雅马哈RXV465功放中文说明书.pdf

雅马哈rxv367功放中文说明书雅马哈rxv367功放是一款高质量的音频设备，具有出色的音质和强大的功率输出。

本说明书将详细介绍该功放的特点、功能和使用方法，帮助用户正确使用和调试设备，以获得最佳的音频体验。

一、产品特点1. 高保真音质：雅马哈rxv367功放采用先进的数字音频处理技术，能够还原原始音频信号，提供清晰、细腻、真实的音质效果。

2. 强大的功率输出：该功放具有高达120瓦特的功率输出，能够满足不同音乐场景的需求，让音乐更加震撼人心。

3. 多种音频输入接口：支持多种音频输入接口，包括HDMI、光纤、同轴、RCA等，方便用户连接不同的音频源设备。

4. 多种音频输出接口：提供多种音频输出接口，包括HDMI、扬声器、耳机等，可灵活应对不同的音频输出需求。

5. 多功能遥控器：配备一款多功能遥控器，用户可以方便地控制功放的各项功能，包括音量调节、音频源切换等。

6. 易于操作：功放采用直观的操作界面和简单的按钮布局，即使对音频设备不熟悉的用户也能轻松上手。

二、功能介绍1. 音频调节：雅马哈rxv367功放内置了多种音频调节功能，包括音量调节、音调调节、均衡器等，用户可以根据个人喜好进行调整，达到更好的音频效果。

2. 音频模式选择：该功放提供多种音频模式选择，包括立体声、环绕声、剧院模式等，用户可以根据不同的音乐类型和场景选择适合的模式，获得更加沉浸式的音频体验。

3. 多通道输出：功放支持多通道输出，用户可以连接多个扬声器，实现立体声、环绕声等多声道的播放效果，营造出更加逼真的音乐环境。

4. 音频延迟调节：功放提供音频延迟调节功能，用户可以根据实际情况调整音频延迟，避免画面与声音不同步的问题。

5. 自动校准：该功放配备自动校准功能，能够根据环境和扬声器的特性进行智能调整，提供更加适合当前环境的音频效果。

三、使用方法1. 连接音频源设备：首先，将音频源设备（如电视、DVD播放器等）通过HDMI、光纤、同轴或RCA等接口连接到功放的输入端口。

目录 连接- 连接扬声器 播放 设置 故障排除附录 补充信息A V RECEIVER使用手册DRX-3.2≫≫≫≫≫≫≫≫包装箱中的物品 5零件名称 6前面板 6显示屏 8后面板 9遥控器 11连接连接扬声器 13扬声器安装 14扬声器连接“Speaker Setup”设置 32扬声器组合 45连接电视 46连接 ARC 电视 47连接非 ARC 电视 48连接播放设备 49连接装有 HDMI 接口的 AV 设备 49连接无 HDMI 接口的 AV 设备 50连接音频组件 51连接视频摄像机等 52连接单独房间中的 AV 设备（多区域连接） 53连接电视 (ZONE 2) 53连接前置主放大器 (ZONE 2) 54连接天线 55网络连接 56连接外部控制设备 57 IR IN/OUT 端口 57 12V TRIGGER OUT 接口 58连接电源线 59播放AV 设备播放 61基本操作 61 BLUETOOTH®播放 62基本操作 62网络电台 63播放 63 AirPlay® 65基本操作 65 DTS Play-Fi® 66播放 66 FlareConnect TM 67播放 67 USB 存储设备 68基本操作 68设备和支持的格式 70播放 PC 和 NAS（Music Server）上的文件 71 Windows Media® Player 设置 71播放 72支持的音频格式 74 Play Queue 75初始设置 75添加 Play Queue 信息 75排序和删除 76播放 76收听 AM/FM 电台 77调谐至一个无线电台 77预设无线电台 79使用 RDS（澳大利亚及亚洲产品类型） 81多区域功能 82切换遥控模式 (Zone 2) 83切换遥控模式 (Zone 3) 84播放 85便利功能 87调整音调 87聆听模式 88选择聆听模式 88聆听模式效果 90可选聆听模式 93设置Setup 菜单 102菜单列表 102菜单操作 1041. Input/Output Assign 1052. Speaker 1093. Audio Adjust 1134. Source 1145. Listening Mode Preset 1156. Hardware 1167. Multi Zone 1298. Miscellaneous 130 Quick Menu 131菜单操作 131 Web Setup 133菜单操作 133 Firmware Update 134本机中的更新功能 134通过网络更新固件 135通过 USB 更新 137使用自动启动向导进行 Initial Setup 139操作 139故障排除当本机错误运行 143故障排除 144附录关于 HDMI 152一般规格 1541. 主机 (1) Array2. 遥控器 (RC-912R) (1)3. 扬声器设置麦克风 (1)• 在 Initial Setup 过程中使用。

雅马哈AV功放的EQ设置今天在看别的论坛发现有人发布了雅马哈AV功放的EQ设置，很多人都说用了以后有明显提升。

现在把他的内容复制到这里，希望给雅马哈功放的兄弟试试。

作者原来用的是雅马哈AX-1，后来转入3800后发现音效不如以前，所以通过与雅马哈代理的多次沟通，有了现在这个EQ调整参数。

参数仅供大家参考，如果用完后觉得改变不明显甚至没有改变，大家多多包涵，因为我也刚看完还没有回家试。

千万不要乱喷。

原作者功放为3800，音箱为杰士R35，大家可以根据自己的音箱对他的数据进行微调，希望大家多多发扬折腾精神。

前置freq.62.5hz一段为低频输出，由于我的前置为座地双8吋低音单元喇叭，所以在数值上调至+5db来增加张力，假如你的喇叭为书架喇叭可调教至+2db或+3db试试freq.157.5hz 可轻微+0.5dbfreq.396.9hz 亦轻微+0.5dbFreq.1.00khz 一段为中音区可将该段增至+4.5dbFreq.2.52khz 可轻微+0.5dbFreq. 6.35khz 一段不用加freq. 16.0khz 一段为高频区，不妨加至+6.0db增加高音细致度我前段时间在这里看了个帖子，很多老烧都说功放的EQ不用动，大家一试又何妨？如果不喜欢，再默认回来就OK了跟着到中置中置为家庭影院之命脉, 就算再科幻的影片都不乏人声对白,而文戏就更加不用多说. 所以在调教中置时‚会集中在人声的范围~ 中高音~中置数据由于freq.62.5hz一段为低频输出，而人声基本上没有到达这个音域，所以在数值保持为0db freq.157.5hz 仍然是0 dbfreq.396.9hz 一段最接近男性声音，故将该段加至+3.0db，(这段调教最为重要, 可因应中置喇叭的特性加或减近至男性喉底声)Freq.1.00khz 一段为中音区，可将该段略增至+1.5dbFreq.2.52khz +1.5dbFreq. 6.35khz 一段最易令人声失真，最好不要加或减，所以不动维持在0.0 db最后freq. 16.0khz 一段高频区，可将其加至+6.0db以接近女性的高音音域，环绕由于大多数负责环绕效果声音, 而一般环绕的单元亦很小,故未能提供全频输出. 所以在调教后置喇叭时‚将大多数的低音交给超低音负责.环绕数据freq.62.5hz 0dbfreq.157.5hz +0.5dbfreq.396.9hz +1.5dbFreq.1.00khz +2.5dbFreq.2.52khz +3.0dbFreq. 6.35khz +2.0dbfreq. 16.0khz +6.0db效果音箱（Presence speaker，如果有）的设置可以参照中置的设置即可炮的EQ根据不同炮有不同，因为炮的素质相差确实太远了，所以不详细说了，拿个中端偏下的举例吧freq.62.5hz +4dbfreq.157.5hz +2.5db如果炮好的话，可以适当减少增加的电平暂时到这里，如果还有发现，将在下面的楼层更新---------------------------------------------------------------------------------------------------------------我早就开始调了，基本上就是这个思路，但是不建议加的太多，适当的调整后声音大不一样，即使是电影录音后期的音效恐怕都是做过的的吧，刻舟求剑，是否太武断了？---------------------------------------------------------------------------------------------------------------用YMH的自动EQ效果很一般，软绵绵的按1楼给的EQ调效果又太爆啦，还要慢慢调啊---------------------------------------------------------------------------------------------------------------根据这个帖子调试后，果然很爽，可以说让我的2067脱胎换骨我用yamaha2067调节了一下，感觉还是好了些。

Owner’s ManualTABLE OF CONTENTSIntroduction (3)The Front Panel (4)The Rear Panel (5)Important Information About Tubes and Tube Products (6)A Brief History of Tubes (6)Tube Types and Usage (6)The Nature of Tubes: Why (and When) to Replace Them (7)The Importance of Proper Biasing (8)Survival Tips for Tube Amplifiers (9)System Block Diagram (10)Service Information (11)Technical Specifications (12)2IntroductionCongratulations! You are now the proud owner of a Crate V5 tube guitar amplifier. This combo amplifier packs a whole lot of vintage tube sound into its compact cabinet, providing you with an amp that is portable and easy to operate, yet still produces incredible sounds!The V-Series amps offer the versatility required for many different musical styles, and have the unique tonal purity of a hot-rodded tube amp. The V5 is a single-channel amplifier with a mas-ter volume control and a tone control. It cranks out 5 watts from a single EL84 output tube in a Class A single-ended configuration into one 10” internal speaker. It provides a wide range of clean to overdriven sounds, making it ideal for recording as well as a practice amp.Like all Crate products, your V5 amplifier is designed by musicians and built using only the best components. Each amplifier is tested to confirm that it meets our specifications, and we believe that this amplifier is the absolute best that it can be.In order to get the most out of your new amplifier, please read this manual before you begin playing.And thank you for choosing Crate.Here are some of the features packed into your new V5 Combo Amplifier:• EL84 power vacuum tube for smooth overdrive sound• 5 watts rms power output• 1 x 10" ceramic magnet speaker• Volume control• Tone control31. INPUT: Use this jack to connect yourguitar to the amplifier using a shieldedinstrument cable.2. VOLUME: Use this to adjust the gainand channel overdrive. With the controlturned counter-clockwise, the gain islow and very little distortion is present.As you rotate it clockwise, the gainincreases, producing more overdrivedistortion, and a higher output volumelevel.3. TONE: This adjusts the overall tone ofthe sound. Turning the control clockwiseincreases the higher frequencies for abrighter, crisper sound. Turning the con-trol counterclockwise reduces the higherfrequencies for a darker sound.4. LAMP: This illuminates when the ampli-fier is turned on.5. ON/OFF SWITCH: Use this switch toturn the amplifier on and off.46. AC LINE CO R D: The grounded powercord should only be plugged into agrounded power outlet that meetsall applicable electrical codes, and iscompatible with the voltage, power, andfrequency requirements stated on theV5 rear panel. Do not attempt to defeatthe safety ground connection.7.FUSE: This protects the unit fromdamage due to overload conditions orpower line surges. If the fuse blows,replace it only with the same size andtype as listed on the chassis.8. Voltage Select Switch: Set this switchto “115” for 120 VAC mains, and to“230” for 220-240 VAC mains.With the amplifier power cordunplugged, use the tip of a small flat-blade screwdriver to slide this switch tothe proper position.9. SPEAKE R8 OHMS: The V5 is shippedwith a cable connected from this jack tothe internal 10-inch 8-ohm speaker.5Important Information about Tubes and Tube Products:A Brief History Of The Tube:In 1883, Edison discovered that electrons would flow from a suspended filament when enclosed in an evacuated lamp. Years later, in 1905, Fleming expanded on Edison’s discovery and created the “Fleming Valve.” Then, in 1907, Dr. Lee de Forest added a third component– the grid – to the “Fleming Valve” and the vacuum tube was a fact of life. The door to elec-tronic amplification was now open.During World War II, data gleaned from their intensive research on the detectors used in radar systems, led Bell Telephone Laboratories to the invention of the transistor. This reliable little device gained quick support as the new component for amplification. The death of the vacuum tube seemed imminent as designers, scientists, and engineers reveled in the idea of replacing large, fragile glass tubes with these small, solid-state devices.However, there were (and still are) many serious listeners who realized that the sound pro-duced by a “transistor” amplifier is significantly different from that produced by a tube ampli-fier with identical design specifications. They considered the sound produced by these new solid-state devices to be hard, brittle, and lifeless. It was determined that solid-state devices produced a less musical set of harmonics than tubes. When pushed past their limits, they tend to mute the tone and emphasize the distortion.Tubes, on the other hand, produce a more musical set of harmonics, the intensity of which can be controlled by the player. This characteristic adds warmth and definition to the sound which has become the hallmark of tube amplifiers. When tubes are driven into clipping, the harmonic overtones can be both sweet and pleasing or intense and penetrating, depending on the musician’s musical taste and playing technique.Over the years, application engineers have designed a number of outstanding solid-state amplifiers that sound very, very good. Some use special circuitry which enables them to simu-late the distortion characteristics of a tube amplifier. However, the tube amplifier, still held in the highest esteem by many musicians, offers a classic “vintage” sound in a contemporary market.Tube Types And Usage:Tube amplifiers are based primarily on two types of tubes – preamplifier tubes and power tubes. The tubes used in preamplifiers (12AX7, 12AU7, 12AT7, etc.) are smaller than the power tubes. These tubes amplify the signal from your instrument and shape the sound. They are inherently microphonic (they can mechanically pick up and transmit external noises). Since these tubes are used in the critical first stages of a tube amplifier’s circuitry, it is very impor-tant to use high-quality, low noise/low microphonic tubes for this application. Although tubesof this quality may be difficult to find and typically cost more than “off-the-shelf” tubes, the improvement in performance is worth the investment.Preamplifier tubes are also used to drive the power tubes. When used in this application, a12AX7 will produce a more distorted tone than a 12AT7, which produces a clearer, sweeter sound. A 12AU7 is even cleaner and brighter than a 12AT7, giving more definition to the sound. (In some cases it is possible to change the sound by changing the type of preampand/or driver tubes. When making any modification to your equipment, it is highly recommend-ed that you consult with a qualified service center.)6The power tubes are the largest tubes used in an amplifier. These tubes convert the low-level, conditioned signal from the preamplifier into a level that is sufficient to drive the speakers. There are several types of power tubes available, each of which offers a different perfor-mance/sound characteristic. For example, the EL34 power tube produces a great classic rock sound. When an EL34 is driven into distortion, it produces a unique sound (“crunch”). When compared to the 6L6, the EL34 distorts more quickly, exhibits a “looser” low-end response and produces more harmonics at mid and high frequencies (“creamier” sound). These differ-ences become more noticeable at higher volumes.The EL84 is similar to the EL34 but produces less output power. It can be easily driven into distortion and is characterized by a smooth, sweet tone with excellent touch sensitivity.6L6 tubes produce a big low-end thump and have a very good dynamic range. They offer a more traditional “American Rock” sound. The 6V6 tubes produce a creamy sound with nice distortion. On the other hand, the KT88 produces a big low-end but sounds more like an EL34 in the mid and high frequencies.6550 power tubes are more rugged and stay cleaner-sounding even at full power. When they do distort, the sound produced is more solid and has a tighter low end; more of a “heavy metal” type distortion with lots of power.Some tubes are available in matched sets. These tubes have been extensively tested for opti-mum performance and longevity.The Nature Of Tubes — Why (And When) To Replace Them:Tubes are made up of a number of fragile mechanical components that are vacuum-sealed in a glass envelope or bubble. The tube’s longevity is based on a number of factors which include how hard and often the amplifier is played, vibration from the speakers, road travel, repeated set up and tear down, etc.Any time you notice a change in your amplifier’s performance, check the tubes first.If it’s been a while since the tubes were replaced and the sound from your amplifier lacks punch, fades in and out, loses highs or lows or produces unusual sounds, the power tubes probably need to be replaced. If your amplifier squeals, makes noise, loses gain, starts to hum, lacks “sensitivity”, or feels as if it is working against you, the preamplifier tubes may need to be replaced.The power tubes are subjected to considerably more stress than the preamplifier tubes. Consequently, they almost always fail/degrade first. If deteriorating power tubes aren’t replaced they will ultimately fail. Depending on the failure mode, they may even cause severe damage to the audio output transformer and/or other components in the amplifier. Replacing the tubes before they fail completely has the potential to save you time, money and unwanted trouble. Since power tubes work together in an amplifier, it is crucial that they (if there is more than one) be replaced by a matched set. If you’re on the road a lot, we recommend that you carry a spare matched set of replacement power tubes and their associated driver tubes. After turning off the power and disconnecting the amplifier from the power source, carefully check the tubes (in bright light) for cracks or white spots inside the glass or any other appar-ent damage. Then, with the power on, view the tubes in a dark room. Look for preamplifier tubes that do not glow at all or power tubes that glow excessively red.7Whenever you replace the power tube(s):• Always have the amplifier’s bias voltage checked by a qualified service center. Improper bias voltage will cause degradation in performance and possibly damage the tubes and/or the amplifier. (See “The Importance of Proper Biasing”, below for more information).• We highly recommend that you replace the driver tube(s) as well. The driver tube deter-mines the shape and amplitude of the signal applied to the power tube(s) and has to work almost as hard as the power tube(s).You can check your preamplifier tubes for microphonics by turning the amplifier on, turning up the gain and tapping lightly on each tube with the end of a pencil or a chop stick (my favorite). You will be able to hear the tapping through your speakers, which is normal. It is not normal for a tube to ring like a bell after it’s tapped. If it does ring then it’s microphonic and should be replaced. Remember to use only high quality, low microphonic tubes in the preamplifier section.Even though power tubes are rarely microphonic, you should check them anyway. The power tubes can be checked for microphonics just like pre-amp tubes.In the case of very high gain amps, you may be able to reduce the amount of noise generated by simply swapping the preamp tubes around.The Importance Of Proper Biasing:For the best performance and longest tube life, proper biasing is imperative. Bias is the nega-tive voltage which is applied to the power tube’s control grid to set the level of idle current. We cannot over emphasize the difference in warmth of tone and dynamic response that come with proper biasing. If the bias is set too high (over biased), the sound from the amp will be distorted at all levels. If the bias is set too low, (under biased) the power tubes will run hot (the plates inside the tubes may glow red due to excessive heat) and the sound from the amplifier will lack power and punch. The excessive heat greatly reduces tube life – from a few days to as little as a few hours in extreme cases. Setting the bias on your amp is like setting the idle on your car. If it’s too high or hot it’s running away with you and if it’s too low or cold it will choke when you step on it.The bias is adjusted at the factory in accordance with the type of power tube(s) installed in your amplifier. It is important to point out that tubes of the same type and specification typi-cally exhibit different performance characteristics. Consequently, whenever power tubes are replaced, the bias voltage must be checked (unless the amplifier is equipped with “self-biasing”circuitry) and readjusted to accommodate the operating parameters of the replacement tubes. Depending on the model and amplifier type, there may be hum balance controls, trim pots, or bias adjustment controls on its rear panel. However, the bias adjustment should be performed only by qualified service personnel with the proper, calibrated test equipment.8Survival Tips For Tube Amplifiers:To prolong tube life, observe these tips and recommendations:• Match the impedance of your speaker cabinet(s) to your amplifier. Improper impedance matching will contribute to early tube degradation and may cause premature tube failure.• Make sure the speaker(s) are properly connected prior to turning on the amplifier.• After playing the amplifier, allow sufficient time for it to properly cool down prior to moving it. A properly cooled amplifier prolongs tube life due to the internal components being less susceptible to the damage caused by vibration.• Allow the amplifier to warm up to room temperature before turning it on. The heat gener-ated by the tube elements can crack a cold glass housing.• Replace the output tube(s) before the performance degrades or the tubes fail completely.Replace the tube(s) on a regular basis (at least once per year or as often as every 4 to 6 months if you play long and hard every day).• Always have the bias checked after replacing the output tubes (unless the amplifier is equipped with “selfbiasing circuitry”). This should be done ONL Y at a qualified servicecenter. Improper biasing could result in the tubes running too hot, which greatly reduces the life of the tubes – or too cold, which results in distorted sound regardless of level settings. Do not play the amplifier if it exhibits these symptoms – get the bias checked/ adjusted immediately to prevent tube failure and/or other damage.• If the locating notch on the base of a power tube breaks off, replace the tube. This signifi-cantly reduces the risk of damaging your amplifier by incorrectly inserting the tube.• Protect the amplifier from dust and moisture. If liquid gets into the amplifier proper, or if the amplifier is dropped or otherwise mechanically abused, have it checked out at an authorized service center before using it.• Proper maintenance and cleaning in combination with routine checkups by your authorized service center will insure the best performance and longest life from your amplifier. CAUTION: Tube replacement should be performed only by qualified service personnel who are familiar with the dangers of hazardous voltages that are typically present in tube circuitry.910System Block Diagram INPUT V1AV1B 8 OHM INTERNAL SPEAKER EL8411Declaration Of ConformityManufacturer: LOUD Technologies Inc.16220 Wood-Red Rd. NEWoodinville, WA 98072, USAProduct Name: Crate V5Product Type: Audio AmplifierComplies with Standards:LVD: 92/31/EEC, 93/68/EEC, & 73/23/EWGSafety: EN60065EMC: EN55013, EN55020, EN55022, EN55103, EN61000-3-2, & EN61000-3-3The official Declaration of Conformity for this product is kept on file at:LOUD Technologies Inc., 16220 Wood-Red Road NE, Woodinville, WA 98072 • Tel: 1-866-858-5832Service InformationIf you are having a problem with your V5, you can go to our website () and click on Support for service information, or call 1-800-898-3211 during business hours (7 am to 5 pm PST, Monday-Friday). If you are outside of the U.S., contact your local distribu-tor for technical support and service.The V5 is covered with a durable fabric-backed vinyl material. Wipe it clean with a lint-free cloth.Never spray cleaning agents onto the cabinet. Avoid abrasive cleansers which would damage the finish.Crate continually develops new products, as well as improves existing ones. For this reason, the specificationsand information in this manual are subject to change without notice.“Crate” is a registered trademark of LOUD Technologies Inc. All other brand names mentioned are trademarks orregistered trademarks of their respective holders and are hereby acknowledged.12V5 TECHNICAL SPECIFICATIONSOutput Power Rating5 W rms @ 5% THD, 8 ohm load, 120 VAC Input Impedance700 kohms Signal-to-Noise Ratio42 dB, Typical Gain58 dB, all controls @ 10Tone±30 dB @ 10 kHz Speaker Specs1 x 10", 5 W, 8 ohm, ceramic magnet Preamp Tubes(1) 12AX7A Power Tubes(1) EL84Power Requirements90-132 VAC, 60 Hz, 30 watts220-240 VAC, 50 Hz, 30 watts Size (H x W x D)13.75 in/34.9 cm x 14.25 in/36.2 cm x8.11 in/20.6 cm Weight 19.2 lb/8.7 kgPart No. 0024538 Rev. A 07/07。

功放机按键说明书篇一：音响操作说明音响操作说明针对于本系统，具体操作如下： 1. 话筒及音乐输入连接：调音台可以接入有线话筒、无线话筒、DVD、电脑音频等；有可种可以接入的插口，方便进行连接（如下图所示）。

第1路到第8路一般接入话筒，第13到16路为DVD等音乐信号输入；第9路到第12路比较特殊，即可以接入话筒，也可以接入DVD等音乐信号（已经标明L、R声道），只是接口不一样而已。

注：1、如果上面的卡侬口已经接入设备，就不要再用下面的单插插口，也就是说，这一路里面只可以接入一路音源；下面的INSERT插口，本系统用不到。

2、如果要接入普通的会议话筒，可能需要48V供电，那么本调音台具备此功能，只需要把调音台的48V供电开关打开即可，如下图所示；2. 开启系统：先打开第一台电源时序器，电源时序器会依次给所接设备供电；等第一台电源时序器的8路电源依次打开完毕，再打开第二台电源时序器，同样，等8路电源全部打开方可进行其他操作。

注：专业音响设备具有开关顺序，开启时顺序为：音源设备（如DVD、话筒接收机等）、周边设备（如调音台、均衡器、效果器等）、功放。

否则的话，可能会产生“嘭”的声响，以至于损坏设备。

3. 播放音频、视频：首先把调音台右下角总音量的推子调整到合适的位置（如图一所示），高度最好不要超过0刻度；然后打开DVD 机，把光盘放入，让DVD处于读碟播放状态；找到调音台对应DVD接入的那一路，把方块透明的开关按钮按下，使其处于点亮状态，再按下下方的红色ST按钮；然后轻轻从下方往上推长方形的音量推子，直到音量足够为止（如图二所示）。

高中低音调整：正常情况下，无需调整音乐音频，因为DVD或电脑放出来的都是原始音频，如果想调整音乐的高中低音，可以通过调音台自带的简单均衡器进行调整（如图三所示），上面的为高音旋钮，中间的为中高频旋钮，下面的为低音旋钮。

音视频矩阵切换：如把第1路音频、视频切换到第2路输出，那么操作方法是：按AV键然后从右侧上边的一排（输入键）按下1键，然后再从下面一排（输出键）按下2键，最后再按下ENTER 键即可。

Zh12Zh将功率放大器和低音炮（配有内置放大器）连接到本机，并将音箱连接到功率放大器。

1将本机的 PRE OUT 插孔连接到所有 11 个声道的功率放大器的主输入插孔（a 或 b ）。

进行非平衡连接时 (a )，请使用音频针口缆线（RCA 非平衡缆线）将本机的 PRE OUT (RCA) 插孔连接到放大器的主输入 (RCA) 插孔。

进行平衡连接时 (b )，请使用 XLR 平衡缆线将本机的 PRE OUT (XLR) 插孔连接到放大器的主输入 (XLR) 插孔。

2使用音频针口缆线将低音炮（配有内置放大器）连接到本机的 SUBWOOFER PRE OUT 1–2 插孔。

3将每个音箱连接到功率放大器上对应的音箱端子。

有关音箱连接的详情，请参见功率放大器和音箱的使用说明书。

•根据您的功率放大器，可能需要更改其设置，以便从本机接收的音频从连接到放大器的音箱发出。

•您可以将 2 个低音炮连接到本机，然后将它们分别置于房间的右/左两侧（或前/后两侧）。

在使用 2 个低音炮的情况下，将电源线插入交流墙壁电源插座后，请配置“低音炮配置”。

有关详情，请参见《使用说明书》。

•如果您具有支持触发器功能的 Y amaha 功率放大器（如 MX-A5000），则可通过系统连接在操作（如打开/关闭）本机的同时控制此功率放大器。

有关详情，请参见《使用说明书》。

2连接功率放大器、音箱和低音炮SUBWOOFERZh33连接外部装置（1将外部装置连接至本机。

a 使用 HDMI 缆线将 BD/DVD 播放机连接至本机。

如果 BD/DVD 播放机当前通过 HDMI 缆线直接连接到电视，则应将此缆线从电视断开，然后将其连接到本机。

b 使用其他 HDMI 缆线将电视连接至本机。

c 用数字光纤缆线或立体声针口缆线将电视连接至本机。

在本机上播放电视视频时需要此连接。

如果电视支持 ARC (Audio Return Channel)，则不需要此连接。

一般技术规格模数/数模转换 20Hz-20kHz(全部旁路)动态范围 80dB(典型)全谐波失真小于%（1kHz，最大电平）模数/数模转换模数转换 16比特数模转换 16比特采样频率储存程序 99效果程序立体声混响、混响、混响加门、延迟、延迟+混响，混响-镶边，合唱+混响，交响乐+混响输入连接口PHONE JACK×2正常电平 -20dB(输入电平标称)阻抗20kΩ（单声道：10kΩ）输出连接口PHONE JACK×2正常电平 -20dB(输入电平正常)阻抗2kΩ（单声道：1kΩ）显示七段LED发光二极管×2（显示程序号）前面板控制部分输入电平，混音平衡，延迟衰减，电平前面板键部分▲，▼，MIDI，储存LED发光二极管显示器峰值，左右，延迟，衰减，电平（可编辑目录）MIDI输入 5-Pin DIN电源直流12V输入尺寸（宽×高×厚）480×232×（″×″×″）重量电源适配器美国加拿大： PA-1BU(120V AC)一般： PA-1BU(220V/240V AC)英国： PA-1(240V AC)详细使用说明：一、正确安装和连接YAMAHA--- REV100。

如使用单声道可只接左声道。

INPUT LEVEL：输入电平旋钮，调节此旋钮使峰值指示灯在正常工作时偶尔闪亮。

一直闪亮表示信号过强，声音会削波，过弱又会发生音质下降，因此调节适当的电平输入是使用好效果器的第一步，也是很重要的一步。

MIX BALANCE：效果混合旋钮，用来调节效果声和原声之间的比例。

PROGRAM：用来选择不同的程序，编辑程序存储。

二、改变效果程序：YAMAHA—REV100共有99种效果程序，用上下光标键选择。

混响程序名类型说明01 Vocal rev1 人声适用于人声混响02 Vocal rev2 大厅 3号程序的前期延长，混响时间短03 Vocal rev3 人声04 Room ambience1 盘子 04-08这些效果适用于鼓和打击乐音色，可作用于整个鼓组或某个鼓音色05 Room ambience2盘子06 Room ambience3盘子07 Wood booth1 人声08 Wood booth2 人声09 Acoustic piano plate 用于钢琴的混响10 Club piano 大厅用于钢琴的混响11 Booming kick1大厅用于底鼓的混响，强调低频12 Booming kick2 房间用于底鼓的混响，强调低频13 Loud snare房间用于军鼓的混响14 Acoustec steel guitar1 盘子钢弦原声吉它的混响15 Acoustec steel guitar2 盘子钢弦原声吉它的混响16 String plate 盘子弦乐的混响17 Acoustec gut guitar1 人声尼龙弦原声吉它混响18 Acoustec gut guitar2 人声尼龙弦原声吉它混响19 Btass room1 房间铜管乐器的混响20 Btass room 房间铜管乐器的混响立体声混响程序名类型说明21 Large hall1 大厅 Stage比hall的混响更明亮22 Large hall2 大厅 Stage比hall的混响更明亮23 Stage1 大厅 Stage比hall的混响更明亮24 Stage2 大厅 Stage比hall的混响更明亮25 Chamger1 人声模拟大房间，高顶的混响26 Chamger2 大厅模拟大房间，高顶的混响27 Church1 房间模拟大房间，高顶的混响28 Church2 大厅模拟大房间，高顶的混响29 Old gunnel 大厅模拟长通道中的混响，old暗、new明亮30 New tunnel 人声31 Large room1 房间房间混响，32比31低频更多32 Large room2 房间33 Slide reverb 房间混响的声像在右34 Huge room1 房间比房间混响更有力的混响35 Huge room2 房间比房间混响更有力的混响36 Bathroom 盘子短立体声的混响37 String ensemble 盘子用于弦乐的大混响38 Rude reverb1 人声粗混响39 Rude reverb2 人声粗混响40 Comcert grand piano 人声用于原钢琴的混响门混响程序名类型说明41 Small ambience1 大厅小房间反射混响，42比41的低频少42 Small ambience2 大厅43 Tight poom1 房间比上面两种效果更小的混响44 Tight poom 大厅比上面两种效果更小的混响45 Gate reverb1 盘子各种门混响46 Gate reverb2 人声各种门混响47 Gate reverb3 大厅各种门混响48 Gate reverb4 大厅各种门混响49 Stone room 房间石头房间混响50 Big curve 人声最长的门混响延迟程序名说明51 Analog delay1 软延迟52 Ping pong delay 声像左右变化的延迟53 Eighth note triplet 像8分三连音符的延迟54 Karaoke 用于卡拉OK的回声效果55 Short delay doubler 一次短的延迟56 Stereo long delay 左右声道同长的立体声延迟57 Sgereo medium delay 左右声道不等长的立体声延迟58 Stereo long delay 左右声道同长的短延迟59 Mono long delay 单声道输出的重复延迟60 Mono short delay 单声道输出的重复延迟延迟/混响程序名类型说明61 Electric piano 延迟+大厅常用于钢琴62 String pad 延迟大厅常用于背景音乐63 Synth 延迟人声用于弦乐背景64 Vocal1 64、65是用短延迟的长混响，适用于人声65 Vocal2 延迟大厅 64、65是用短延迟的长混响，适用于人声66 Vocal3 延迟房间 66是强调延迟的短混响67 Btinght vocal 延迟盘子有小延迟的亮混响68 Chorus 延迟+盘子一半混响，一半延迟69 Drum kit1 延迟+ 房间用于鼓和打击乐的混响70 Drum kit2 延迟盘子用于鼓和打击乐的混响混响/调制程序名类型说明71 Soft flange1 大厅+飘忽此效果结合了混响和小音高变化的飘忽，常用于合成音色背景音乐72 Soft flange2 大厅+飘忽此效果结合了混响和小音高变化的飘忽，常用于合成音色背景音乐73 Amgience flange1 房间飘忽短混响加飘忽74 Amgience flange2 房间飘忽短混响加飘忽75 Soft reverb flange 房间飘忽短混响加音高变化更大的飘忽76 Organ cabinet1 盘子飘忽用于风琴的飘忽效果77 Organ cabinet2 房间交响用于风琴的飘忽效果78 Symphonic reverb1 大厅+交响以混响为主的精致效果79 Symphonic reverb2 人声+交响以混响为主的精致效果80 Flange room1 房间+飘忽为鼓和打击乐加特效81 Flange room2 房间+飘忽为鼓和打击乐加特效82 Rolling flange1 盘子+飘忽为鼓和打击乐加特效83 Rolling flange2盘子+飘忽为鼓和打击乐加特效84 Big flange 人声飘忽喷气机效果85 Chorus rererb1 大厅+合唱 85，86是普通的混响+合唱，用途很广如用于钢琴86 Chorus reverb2 盘子+合唱87 Chorus reverb3 大厅+和唱88 Chorus reverb4 人声+合唱89 Tremolo reverb1 大厅+震音震音+混响的各种变化效果90 Tremolo reverb2 大厅震音震音+混响的各种变化效果91 Tremolo reverb3 盘子+震音震音+混响的各种变化效果92 Tremolo reverb4 人声+震音震音+混响的各种变化效果93 Tremolo reverb5 人声+震音震音+混响的各种变化效果94 Tremolo reverb6 大厅+震音震音+混响的各种变化效果95 Tremolo reverb7 大厅+震音震音+混响的各种变化效果96 Ambient slow pan1大厅+震音左右声像变化和短混响97 Ambient slow pan2 房间+震音左右声像变化和短混响98 Sequence pan1房间+震音根据乐曲速度而定的声像变化效果99 Sequence pan2房间+震音根据乐曲速度而定的声像变化效果编辑模式（Edit Mode）REV100的每个效果都具有多个参数，3个主要参数可通过面板上的旋钮控制。