC COMPATIBILITY
13.12A124 1402
11/2/01
55
13. Super Audio Cd Watermark Technology

In order to fully protect copyrighted property, Super Audio CD utilizes Pit Signal Processing technology (PSP) to embed a Watermark, which consists of a controlled array of microscopic pits on the surface of the disc. PSP enables two types of Watermarks: an invisible Watermark, which can only be detected by the Super Audio CD player, and a visible Watermark (makers discretion), which is imprinted on the disc in the form of text or an image. If a counterfeit disc is inserted in the Super Audio CD player, the player detects the absence of the invisible Watermark and prevents playback. Both types of Watermarks are almost impossible to duplicate clearly, making it easy to distinguish between real and pirated discs, especially for the visible Watermark, which is possible to identify at a glance. This sophisticated system helps protect artistes and consumers against illegal copying.
One-Sided Reading
For all three types of discs, information reading is done from a single layer. For the dual and hybrid discs, the outside layer is semi-transparent, allowing the inner layer to be read through the outer layer (ref. Figure 13-13). Therefore, with Super Audio CD, there is never any need to turn the disc over. This also allows labeling and printing on the topside, just like with a conventional CD disc.
SECTION OF DISC CD CD LAYER: COMPLETELY

REFLECTIVE 0.6mm
HD
HD LAYER: REFLECTS 650nm

0.6mm WAVELENGTH & IS PENETRATED BY 780nm LASER
HD PICKUP WAVELENGTH: 650nm APERTURE: 0.6 FOCUSED ONLY ON THE HD LAYER
LASER LIGHT CD PICKUP WAVELENGTH: 780nm APERTURE: 0.45 FOCUSED ONLY ON THE CD LAYER
13.13A124 1403 11/1/01
FIGURE 13-13 - SIGNAL READING FOR HYBRID DISC
56
APPENDIX
Chapter Title
Appendix: Individual IC Functional Description

This section gives a brief functional description of each major IC on the Digital board.
IC1201 System Control

IC1201 is the central control microprocessor for the receiver. Its main functions are Switching control for Digital Input switch IC1005 (pins 107 and 108) and Analog signal switchs IC301, IC303 and IC1502 (pins 46, 47 and 48 for all three ICs), Reset for all ICs on the digital board, Serial control for the Digital Audio I/F receiver, Digital Audio decoder, Codec, and Parallel control of Audio DSP. IC1201 also generates a user controlled System Mute, which is activated by pressing the mute button on the front panel.
IC1101 Digital Audio I/F Receiver (DIR)

The DIR receives the Sony/Phillips digital interface protocol (S/P DIF) signal, which contains the necessary Overhead and Surround Sound protocol Data. The DIR separates the Surround Sound protocol Data (e.g. AC3, and DTS) from the S/P DIF signal and outputs it to the Digital Audio Decoder for further processing. The DIR also produces the following clock signals: Master Clock(CK OUT, or MCLK), Bit Clock(BCK) and Left and Right Channel Clock(LRCK), which are used by IC1301, IC1401 and IC1503 for processing the data. IC1101 will generate and System Mute the same as IC1201 if an error occurs.
IC1301 Digital Audio Decoder (DAD)

The DAD takes the Surround Sound protocol data (AC-3, or DTS on input SDIA0, pin84) from the DIR and decodes it into Front L/R, Center/Subwoofer and Rear L/R channels. The output pins are as follows: DATA0 (pin24) is Front L/R, DATA1(pin23) is Center/Subwoofer, and DATA2(pin22) is Rear L/R. The Analog Stereo inputs are first digitized by the CODEC and then inputted to the DAD at SDIA1 pin85. Because this is a 2 channel signal, only DATA0 (pin24, Front L/R) will be active. DATA1 and DATA2 will be inactive.
IC1401 Audio DSP

The Front L/R, Center/Subwoofer and Rear L/R data from the DAD is inputted to the DSP on pins 117(SIA), 118(SIB) and 119(SIC) respectfully. The DSP performs the necessary processing to produce the chosen sound field. The desired sound field is chosen via the front panel controls. The front panel settings are stored in the Display Mode control (IC102). IC1201 and IC201 exchange this initial setting data when the receiver is turned ON via the power button on the front panel. The DSP uses the SRAM (IC1402) for temporary storage while the data is being processed for reverberation effects.
IC1503 Audio CODEC

The CODEC performs all the digital to analog, and analog to digital conversions, and separates the combined Front L/R, Rear L/R and Center/Subwoofer signals into their individual components (FL, FR, RL, RR, C and W), which will then be applied to the respective speakers amplifier circuits. The stereo analog signal input is also applied to the CODEC to be A/D converted. It is then sent to the DAD to be converted to the Front L/R signal.
IC1403 SRAM (Static RAM)

The DSP employs SRAM for temporary storage for data being processed for the sound field reverberation affects, e.g. Cinema Studio (reverberation). All other sound field effects, e.g. 3D, are performed by IC1401 internal 16M DRAM.
S is a trademark of Sony Electronics
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2001 Sony Electronics Inc. EMCS - A Service Company 1 Sony Drive Park Ridge, New Jersey 07656 Reproduction in whiole or part without written permission is prhibited. All rights reserved
01/21/02

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Multi-Product Hi-Fi Technology and Troubleshooting

Switching Power Supply

2. Sound Fields .................................... 2

12. Troubleshooting Audio Protection Circuits ............................. 43

3. Digital Board Inputs ....................... 10

13. Super Audio CD ............................ 46

4. Control Signal Block ...................... 14

5. Analog signal Block ....................... 19

Appendix: Individual IC Functional Description ....................... i

Sound Field Types

FIGURE 2-1 - Soundwave Reflection Diagram

2 Channel (press 2CH button)

Dire ct S oun dwa ve

La te S Re oun flec dwa tion ve

FIGURE 2-4 - Rear Speakers Middle

FIGURE 2-5 - Rear Speakers Behind

FIGURE 2-3 - Rear Speakers Side

FIGURE 2-6 - Rear Speakers Side

FIGURE 2-7 - Rear Speakers Middle

FIGURE 2-8 - Rear Speakers Behind

Semi Cinema Studio

FIGURE 2-12 - Listener, Actual and Virtual Speaker Setup

Active Speaker Chart

LS RS W ith a d d itio n a l virtu a l speaker L C R LFE L

A ll o th e r s p e a k e rs v irtu a l L LS C R RS C R RS C R RS C R RS W ith a d d itio n a l virtu a l s p e a k e rs LF E LFE LFE LFE

A ll o th e r s p e a k e rs virtu a l L C S L C S L C S L C S R (re ve rb ) R (re ve rb ) R (re ve rb ) R

W ith a d d itio n a l virtu a l s p e a k e rs V. Sem i - M D im e n s io n L C R LFE L C R L C R L C R

T h is ta b le s h o w s w h ic h s p e a k e rs a re a c tive d u rin g a p a rtic u la r s o u n d a n d s o ftw a re fo rm a t in p u t.

3. Digital Board Inputs

Digital Board Inputs

5.1 Channel Input

3. Digital Board Inputs

OPTICAL MD/DAT MD/DAT IN OUT

COAX TV/ SAT IN DVD/LD IN DIGITAL DVD/LD IN

STRDE845 (REAR VIEW)

R IN IN OUT IN OUT IN A IN A IN AUDIO OUT A IN AUDIO OUT IN 2ND AUDIO OUT

FIGURE 3-1 - STR-DE845 ANALOG & DIDITAL INPUTS

3. Digital Board Inputs

Software Formats Illustrated

Dolby Surround ProLogic Decoder

DOLBY SURROUND PROLOGIC

Dolby Digital (AC-3), and DTS

5.1 Channel Signals

Dolby Digital or DTS Encoder

From a live performance or recording

DOLBY DIGITAL & DTS

3. Digital Board Inputs

5.1 Channel format compatibility

Dolby Digital or DTS 5.1 Channel Data Stream

Dolby Prologic Decoder

Four Channel Dolby Surround signals

FIGURE 3-4 - 5.1 Channel Downmixing

New Development in Digital Surround Technology

FIGURE 3-5 Dolby Digital; EX (6.1)

4. Control Signal Block

Control Signal Block

L TO IC304/ PINS 3 & 5

DIGITAL INPUTS FROM IC1001 OPTICAL IC1002 IC1003 COAXIAL J1001

IC1005 DIGITAL INPUT SELECT

IC303 ANALOG INPUT SELECT

R 2 CH. MODE FROM IC304

B ANALOG INPUTS REAR PANEL JACKS R1006