ROTEL RSX-1057 (01) PDF MANUAL


Post questions, comments, reviews or errors in the comment box below.

Your File is Ready … Download PDF

CLICK HERE TO DOWNLOAD ROTEL RSX-1057 (01) PDF MANUAL


PDF Content Summary: SURROUND SOUND RECEIVER RSX�1057 STANDBY VIDEO1 VIDEO2 VIDEO3 VIDEO4 VIDEO5 6 7 8 9 0 DIRECT MONO MEMORY VOLUME 1 2 3 4 5 TUNING BAND Owner’s manual RSX-1057 Surround Sound Receiver 2CH CD TUNER TAPE1 PLIIx MODE DTS Neo 6 DSP MULTI INPUT MUTE REC ZONE > 10 cm > 4 in > 10 cm > 4 in SURROUND SOUND RECEIVER RSX-1057 STANDBY VIDEO1 VIDEO2 VIDEO3 VIDEO4 VIDEO5 6 7 8 9 0 DIRECT MONO MEMORY Rotel products are designed to comply with international directives on the Restriction of Hazardous Substances (RoHS) in electrical and electronic equipment and the disposal of Waste Electrical and Electronic Equipment (WEEE). The crossed wheelie bin symbol indicates compliance and that the products must be appropriately recycled or processed in accordance with these directives. This symbol means that this unit is double insulated. An earth or ground connection is not required. > 10 cm 1 2 3 4 5 TUNING BAND VOLUME CD TUNER TAPE1 > 4 in PLIIx DTS MULTI 2CH MODE Neo 6 DSP INPUT MUTE ZONE REC > 10 cm > 4 in

Notice The COMPUTER I/O connection should be handled by authorized person only. FCC Information This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protec- tion against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna.(TV, radio, etc.) • Increase the separation between the equipment and receiver • Connect the equipment to an outlet on circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for additional help. Caution This device complies with part 15 of the FCC Rules operation is subject to the following to condi- tions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE TO CATV SYSTEM INSTALLER: Call the CATV system or antenna installer’s attention to Article 820-40 of the NEC. This provides guidelines for proper grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of cable entry as practical. See installation diagram. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide rea- sonable protection against interference in a residential installation. This equipment generates and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause interference to radio or TV communications. There is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the unit and the television tuner. • Connect the unit to an AC power outlet on a different electrical circuit. • Consult your authorized Rotel retailer for assistance. Important Safety Instructions WARNING: There are no user serviceable parts inside. Refer all servicing to qualified service personnel. WARNING: To reduce the risk of fire or electric shock, do not expose the unit to mois- ture or water. Do not expose the unit to dripping or splashing. Do not place objects filled with liquids, such as vases, on the unit. Do not allow foreign objects to get into the enclosure. If the unit is exposed to moisture, or a foreign object gets into the enclosure, immediately discon- nect the power cord from the wall. Take the unit to a qualified service person for inspection and necessary repairs. Read all the instructions before connecting or operating the component. Keep this manual so you can refer to these safety instructions. Heed all warnings and safety information in these instructions and on the product itself. Fol- low all operating instructions. Clean the enclosure only with a dry cloth or a vacuum cleaner. Do not use this unit near water. You must allow a minimum 10 cm or 4 inches of unobstructed clearance around the unit. Do not place the unit on a bed, sofa, rug, or similar surface that could block the ven- tilation openings. If the unit is placed in a bookcase or cabinet, there must be ventilation of the cabinet to allow proper cooling. Keep the component away from radiators, heat registers, stoves, or any other appliance that produces heat. The unit must be connected to a power supply only of the type and voltage specified on the rear panel. (USA: 120 V/60Hz, EC: 230V/50Hz) Connect the component to the power outlet only with the supplied power supply cable or an exact equivalent. Do not modify the supplied cable. A polarized plug has two blades, with one wider than the other. A grounding plug has two blades plus a third grounding prong. These are provided for your safety. Do not defeat grounding and/or polarization safety provisions. If the supplied plug does not fit your outlet, please consult an electrician for replacement of the ob- solete outlet. Do not use extension cords. The main plug of the power cordset is a disconnect device of the apparatus. In order to com- pletely disconnect the apparatus from the supply mains, the main plug of the power cordset should be unplugged from the mains (AC) outlet. The stand-by LED indicator will not be lit up to show the power cord is unplugged. Do not route the power cord where it will be crushed, pinched, bent, exposed to heat, or dam- aged in any way. Pay particular attention to the power cord at the plug and where the cord exits the back of the unit. The power cord should be unplugged from the wall outlet during a lightning storm or if the unit is to be left unused for a long period of time. Use only accessories specified by the manufacturer. Use only with a cart, stand, rack, bracket or shelf system recommended by Rotel. Use caution when moving the unit in a stand or rack to avoid injury from a tip-over. Use Class 2 wiring for speaker connections to ensure proper installation and minimize the risk of electrical shock. Immediately stop using the component and have it inspected and/or serviced by a qualified service agency if:

• The power supply cord or plug has been damaged. • Objects have fallen or liquid has been spilled into the unit. • The unit has been exposed to rain. • The unit shows signs of improper operation • The unit has been dropped or damaged in any way WARNING: The master power switch is located on the rear panel. The unit must be lo- cated in the open area allowing unobstructed access to the main power switch. 4 RSX-1057 Surround Sound Receiver 1: Controls and Connections 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 SPEAKERS FRONT/CB/ZONE 28 29 30 32 SURROUND SOUND RECEIVER RSX�1057 STANDBY VIDEO1 VIDEO2 VIDEO3 VIDEO4 VIDEO5 6 7 8 9 0 DIRECT MONO MEMORY VOLUME 1 2 3 4 5 TUNING BAND CD TUNER TAPE1 ������������������������������������������������������������������������������������������������������������������������������� �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. PLIIx MODE DTS Neo 6 DSP MULTI 2CH INPUT MUTE ZONE REC �������������� MONITOR OUT HDMI IN LEFT LEFT/1 �������� HDMI 1 �������������������� ������������������ DIGITAL OUT ANTENNA SURROUND POWER CD TAPE VIDEO IN ZONE OUT CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON OUT OUT MON OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 3534 36 38 31 33 3535 3537 3539 40 41 3542 3543 44 45 5 English 2: RR-1060 Remote POWER 1 2 3 4 5 6 7 8 9 MEM SMART +10 0 XC M S R AUD CD TUN TAPE EXT V1 V2 V3 V4 V5 POWER ON OFF 1 2 3 ON OFF 4 5 6 7 8 9 MEM SMART SMT MUTE +10 0 X SMT MUTE C M S R DIGEST TITLE P-SCAN OPEN SCAN PTY P-TUN TP TA POWER SETUP OPCH VOL BCH VOL QCRFRQ DIRECT GUIDE MENU FRQ DIRECT GUIDE MENU D STUNE PRESET CTR OSD ETUNE PRESET CTR OSD ENT FENT T FM MONO BAND SEARCH- SEARCH+ GHFM MONO BAND SEARCH- SEARCH+ SUB SUR I SUB SUR JCD DISC1 DISC2 DISC3 DISC4 DISC5 UKEQ DYN REC ZONE SUR+ VA DEVICE / INPUT LPROG RANDOM REPEAT DISC- DISC+ 2CH PL C PL M 5CH 7CH WDVD DISPLAY AUDIO ANGLE SBTITLE ZOOM XDISP TAPE2 PHONO TONE D-SLT YRESUME REPEAT A - B GOTO SLOW ZMINPUT 1 INPUT 2 INPUT 3 TV/VCR RECORD AAASPECT DISP PIP POP OUTPUT N RR-1060 Turn off the RSX-1057 and the entire system before making connections! 6 RSX-1057 Surround Sound Receiver 3: Connecting the Speakers SUBWOOFER INPUT ������������������������������������������������������������������������������������������������������������������������������� �������������� MONITOR OUT HDMI IN �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� SPEAKERS LEFT LEFT/1 �������� HDMI 1 �������������������� ������������������ DIGITAL OUT ANTENNA SURROUND FRONT/CB/ZONE POWER CD TAPE VIDEO IN ZONE OUT ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT ZONE EXT COMPUTER I/O RIGHT RIGHT/2 COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 7 English 4: Digital Video Connections DIGITAL AUDIO OUTPUTS HDTV DVI DVD DBS/HDTV/DVR RSX�1057 ������������������������������������������������������������������������������������������������������������������������������� SPEAKERS �������������� �������� MONITOR OUT HDMI DVD �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� LEFT LEFT/1 ANTENNA SURROUND FRONT/CB/ZONE POWER CENTER ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. HDMI IN 1 �������������������� ������������������ DIGITAL OUT CD TAPE VIDEO IN ZONE OUT HDTV COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 OPTICAL COAX DIGITAL AUDIO OUTPUTS OPTICAL COAX DVI 8 RSX-1057 Surround Sound Receiver 5: TV Analog Connections COMPONENT VIDEO S�VIDEO VIDEO INPUTS �������� 6: DVD Player Analog Connections S�VIDEO VIDEO OUTPUTS ������������������������������������������������������������������������������������������������������������������������������� �������������� MONITOR OUT HDMI IN �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� SPEAKERS LEFT LEFT/1 �������� �������������������� HDMI 1 2 FRONT L REAR L CB 1 CENTER ������������������ ��������� DIGITAL OUT OPTICAL FRONT R REAR R CB 2 SUB ANTENNA IR OUT 1 2 ZONE SURROUND FRONT/CB/ZONE POWER Class 2 Wiring CD TAPE VIDEO IN ZONE OUT ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. CENTER LR COMPOSITE IN COMPOSITE OUT ZONE MON 1 2 3 4 5 OUT OUT MON OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� ���� FRONT L REAR L CB 1 CENTER 1 SUB 1 DIGITAL INPUT COAXIAL COAXIAL OPTICAL 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 REM IN 12V TRIG OUT ZONE EXT COMPUTER I/O RIGHT RIGHT/2 COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 Y PB PR RIGHT LEFT COMPOSITE VIDEO AUDIO OUTPUTS ������������������������������������������������������������������������������������������������������������������������������� SPEAKERS �������������� �������� MONITOR OUT HDMI HDMI �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� LEFT LEFT/1 ANTENNA SURROUND FRONT/CB/ZONE POWER CENTER ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. IN 1 �������������������� ������������������ DIGITAL OUT CD TAPE VIDEO IN ZONE OUT COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 Y PB PR COMPONENT VIDEO IN RIGHT LEFT COMPOSITE VIDEO ANALOG DIGITAL AUDIO OUTPUTS 9 English 7: DVD-A or SACD Player Connections ������������������������������������������������������������������������������������������������������������������������������� �������������������������������������������������������������������������������������������������������������������������� SPEAKERS �������������� �������� MONITOR OUT HDMI ������������������������������������������������������������������������������������� LEFT/1 FRONT/CB/ZONE ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. MULTICHANNEL ANALOG OUTPUTS 8: Cable, Satellite, or HDTV Analog Connections S�VIDEO VIDEO OUTPUTS HDMI IN LEFT 1 �������������������� ������������������ DIGITAL OUT ANTENNA SURROUND POWER CD TAPE VIDEO IN ZONE OUT CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 FRONT R REAR R SUB CENTER REAR L FRONT L ������������������������������������������������������������������������������������������������������������������������������� SPEAKERS �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� FRONT/CB/ZONE ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. LEFT/1 �������������� �������� MONITOR OUT HDMI HDMI IN LEFT 1 �������������������� ������������������ DIGITAL OUT ANTENNA SURROUND POWER CD TAPE VIDEO IN ZONE OUT CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 Y PB PR RIGHT LEFT COMPOSITE VIDEO COMPONENT VIDEO IN ANALOG DIGITAL AUDIO OUTPUTS 10 RSX-1057 Surround Sound Receiver 9: VCR Analog Connections 10: CD Player/CDR Recorder Connections �������� ������������������������������������������������������������������������������������������������������������������������������� SPEAKERS �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� FRONT/CB/ZONE ������� ���������������������� ����������� Manufactured under license from Dolby Laboratories. �Dolby�, �Pro Logic�, �Surround EX�, and the double�D symbol are trademarks of Dolby Laboraties Licensing Corporation. RIGHT LEFT DIGITAL ANALOG AUDIO OUTPUTSLEFT/1 �������������� �������� MONITOR OUT HDMI HDMI IN LEFT 1 �������������������� ������������������ DIGITAL OUT ANTENNA SURROUND POWER CD TAPE VIDEO IN ZONE OUT CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT �������������������������������������������� ������������������ ������������������������������������������ �������������������������������������� REM IN 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S�VIDEO IN S�VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 LINE OUT REC IN LINE OUT REC IN RIGHT LEFT RIGHT LEFT COMPOSITE S�VIDEO LINE OUT REC IN VIDEO AUDIO Manufactured under license from Digital Theater Systems, Inc. US Pat. No. 5,451,942, 5,956674, 5,974,380, 5,978,762, and other SPEAKERS SURROUND SOUND MONITOR OUT HDMI IN world-wide patents issued and pending. "DTS", "DTS - EX Extended Surround", and "Neo:6" are trademarks of Digital Theater Systems, Inc. Copyright 1996, 2000 Digital Theater Systems, Inc. All rights reserved. LEFT LEFT/1 RECEIVER MODEL NO. : RSX-1057 HDMI 1 POWER CONSUMPTION: DIGITAL OUT ANTENNA SURROUND FRONT/CB/ZONE POWER CD TAPE VIDEO IN ZONE OUT CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN Manufactured under license from Dolby Laboratories. "Dolby", "Pro Logic", "Surround EX", and the double-D symbol are trademarks of Dolby Laboraties Licensing Corporation. CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 450 WATTS DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada. REM IN 12V TRIG OUT ZONE EXT COMPUTER I/O RIGHT RIGHT/2 COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S-VIDEO IN S-VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 11 English 11: Audio Recorder Connections AUDIO �������� ������������������������������������������������������������������������������������������������������������������������������� �������������� MONITOR OUT HDMI IN �������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������� SPEAKERS LEFT LEFT/1 �������� HDMI 1 �������������������� ������������������ 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 ��������� DIGITAL INPUT DIGITAL OUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB ANTENNA 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 REM IN IR OUT 12V TRIG OUT COMPUTER I/O RIGHT RIGHT/2 ZONE EXT 1 2 1 2 ZONE SURROUND FRONT/CB/ZONE POWER Class 2 Wiring Y PB COMPONENT PR VIDEO Y IN PB PR CD IN TAPE OUT 1 2 VIDEO 3 IN 4 5 1 VIDEO 2 OUT 3 ZONE OUT CENTER 1 3 L2MON OUT R COMPOSITE IN COMPOSITE OUT ZONE MON S�VIDEO IN S�VIDEO OUT MON 1 2 3 4 5 1 2 3 OUT OUT 1 2 3 4 5 1 2 3 OUT ������� ���������������������� ����������� Manufactured under license from Dolby �������������������������������������������� Laboratories. �Dolby�, �Pro Logic�, �Surround ������������������ EX�, and the double�D symbol are trademarks of ������������������������������������������ Dolby Laboraties Licensing Corporation. �������������������������������������� RIGHT LEFT RIGHT LEFT REC IN OUTLINE OUT REC IN DIGITAL 12: AM and FM Antennae Connections Manufactured under license from Digital Theater Systems, Inc. US Pat. No. 5,451,942, 5,956674, 5,974,380, 5,978,762, and other SPEAKERS SURROUND SOUND MONITOR OUT HDMI IN world-wide patents issued and pending. "DTS", "DTS - EX Extended Surround", and "Neo:6" are trademarks of Digital Theater Systems, Inc. Copyright 1996, 2000 Digital Theater Systems, Inc. All rights reserved. FRONT/CB/ZONE LEFT LEFT/1 RECEIVER MODEL NO. : RSX-1057 HDMI 1 POWER CONSUMPTION: DIGITAL OUT ANTENNA SURROUND POWER CD TAPE VIDEO IN ZONE OUT CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN Manufactured under license from Dolby Laboratories. "Dolby", "Pro Logic", "Surround EX", and the double-D symbol are trademarks of Dolby Laboraties Licensing Corporation. CENTER COMPOSITE IN 1 2 3 4 5 2 FRONT L REAR L CB 1 CENTER FRONT L REAR L CB 1 CENTER 1 SUB 1 450 WATTS DIGITAL INPUT OPTICAL COAXIAL COAXIAL OPTICAL FRONT R REAR R CB 2 SUB 1 2 1 2 3 FRONT R REAR R CB 2 CENTER 2 SUB 2 IR OUT 1 2 ZONE Class 2 Wiring LR COMPOSITE OUT ZONE MON MON OUT OUT OUT This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada. REM IN 12V TRIG OUT ZONE EXT COMPUTER I/O RIGHT RIGHT/2 COMPONENT VIDEO IN MON OUT 1 2 Y PB PR Y PB PR IN OUT 1 2 3 4 5 1 VIDEO 2 OUT 3 1 3 2S-VIDEO IN S-VIDEO OUT 1 2 3 1 2 3 4 5 1 2 3 12 RSX-1057 Surround Sound Receiver 13: On-Screen Menus ������������������������ ������ ��������������������������� ������������������������ ���������������� �������������� �������������� �������������������� ��� ������������������ ������ ���������������������������� ������ ����� ���� ��������������������� ��� ���������������������� ������������������� ������������������ ��������������������� ������������������� ���������������������� ��������������������������� �������������������������� ���������������������� ��������������������� ���������������������� ��������������� ���������������� ��������������� ��������������������������� �������������������������� ������� �������������������� ���������������������� ��������������� ����������������������������� ��������������������� �������������������� ���������������������� ���������������� �������������� ��������������������������� ������������������ ����������������������������� �������������������� ��������������������� ������������������ �������������������� ������������ ������������ �������������������� ����������������������� ������������������������� ������������������������������� ��������������������� ��������������������� ����������������������������� ������ ��������������� ���������������� ����������������������� ����������� ��������������������� ��������������������� ������������������������������ ��������������������� ��������������������� ��������������������� ��������������������� ������ ����������� �������������������� �������������������� �������������������� �������������������� ������������ ��� ������������������ �������������������� ��������������� ����������������������������� �������������������� ���������������������� ���������������� �������������� ������������������������������ ������������������ ������������ ������������ �������������������� �������������������� �������������������� ����������������������������� �������������������� �������������������� �������������������� �������������������� �������������������� ����������� ��������������������� �������������������������� �������������������������� ��������������������������� �������������������������� �������������������������� �������������������������� �������������������������� �������������������������� ��� ����������� �������������������� ����������� ������������������ ����������������������� ����������������� ������������������� ������������������ ������������������������� ������ ����������� ���������������������� ����������� ������������������������������ �������������������������� ��������� ����������������������� ����� ����������������������� ����������������������� ������������� ���������������������� ����������� �������������������� ����� ����������������� ���� ����������������� ����������������� ������ ����������� ���������������������� ���������������������� �������������������� ������������������� ����������������������� ����������������������� �������������������� ������������������ ������������������ �����������

13 English Contents Video Inputs & Outputs ........................ 17 OPERATING THE RSX-1057 23 OPERATING THE RSX-1057 23 Boxed numbers refer to RSX-1057 illustration. Boxed letters refer to RR-1060 illustration. FCC Information ..................................................3 Caution ...............................................................3 Important Safety Instructions ..................3 1: Controls and Connections ................................4 2: RR-1060 Remote .............................................5 3: Connecting the Speakers .................................6 4: Digital Video Connections ................................7 5: TV Analog Connections ....................................8 6: DVD Player Analog Connections .......................8 7: DVD-A or SACD Player Connections ..................9 8: Cable, Satellite, or HDTV Analog Connections ...9 9: VCR Analog Connections ................................10 10: CD Player/CDR Recorder Connections ..........10 11: Audio Recorder Connections .........................11 12: AM and FM Antennae Connections ...............11 13: On-Screen Menus ........................................12 About Rotel .......................................... 15 Getting Started ..................................... 15 Key Features .....................................................15 Unpacking ........................................................16 Placement ........................................................16 CONNECTIONS 16 Analog Audio Inputs & Outputs ............. 16 CD Inputs ....................................................16 TAPE Inputs .................................................16 TAPE Outputs ..............................................16 VIDEO 1–5 Audio Inputs .............................17 VIDEO 1–3 Audio Outputs ...........................17 MULTI Inputs .............................................17 Speaker Outputs .........................................17 Preamp Outputs .........................................17 ZONE 2 Audio Outputs .................................17 VIDEO 1–5 Composite Video Inputs ............18 VIDEO 1–3 Composite Video Outputs ..........18 VIDEO 1–5 S-Video Inputs ..........................18 VIDEO 1–3 S-Video Outputs .......................18 VIDEO 1–3 Component Video Inputs ..........18 VIDEO 1–2 HDMI Inputs .............................18 TV Monitor Outputs ..................18 ZONE OUT Video Output ..............................19 Digital Audio Input & Outputs ............... 19 Digital Inputs ..............................................19 Digital Outputs ............................................19 Other Connections ................................ 19 AC Input .....................................................19 Master Power Switch ...................................19 12V TRIGGER Connections ...........................19 REM IN Jacks .............................................20 IR OUT Jacks ...............................................20 Computer I/O .............................................20 CD Player .............................................20 DVD Player ..................20 Cable, Satellite, HDTV Tuner ....................................20 VCR or Digital Video Recorder ...........21 TV Monitor ...............................21 Speakers ....................................................22 Connecting a Subwoofer ..............................22 Amplifiers ...................................................22 AM Antenna ................................................23 FM Antenna ...............................................23 Front Panel Overview ...........................23 Front Panel Overview ...........................23 Front-panel Display ....................................23 Front-panel Display ....................................23 Remote Sensor ............................................23 Remote Control Overview .....................23 Remote Control Overview .....................23 Using the RR-1060 AUDIO Button .............................................24 Using the RR-1060 AUDIO Button .............................................24 Overview of Buttons and Controls .........24 Overview of Buttons and Controls .........24 STANDBY Button POWER Button ............................................24 STANDBY Button POWER Button ............................................24 STANDBY Button POWER Button ............................................24 ON/OFF Buttons .........................................24 ON/OFF Buttons .........................................24 VOLUME Knob VOLUME Button ..........................................24 VOLUME Knob VOLUME Button ..........................................24 VOLUME Knob VOLUME Button ..........................................24 MUTE Buttons .......................................24 MUTE Buttons .......................................24 LIGHT Button ..............................................24 LIGHT Button ..............................................24 DEVICE/INPUT Buttons ...................24 DEVICE/INPUT Buttons ...................24 D-SLT Button ...............................................24 D-SLT Button ...............................................24 REC Buttons ..........................................24 REC Buttons ..........................................24 ZONE Buttons .......................................24 ZONE Buttons .......................................24 UP/DOWN Buttons ......................................24 UP/DOWN Buttons ......................................24 Speaker Selection Buttons ...........................24 Speaker Selection Buttons ...........................24 EQ Button ...................................................24 EQ Button ...................................................24 TONE Button ...............................................24 TONE Button ...............................................24 Surround Mode Buttons ........................25 Surround Mode Buttons ........................25 SUR+ Button ...............................................25 SUR+ Button ...............................................25 SUR+ Button ...............................................25 MENU/OSD Button ......................................25 MENU/OSD Button ......................................25 ENTER Button ..............................................25 ENTER Button ..............................................25 BAND Buttons .......................................25 BAND Buttons .......................................25 TUNING Buttons ....................................25 TUNING Buttons ....................................25 MEM Button ..........................................25 MEM Button ..........................................25 NUMERIC Buttons .................................25 NUMERIC Buttons .................................25 DIRECT Button FRQ DIRECT Button .....................................25 MONO Button FM MONO Button ........................................25 Making Connections .............................20 DVD-A or SACD Player ................................21 +/– Buttons ...............................................24 DYN Button .................................................25

14 RSX-1057 Surround Sound Receiver

TUNE Button PRESET Button P-TUN Button ..............................................25 SCAN Button ...............................................25 RDS/RBDS Buttons .....................................25 MPEG Multichannel discs ..........31 Digital Stereo discs (PCM, MP3, and HDCD) ............31 Analog Stereo ..........................32 SETUP 37 SETUP 37 Menu Basics .........................................37 Menu Basics .........................................37 Navigation Buttons ...............................37 Navigation Buttons ...............................37 System Status ....................................................37 Basic Operations ...................................25 Other Settings ......................................32 Speaker Level .......................................32 Main Menu ........................................................37 Power and Standby On/Off ......25 Volume Adjustments .............................26 Muting the Sound .................................26 Selecting Inputs ....................................26 Input Buttons .................................26 Selecting a Source Input from the Front Panel ................................................26 Selecting a Source from the Remote .......................................................26 Group Delay .........................................32 Dynamic Range ..........................................32 Contour/Tone Settings ..........................33 Cinema EQ ..................................................33 Tuner Controls ......................................33 BAND Buttons .......................................33 TUNING Buttons ....................................33 MEMORY Button .................................. 34 Configuring Inputs ................................38 Configuring Inputs ................................38 Input Setup .......................................................38 Input Setup .......................................................38 Multi Input Setup ..............................................39 Multi Input Setup ..............................................39 Dolby Pro Logic IIx ............................................39 Dolby Pro Logic IIx ............................................39 DTS Neo:6 ........................................................ 40 Configuring Speakers and Audio ............40 Configuring Speakers and Audio ............40 Understanding Speaker Configuration .............. 40 Understanding Speaker Configuration .............. 40 Speaker Setup ...................................................41 Speaker Setup ...................................................41 Speaker Setup ...................................................41 Selecting Digital Inputs ...............................26 NUMERIC Buttons: Station Presets .............................. 34 Advance Speaker Setup .....................................41 Advance Speaker Setup .....................................41 Subwoofer Setup ...............................................42 Overview of Surround Formats ..............27 Dolby Surround Dolby Pro Logic II ..............................................27 Dolby Digital .....................................................27 DTS 5.1 DTS 96/24 ........................................................27 DTS Neo:6 .........................................................28 Dolby Digital Surround EX DTS-ES6.1 and 7.1 Channel Surround .................28 Dolby Pro Logic IIx 6.1 and 7.1 Channel Surround ...........................28 Rotel XS 6.1 and 7.1 Channel Surround ...........................28 DSP Music Modes ..............................................28 2Ch/5Ch/7Ch Stereo Formats ...........................28 Other Digital Formats ........................................29 Automatic Surround Modes ...................29 Manually Selecting Surround Modes ......29 Dolby Digital 5.1 discs Dolby Digital Surround EX discs ................................................30 Dolby Digital 2.0 discs ..............30 DTS 5.1 discs DTS 96/24 discs DTS-ES 6.1 discs .......................31 DIRECT Button FRQ DIRECT Button ................................... 34 MONO Button FM MONO Button ...................................... 34 TUNE Button PRESET Button P-TUN Button ............................................ 34 SCAN Button ...............................................35 RDS and RBDS Tuning ...........................35 DISP Button ................................................35 PTY Button .................................................35 TP Button ....................................................35 TA Button ....................................................35 Zone 2 Operation .................................36 Zone 2 Power On/Off .......................................36 Controlling Zone 2 from the Main Room ..............................36 Controlling Zone 2 from the Remote Location ................................................36 Test Tone ...........................................................43 Test Tone ...........................................................43 Delay Setup ......................................................43 Delay Setup ......................................................43 Contour Setup ..................................................44 Contour Setup ..................................................44 Miscellaneous Settings ..........................44 Miscellaneous Settings ..........................44 Other Options ...................................................44 Other Options ...................................................44 Zone 2 Setup .....................................................45 Zone 2 Setup .....................................................45 Default Setup ....................................................45 MORE INFORMATION 46 MORE INFORMATION 46 Troubleshooting ....................................46 Troubleshooting ....................................46 Specifications .......................................47 Specifications .......................................47 Audio ................................................................47 Audio ................................................................47 Video ................................................................47 Video ................................................................47 FM Tuner ...........................................................47 FM Tuner ...........................................................47 AM Tuner ..........................................................47 General .............................................................47 General .............................................................47

15 English About Rotel A family whose passionate interest in music led them to manufacture high fidelity com- ponents of uncompromising quality founded Rotel 40 years ago. Through the years that passion has remained undiminished and the family goal of providing exceptional value for audiophiles and music lovers regard- less of their budget, is shared by all Rotel employees. The engineers work as a close team, listening to, and fine tuning each new product until it reaches their exacting musical standards. They are free to choose components from around the world in order to make that product the best they can. You are likely to find capacitors from the United Kingdom and Germany, semi conductors from Japan or the United States, while toroidal power transformers are manu- factured in Rotel’s own factory. Rotel’s reputation for excellence has been earned through hundreds of good reviews and awards from the most respected review- ers in the industry, who listen to music every day. Their comments keep the company true to its goal - the pursuit of equipment that is musical, reliable and affordable. All of us at Rotel, thank you for buying this product and hope it will bring you many years of enjoyment. Getting Started Thank you for purchasing the Rotel RSX-1057 Surround Sound Receiver. The RSX-1057 is four products in one: 1. A digital audio/video processor for a wide range of formats including Dolby Surround®, Dolby Digital®, DTS® and HDCD® source material. 2. A full-featured audio/video control cen- ter for analog and digital source compo- nents. 3. A high-quality AM/FM tuner with RDS capability. 4. A 5-channel power amplifier to drive two front speakers (or two center back speak- ers), a center channel speaker, and two rear surround speakers. Key Features • Rotel’s Balanced Design Concept combines advanced circuit board layout, compre- hensive parts evaluation, and extensive listening tests for superior sound and long term reliability. • Dolby® Pro Logic IIx® decoding (for 5.1, 6.1, and 7.1 channel systems) with improved separation and frequency response for Dolby Surround® matrix encoded record- ings. Can be optimized for Music or Cin- ema sources. • Automatic Dolby Digital® decoding Dol- by Digital® 2.0, Dolby Digital® 5.1, and Dolby Digital Surround EX® recordings. • Automatic decoding for DTS® 5.1 channel, DTS-ES® Matrix 6.1 channel, DTS-ES® Dis- crete 6.1 channel, and DTS 96/24 digital recordings. • Rotel XS (eXtended Surround) automatical- ly ensures proper decoding and optimum performance from any multichannel digi- tal signal on 6.1 and 7.1 channel systems. Always active in any system with center back speaker(s), Rotel XS even works with signals that would not otherwise activate the proper decoding (such as non-flagged DTS-ES and Dolby Surround EX discs) or for which there is no extended surround decoder (such as DTS 5.1, Dolby Digital 5.1, and even Dolby Pro Logic II decoded Dolby Digital 2.0 recordings). • DTS® Neo:6® Surround modes for deriv- ing surround channels for 5.1, 6.1 or 7.1 channel systems from 2-channel stereo or matrix surround recordings. Can be opti- mized for Music or Cinema sources. • Automatic HDCD® decoding for signals from High Definition Compatible Digital® compact discs. • Surround modes for playback of surround sound material on 2 channel and 3 chan- nel systems for total compatibility. • Automatic decoding of digital signals from MP3 (MPEG-1 Audio Layer 3) players. • Analog input and output video connections for use with Composite video, S-Video, and Component Video signals, including conversion to Component Video output. • HDMI (Ver. 1.1) switching for digital video signals up to 1080p. Compatible with DVI components with HDMI-DVI adapter. • Optical digital, coax digital, and analog input and output audio connections. • Five built-in amplifier channels, each de- livering 75 watts (all channels driven). • AM/FM tuner with 30 station presets, di- rect access tuning, and auto-tuning. • RDS (Radio Data Systems) and RBDS (Ra- dio Broadcast Data Service) capability. • Zone 2 output with independent input se- lection and volume adjustments for multi- zone custom installations along with IR- repeater capability for operation from the remote zone. • MULTI Input for outboard adapter and future upgradeabilty • User friendly ON-SCREEN DISPLAY with programmable labels for video compo- nents. Choice of languages. • Universal learning remote control to op- “DTS”, “DTS-ES Extended Surround”, “DTS ES® Matrix 6.1”, and “DTS ES® Discrete 6.1”, and “DTS Neo:6®”are trade- erate the RSX-1057 and other compo- nents. marks of Digital Theater Systems, Inc. Manufactured under license from Dolby Laboratories. “Dol- • Upgradeable microprocessor software to by”, “Pro Logic”, and the double-D symbol are trademarks accommodate future upgrades. of Dolby Laboratories. , HDCD®, High Definition Compatible Digital ® and Pacific MicrosonicsTM are either registered trademarks or trademarks of Pacific Microsonics, Inc. in the United States and/or other countries. HDCD system manufactured under license from Pacific Microsonics, Inc. This product is covered by one or more of the following: In the USA: 5,479,168, 5,638,074, 5,640,161, 5,808,574, 5,838,274, 5,854,600, 5,864,311, 5,872,531, and in Australia: 669114. Other patents pending.

16 RSX-1057 Surround Sound Receiver

Unpacking Remove the unit carefully from its packing. Find the remote control and other acces- sories. Save the box as it will protect the RSX-1057 if you move or need to return it for maintenance. Placement Place the RSX-1057 on a solid, level surface away from sunlight, heat, moisture, or vibra- tion. Make sure that the shelf can support the weight of the unit. Place the RSX-1057 close to the other compo- nents in your system and, if possible, on its own shelf. This will make initial hookup, and subsequent system changes easier. The RSX-1057 can generate heat during nor- mal operation. Do not block ventilation open- ings. Allow a minimum of 10 cm or 4 inches of unobstructed space around the unit. If installed in a cabinet, make sure that there is adequate ventilation. Don’t stack other components or objects on top of the RSX-1057. Don’t let any liquid fall into the unit. CONNECTIONS Although the RSX-1057’s rear panel looks daunting, connecting the unit to your system is straightforward. Each of the source com- ponents in the system are connected to the RSX-1057 inputs with a pair of standard RCA cables for analog audio, a video connection (Composite, S-Video, Component Video, and/or HDMI), and an optional digital au- dio cable (coax or optical). NOTE: Surround formats like Dolby Digital and DTS are digital formats and the RSX-1057 can only decode them when a digital input sig- nal is available. For this reason, you should always connect your DVD player’s digital outputs to the RSX-1057, using either the op- tical or coax inputs. The outputs of RSX-1057 are sent to up to five speakers or to optional power amplifier(s) with standard RCA cables from preamp audio outputs. The video signal from the RSX-1057 is sent to the TV monitor using Composite video, S-Video, Component Video, and/or HDMI connections. In addition, the RSX-1057 has MULTI input connections for a source component that does its own surround decoding, remote IR sensor inputs, and 12V trigger connections for remote turn-on of other Rotel components. NOTE: Each source input must be properly configured using the INPUT SETUP menu of the OSD menu system. We recommend go- ing to this menu after connecting each source to configure it as desired. See Input Setup of the Setup section for information. NOTE: Each source input must be properly configured using the INPUT SETUP menu of the OSD menu system. We recommend go- ing to this menu after connecting each source to configure it as desired. See Input Setup of the Setup section for information. NOTE: Each source input must be properly configured using the INPUT SETUP menu of the OSD menu system. We recommend go- ing to this menu after connecting each source to configure it as desired. See Input Setup of the Setup section for information. NOTE: Each source input must be properly configured using the INPUT SETUP menu of the OSD menu system. We recommend go- ing to this menu after connecting each source to configure it as desired. See Input Setup of the Setup section for information. Analog Audio Inputs & Outputs Analog Audio Inputs & Outputs The following connections are used for con- necting analog audio signals to and from the RSX-1057. See the Making Connections topic for specific instructions on connecting each type of component. The following connections are used for con- necting analog audio signals to and from the RSX-1057. See the Making Connections topic for specific instructions on connecting each type of component. The following connections are used for con- necting analog audio signals to and from the RSX-1057. See the Making Connections topic for specific instructions on connecting each type of component. NOTE: Normally, the RSX-1057 converts ana- log inputs to digital signals. All of the digital processing is available including bass man- agement, digital crossovers, speaker level and delay settings, and a number surround mode options. Alternatively, there is an analog bypass surround mode that routes 2-ch and Multi Input analog signals directly to the Volume control and outputs, bypassing the digital processing entirely for pure analog stereo. NOTE: Normally, the RSX-1057 converts ana- log inputs to digital signals. All of the digital processing is available including bass man- agement, digital crossovers, speaker level and delay settings, and a number surround mode options. Alternatively, there is an analog bypass surround mode that routes 2-ch and Multi Input analog signals directly to the Volume control and outputs, bypassing the digital processing entirely for pure analog stereo. NOTE: Normally, the RSX-1057 converts ana- log inputs to digital signals. All of the digital processing is available including bass man- agement, digital crossovers, speaker level and delay settings, and a number surround mode options. Alternatively, there is an analog bypass surround mode that routes 2-ch and Multi Input analog signals directly to the Volume control and outputs, bypassing the digital processing entirely for pure analog stereo. NOTE: Normally, the RSX-1057 converts ana- log inputs to digital signals. All of the digital processing is available including bass man- agement, digital crossovers, speaker level and delay settings, and a number surround mode options. Alternatively, there is an analog bypass surround mode that routes 2-ch and Multi Input analog signals directly to the Volume control and outputs, bypassing the digital processing entirely for pure analog stereo. CD Inputs A left/right pair of RCA analog audio inputs for connecting a CD player. NOTE: Do not plug any system component into an AC source until all connections have been properly made. Video cables should have a 75 ohm imped- ance. The S/PDIF digital audio interface stan- dard also specifies a 75 ohm impedance and all good digital cables adhere to this require- ment. Do NOT substitute conventional audio interconnect cables for digital or video sig- nals. Standard audio interconnects will pass these signals, but their limited bandwidth re- duce performance. When making signal connections, connect LEFT channels to LEFT channel jacks and RIGHT channels to RIGHT channel jacks. All RCA-type connections on the RSX-1057 fol- low these standard color codes: Left channel audio: white RCA jack Right channel audio: red RCA jack Composite video: yellow RCA jack TAPE Inputs A pair of RCA inputs, labeled TAPE IN, for connecting the left/right analog audio sig- nals from an audio tape deck or recording device. TAPE Outputs A pair of RCA inputs, labeled TAPE OUT, for sending left/right line level analog au- dio signals for recording on a tape deck or recording device. NOTE: These outputs should be connected to the inputs of the same tape deck connected to the TAPE IN inputs.

17 English VIDEO 1–5 Audio Inputs Five pair of RCA inputs, labeled VIDEO IN 1–5, provide connections for left/right ana- log audio signals from five additional source components. These inputs have correspond- ing video inputs and are used for VCRs, sat- ellite TV tuners, DVD players, etc. However, they may also be used for additional audio only components, simply by omitting the cor- responding video connections. VIDEO 1–3 Audio Outputs Three pair of RCA jacks, labeled VIDEO OUT 1–3, provide connections for sending line level left and right analog audio signals for recording to a VCR. . These connections correspond to the VIDEO IN 1–3 connections. Make sure that you are consistent. If you hook up a particular VCR to the VIDEO 1 inputs, hook up the VIDEO 1 outputs to the same VCR. NOTE: There are no analog audio outputs for VIDEO 4 & 5. Therefore, in an elaborate sys- tem, hook up all of the VCRs and recording devices to VIDEO 1–3 and use VIDEO 4 & 5 for playback only components. NOTE: Video 1–3 can be used for audio-only tape decks, simply omitting the correspond- ing video connections. MULTI Inputs A set of RCA inputs accept up to 7.1 chan- nels of analog signals from a DVD-A or SACD player. There are inputs for FRONT L & R, CENTER, SUB, REAR L & R, and CENTER BACK (CB) 1 & 2. These inputs bypass all digital processing in the RSX-1057 and are routed directly to the Volume control and outputs. There are two subwoofer options for the MULTI input. Normally, the .1 channel input is passed through directly to the subwoofer output. An optional bass redirect feature duplicates the 7 main channels, sums them, and sends this mono signal through a 100 Hz analog low filter to the subwoofer output. This provides an unaltered analog bypass for the seven main channels along with a subwoofer sig- nal derived from those channels. Speaker Outputs Video Inputs & Outputs The RSX-1057 has five built-in amplifiers, two for the front (right and left), one for the center channel, and two for the rear sur- round speakers (right and left). There are five pairs of binding post connections (one pair These connections are used for connecting video signals to and from the RSX-1057. See the Making Connections section for specific instructions for each type of component. for each speaker) which accept bare wire, The RSX-1057 provides Composite, S-Video, spade lugs, or banana plug connectors (in Component Video, and HDMI connections. some markets). Composite video connections simplify system NOTE: The RSX-1057 has a speaker redirect feature which allows you to use the front chan- nel amplifiers to drive center back speakers or remote Zone 2 speakers when a separate power amplifier is used for the front speak- configuration; however, S-Video connections typically provide better picture quality. Com- ponent Video or HDMI connections provide the best signal quality and are required for HDTV or progressive scanned DVD video. ers. This feature is configured in the Default NOTE: The HDMI digital connections are Setup menu. compatible with DVI components with an appropriate DVI-D cable adapter. Preamp Outputs The RSX-1057 provides pass-through HDMI A group of ten RCA analog audio outputs switching only. It will send an HDMI digital sends the RSX-1057’s line level output signals signal from a source component to the TV to external amplifiers and powered subwoof- monitor, but cannot convert any other type ers. These outputs are variable level, ad- of video to HDMI output and cannot display justed by the RSX-1057 volume control. The its On Screen Menus on the HDMI output. ten connectors provide output for: FRONT L When using the HDMI connections, it is al- & R, CENTER 1 & 2, SURROUND (REAR) L most always necessary to also make connec- & R, CENTER BACK CB1 & CB2, and SUB- tions using one of the other types. WOOFER 1 & 2. Consider the following implications for your NOTE: Depending on your system configura- system configuration: tion, you may use some or all of these con- nections. For example, if you only have one center channel, connect it to the CENTER 1 output. If you only have one center back chan- nel, connect it to the CB1 output. On Screen Display: The RSX-1057 OSD system is available on the TV monitor, when using Composite, S-Video, or Component Video connections from the RSX-1057 outputs to the TV set. The OSD menus cannot be dis- ZONE 2 Audio Outputs played when using HDMI connections from the RSX-1057 to the TV monitor. A pair of RCA inputs, labeled ZONE OUT, sending analog audio signals to an external amplifier for a remote zone. These outputs can be configured as either fixed or variable level using the ZONE 2 SETUP menu. NOTE: When using a progressive scan or 1080i video signal from the Component Video out- puts of the RSX-1057, the TV monitor cannot display the video signal and the OSD menus at the same time. A “progressive” setting in the NOTE: Only analog input signals are available Other Options setup menu allows the use of at the Zone 2 outputs. Source components the main OSD setup menus, even with progres- connected to only the digital inputs are not sive or HDTV signals. When the main OSD available in Zone 2. setup menus are activated, the progressive To configure your system for Zone 2 opera- tion, connect the left and right Zone 2 out- puts on the RSX-1057 to the left and right channel inputs of the amplifier powering scan video input is interrupted and restored when the OSD menus are cancelled. The temporary OSD information displays (such as volume setting, etc.) are not displayed. the remote speakers, using standard RCA audio cables.

18 RSX-1057 Surround Sound Receiver

Output Conversion: The RSX-1057 converts Composite and S-Video signals to Component Video signals for output to an NTSC or PAL TV monitor. S-Video signals cannot be con- verted to Composite outputs and vice versa. No other video formats can be converted to HDMI signals. For maximum convenience, connect the RSX-1057 to the TV monitor with Component Video connections. NOTE: When a video input is selected for pro- gressive mode on the Other Options menu, the conversion from Composite or S-Video to Component Video output is not available for this input. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. Many digital HDTV monitors adjust scan rates and other video parameters depend- ing on the type of input connection. You may wish to make multiple connections between the RSX-1057 and the TV monitor, switch- ing inputs on the TV to take advantage of these features. VIDEO 1–5 Composite Video Inputs Five inputs accepts standard Composite video signals from source components using stan- dard 75 ohm RCA video cables. VIDEO 1–3 Composite Video Outputs Three RCA jacks, labeled COMPOSITE OUT 1–3, provide connections for sending Com- posite video signals for recording on a VCR or other recording device. These connections correspond to the VIDEO IN 1–3 connections. Make sure that you are consistent. If you hook up a particular VCR to the VIDEO 1 inputs, hook up the VIDEO 1 output to the same VCR. NOTE: The RSX-1057 cannot convert S-Video or Component Video to Composite video. There- fore, only signals from the Composite video inputs are available at these outputs. VIDEO 1–5 S-Video Inputs Five inputs, labeled S-VIDEO IN 1–5 accept S-Video signals from source components. VIDEO 1–3 S-Video Outputs Three S-VIDEO jacks, labeled S-VIDEO OUT 1–3, provide connections for sending S-Vid- eo signals for recording on a VCR or other recording device. These connections correspond to the VIDEO IN 1–3 connections. Make sure that you are consistent. If you hook up a particular VCR to the VIDEO 1 inputs, hook up the VIDEO 1 output to the same VCR. NOTE: The RSX-1057 cannot convert Com- posite video or Component Video signals to S-Video. Only signals received at the S-Video inputs are available at these outputs. VIDEO 1–3 Component Video Inputs Component Video connections split the vid- eo into three signals – luminance (Y) and chrominance (PB and PR) signals, allowing delivery of a reference quality picture with high definition signals. Component Video connections should be used for progressive scan DVD players and high-definition televi- sion receivers. Each of these signals is car- ried by a separate 75 ohm video cable with RCA connectors. Three sets of inputs, labeled COMPONENT VIDEO IN 1–3 accept Component video sig- nals from source components. NOTE: When using a progressive scan or 1080i HDTV video signal from the Component Video inputs, the TV monitor cannot display the video signal and the OSD menus at the same time. A “progressive” setting in the Other Options setup menu allows the use of the main OSD setup menus, even with progressive or HDTV signals. When the main OSD setup menus are displayed, the progressive video signal is interrupted and restored when the OSD menus are cancelled. The temporary OSD information displays (such as volume setting, etc.) are not displayed. VIDEO 1–2 HDMI Inputs HDMI inputs provide pass-through digital video connections for use with components that have either HDMI outputs or DVI-D out- puts (with an appropriate DVI-HDMI adapt- er). HDMI connection carry video signals in all formats including progressive scan up to 1080p. The implementation of the HDMI pass-through switching does not support audio signals; thus, a separate audio connection is necessary from an HDMI component. pass-through switching does not support audio signals; thus, a separate audio connection is necessary from an HDMI component. pass-through switching does not support audio signals; thus, a separate audio connection is necessary from an HDMI component. Two inputs, labeled HDMI VIDEO IN 1–2 ac- cept signals from source components. Two inputs, labeled HDMI VIDEO IN 1–2 ac- cept signals from source components. NOTE: When using HDMI connections, the TV monitor cannot display the OSD menus and cannot display video from Composite, S-Video, or Component Video sources. When using the HDMI pass-through switching of the RSX-1057, it is usually recommended to also make connections using one of the other video cabling standards. NOTE: When using HDMI connections, the TV monitor cannot display the OSD menus and cannot display video from Composite, S-Video, or Component Video sources. When using the HDMI pass-through switching of the RSX-1057, it is usually recommended to also make connections using one of the other video cabling standards. NOTE: When using HDMI connections, the TV monitor cannot display the OSD menus and cannot display video from Composite, S-Video, or Component Video sources. When using the HDMI pass-through switching of the RSX-1057, it is usually recommended to also make connections using one of the other video cabling standards. NOTE: When using HDMI connections, the TV monitor cannot display the OSD menus and cannot display video from Composite, S-Video, or Component Video sources. When using the HDMI pass-through switching of the RSX-1057, it is usually recommended to also make connections using one of the other video cabling standards. TV Monitor Outputs TV Monitor Outputs The TV MONITOR outputs of the RSX-1057 send the video signal to your TV monitor. Four types of video output connections are provided – RCA Composite video, S-Video, Component Video, and HDMI digital. The TV MONITOR outputs of the RSX-1057 send the video signal to your TV monitor. Four types of video output connections are provided – RCA Composite video, S-Video, Component Video, and HDMI digital. The TV MONITOR outputs of the RSX-1057 send the video signal to your TV monitor. Four types of video output connections are provided – RCA Composite video, S-Video, Component Video, and HDMI digital. The Composite video output only sends sig- nals from Composite video inputs to the TV monitor. The S-Video output only sends sig- nals from S-Video video inputs to the TV. The HDMI output only sends signals from HDMI video inputs to the TV. The Component Vid- eo outputs convert interlaced signals from S-Video or Composite source inputs to the TV and, therefore, are the most convenient type of connection. The Composite video output only sends sig- nals from Composite video inputs to the TV monitor. The S-Video output only sends sig- nals from S-Video video inputs to the TV. The HDMI output only sends signals from HDMI video inputs to the TV. The Component Vid- eo outputs convert interlaced signals from S-Video or Composite source inputs to the TV and, therefore, are the most convenient type of connection. The Composite video output only sends sig- nals from Composite video inputs to the TV monitor. The S-Video output only sends sig- nals from S-Video video inputs to the TV. The HDMI output only sends signals from HDMI video inputs to the TV. The Component Vid- eo outputs convert interlaced signals from S-Video or Composite source inputs to the TV and, therefore, are the most convenient type of connection. The Composite video output only sends sig- nals from Composite video inputs to the TV monitor. The S-Video output only sends sig- nals from S-Video video inputs to the TV. The HDMI output only sends signals from HDMI video inputs to the TV. The Component Vid- eo outputs convert interlaced signals from S-Video or Composite source inputs to the TV and, therefore, are the most convenient type of connection. The Composite video output only sends sig- nals from Composite video inputs to the TV monitor. The S-Video output only sends sig- nals from S-Video video inputs to the TV. The HDMI output only sends signals from HDMI video inputs to the TV. The Component Vid- eo outputs convert interlaced signals from S-Video or Composite source inputs to the TV and, therefore, are the most convenient type of connection. The Composite video output only sends sig- nals from Composite video inputs to the TV monitor. The S-Video output only sends sig- nals from S-Video video inputs to the TV. The HDMI output only sends signals from HDMI video inputs to the TV. The Component Vid- eo outputs convert interlaced signals from S-Video or Composite source inputs to the TV and, therefore, are the most convenient type of connection. NOTE: When a video input or inputs are se- lected for progressive mode on the Other Options menu, the conversion from Compos- ite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. NOTE: When a video input or inputs are se- lected for progressive mode on the Other Options menu, the conversion from Compos- ite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. NOTE: When a video input or inputs are se- lected for progressive mode on the Other Options menu, the conversion from Compos- ite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. NOTE: When a video input or inputs are se- lected for progressive mode on the Other Options menu, the conversion from Compos- ite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. If you have connected all of your source com- ponents with the same type of analog video connection (Composite, S-Video, or Compo- nent Video), then you only need to make one video connection from the RSX-1057 to the TV monitor. In a system with only analog video connections, you can connect the RSX-1057 to the TV monitor with only Component Video connections because Composite and S-Video signals are converted to Component Video signals. In a system with HDMI connections, it is also necessary to make an analog video connection to the TV monitor in order to dis- play OSD menus or video signals from non- HDMI source components. 19 English HDMI connections: • The RSX-1057 uses the HDMI Ver. 1.1 standard. TV monitors with HDMI inputs should be compatible with this version. • The video signal sent to the TV through the HDMI connection will not be displayed properly unless all HDMI components in the system, including the TV monitor, are compatible with the HDCP copy protec- tion standard. • Only audio signals passed-through directly from the source component are sent to the TV set through the HDMI connection. To send decoded audio from the RSX-1057 to the TV, you must make a separate au- dio connection. • TV monitors with DVI-D connections can usually be connected to the HDMI out- put of the RSX-1057 with the use of an appropriate 24-pin DVI-HMDI adaptor. However, there are occasionally some in- compatibilities with older DVI-D equipped monitors. Digital Audio Input & Outputs The RSX-1057 provides digital connections which may be used in place of, or in addition to, the analog audio input and output con- nections described in the previous sections. These connections include five digital inputs and two digital outputs (for recording). These digital connections can be used with any source component that supplies a digi- tal signal, such as a DVD player, CD player, or satellite TV tuner. NOTE: With a digital connection, the RSX-1057 will be used to decode the signal, rather than the source component’s internal decoders. In general, you must use digital connec- tions for a DVD player or other component that supplies a Dolby Digital or DTS signal; otherwise the RSX-1057 will not be able to decode these formats. Digital Inputs NOTE: Only digital signals from source com- ponents are available at these outputs. Ana- log signals cannot be converted and are not available at the digital outputs. NOTE: Only digital signals from source com- ponents are available at these outputs. Ana- log signals cannot be converted and are not available at the digital outputs. NOTE: Only digital signals from source com- ponents are available at these outputs. Ana- log signals cannot be converted and are not available at the digital outputs. Other Connections Other Connections AC Input AC Input Your RSX-1057 is configured at the factory for the proper AC line voltage in the country where you purchased it (USA: 120 volts/60Hz AC or CE: 230 volts /50 Hz AC ). The AC line configuration is noted on a decal on the back of your unit. Your RSX-1057 is configured at the factory for the proper AC line voltage in the country where you purchased it (USA: 120 volts/60Hz AC or CE: 230 volts /50 Hz AC ). The AC line configuration is noted on a decal on the back of your unit. Your RSX-1057 is configured at the factory for the proper AC line voltage in the country where you purchased it (USA: 120 volts/60Hz AC or CE: 230 volts /50 Hz AC ). The AC line configuration is noted on a decal on the back of your unit. Your RSX-1057 is configured at the factory for the proper AC line voltage in the country where you purchased it (USA: 120 volts/60Hz AC or CE: 230 volts /50 Hz AC ). The AC line configuration is noted on a decal on the back of your unit. Plug the supplied cord into the AC INPUT re- ceptacle on the back of the unit. Plug the supplied cord into the AC INPUT re- ceptacle on the back of the unit. Plug the supplied cord into the AC INPUT re- ceptacle on the back of the unit. NOTE: Memorized settings and video labels are preserved indefinitely, even if the RSX-1057 is disconnected from AC power. NOTE: Memorized settings and video labels are preserved indefinitely, even if the RSX-1057 is disconnected from AC power. Master Power Switch The large rocker switch on the rear panel is a master power switch. When it is in the OFF position, power to the unit is completely off. When it is in the ON position, the front panel STANDBY and remote control ON/OFF but- tons can be used to activate the unit or put it into standby mode. The large rocker switch on the rear panel is a master power switch. When it is in the OFF position, power to the unit is completely off. When it is in the ON position, the front panel STANDBY and remote control ON/OFF but- tons can be used to activate the unit or put it into standby mode. • The video signal sent to the TV through the HDMI connection will be a direct pass- through from the source component. The output of the source component must be set to a resolution that is compatible with the TV monitor. If possible, the resolution should be set to match the native resolu- tion of the TV. • In general, HDMI is the optimum connec- tion for digital high-definition monitors such as LCD, plasma, or DLP monitors. Component video connections would be the preferred connection for analog high- definition monitors such as direct view TVs and CRT-based projection monitors. However, the choice of video connections depends on many factors such as overall system configuration, performance, and operating convenience. ZONE OUT Video Output The ZONE OUT Video output of the RSX-1057 sends a Composite video signal to a TV moni- tor in Zone 2. NOTE: Only Composite video input signals are available at the Zone 2 video output. The RSX-1057 accepts digital inputs from source components such as CD players, sat- ellite TV tuners, and DVD players. The built- in digital processor senses and adjusts to the correct sampling rates. There are five digital inputs on the rear panel, three coaxial and two optical. These digital inputs can be assigned to any of the input sources using the INPUT SETUP screen dur- ing the setup process. For example, you can assign the COAXIAL 1 digital input connector to the VIDEO 1 source and the OPTICAL 2 digital input to the VIDEO 3 source. NOTE: When using digital connections, you should also make the analog audio input connections described previously. The ana- log connection is necessary to record to an analog recorder in some circumstances or for ZONE 2 operation Digital Outputs The RSX-1057 has two digital outputs (one coaxial and one optical) to send the digital signal from any of the digital inputs to a dig- ital recorder or outboard digital processor. When a digital input source signal is selected for listening, that signal is automatically sent to both digital outputs for recording. The large rocker switch on the rear panel is a master power switch. When it is in the OFF position, power to the unit is completely off. When it is in the ON position, the front panel STANDBY and remote control ON/OFF but- tons can be used to activate the unit or put it into standby mode. The large rocker switch on the rear panel is a master power switch. When it is in the OFF position, power to the unit is completely off. When it is in the ON position, the front panel STANDBY and remote control ON/OFF but- tons can be used to activate the unit or put it into standby mode. The large rocker switch on the rear panel is a master power switch. When it is in the OFF position, power to the unit is completely off. When it is in the ON position, the front panel STANDBY and remote control ON/OFF but- tons can be used to activate the unit or put it into standby mode. NOTE: After all connections are completed, the rear panel master power switch should be put in the ON position and usually left in that position. NOTE: After all connections are completed, the rear panel master power switch should be put in the ON position and usually left in that position. NOTE: After all connections are completed, the rear panel master power switch should be put in the ON position and usually left in that position. 12V TRIGGER Connections 12V TRIGGER Connections Many Rotel amplifiers offer the option of turning them on and off using assignable 12 volt trigger signals. These three connections provide this 12 volt trigger signal from the RSX-1057. When the RSX-1057 is activated, a 12 volt DC signal is sent to the amplifiers to turn them on. When the RSX-1057 is put in STANDBY mode, the trigger signal is inter- rupted and the amplifiers turn off. Many Rotel amplifiers offer the option of turning them on and off using assignable 12 volt trigger signals. These three connections provide this 12 volt trigger signal from the RSX-1057. When the RSX-1057 is activated, a 12 volt DC signal is sent to the amplifiers to turn them on. When the RSX-1057 is put in STANDBY mode, the trigger signal is inter- rupted and the amplifiers turn off. Many Rotel amplifiers offer the option of turning them on and off using assignable 12 volt trigger signals. These three connections provide this 12 volt trigger signal from the RSX-1057. When the RSX-1057 is activated, a 12 volt DC signal is sent to the amplifiers to turn them on. When the RSX-1057 is put in STANDBY mode, the trigger signal is inter- rupted and the amplifiers turn off. Many Rotel amplifiers offer the option of turning them on and off using assignable 12 volt trigger signals. These three connections provide this 12 volt trigger signal from the RSX-1057. When the RSX-1057 is activated, a 12 volt DC signal is sent to the amplifiers to turn them on. When the RSX-1057 is put in STANDBY mode, the trigger signal is inter- rupted and the amplifiers turn off. Many Rotel amplifiers offer the option of turning them on and off using assignable 12 volt trigger signals. These three connections provide this 12 volt trigger signal from the RSX-1057. When the RSX-1057 is activated, a 12 volt DC signal is sent to the amplifiers to turn them on. When the RSX-1057 is put in STANDBY mode, the trigger signal is inter- rupted and the amplifiers turn off. NOTE: The 12V Trigger outputs can be assigned to turn on only when specific input sources are activated. See the Input Setup and Zone 2 Setup menus in the Setup section of this manual for details. NOTE: The 12V Trigger outputs can be assigned to turn on only when specific input sources are activated. See the Input Setup and Zone 2 Setup menus in the Setup section of this manual for details. NOTE: The 12V Trigger outputs can be assigned to turn on only when specific input sources are activated. See the Input Setup and Zone 2 Setup menus in the Setup section of this manual for details.

20 RSX-1057 Surround Sound Receiver

To use the remote turn on feature, connect one of the RSX-1057’s 12V TRIG OUT jacks to the 12 volt trigger input of a Rotel amplifier, using a cable with mono 3.5 mm mini-plugs on both ends. The +12 V DC signal appears at the “tip” connector. REM IN Jacks Two 3.5 mm mini-jacks (labeled ZONE and EXT) receive command codes from an in- dustry-standard infrared receivers (Xantech, etc.), used when the IR signals from a hand held remote control cannot reach the front panel IR sensor. EXT: The EXT jack is used with an outboard IR receiver to duplicate the front panel IR sensor. This feature is useful when the unit is installed in a cabinet and the front panel sensor is blocked or when IR signals need to be relayed to other components. ZONE: The ZONE jack is used with IR repeater systems to receiver signals from IR control sys- tems in remote location. For example, remote control signals sent to the ZONE REM IN con- trol the ZONE 2 features of the RSX-1057 and can be relayed to other components. Consult your authorized Rotel dealer for information on external receivers and the proper wiring of a 3.5 mm mini-plugs to fit the REM IN jacks. NOTE: The IR signals from the EXT REMOTE IN and ZONE REMOTE IN jacks can be re- layed to source components using external IR emitters or hard-wired connections from the IR OUT jacks. See the following section for additional information. IR OUT Jacks The IR OUT 1 & 2 jacks send IR signals re- ceived at the ZONE REM IN or the EXT REM IN jacks to an infrared blaster or emitter placed in front of a source component’s IR sensor. In addition, the IR OUT can be hard- wired to Rotel CD players, DVD players, or tuners with a compatible connector. These outputs are used to allow IR signals from Zone 2 to be sent to the source com- ponents, or to pass along IR signals from a remote in the main room when the sensors on the source components are blocked by installation in a cabinet. See your authorized Rotel dealer for informa- tion on IR emitters and repeater systems. Computer I/O The RSX-1057 can be operated from a com- puter with audio system control software from third-party developers. This control is accomplished by sending operating codes from the computer via a hard-wired RS-232 serial connection. In addition, the RSX-1057 can be updated using special software from Rotel. The COMPUTER I/O input provides the nec- essary network connections on the rear pan- el. It accepts standard RJ-45 8-pin modular plugs, such as those commonly used in 10- BaseT UTP Ethernet cabling. For additional information on the connections, cabling, software, and operating codes for computer control or updating of the RSX-1057, contact your authorized Rotel dealer. Making Connections CD Player See Figure 10 Connect the left and right analog outputs from the CD player to the AUDIO IN jacks labeled CD (left and right). Optional: Connect the digital output of the CD player to any of the Optical or Coax dig- ital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the CD source. There are no video connections for a CD Player. DVD Player See Figure 6 Standard Definition TVs: In a system with a standard definition TV, DVD connections can be made to the VID- EO 1, 2, 3, 4, or 5 inputs. You may wish to use VIDEO 4 or VIDEO 5 for DVD players, since these inputs do not have corresponding OUTPUT connections. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all analog audio and video connections. Connect a video cable (Composite Video or S-Video) from the output of the DVD player to the appropriate VIDEO IN 1–5 input. NOTE: If you plan to distribute video from the DVD player to a TV monitor in Zone 2, you must make a Composite Video connection. NOTE: If you plan to distribute video from the DVD player to a TV monitor in Zone 2, you must make a Composite Video connection. NOTE: If you plan to distribute video from the DVD player to a TV monitor in Zone 2, you must make a Composite Video connection. High Definition TVs: High Definition TVs: If you intend to use the progressive scan feature with an HDTV monitor, you should use Component Video and/or HDMI video connections from the DVD player. If the DVD player has a DVI-D output, this can usually be connected to the HDMI input on the RSX-1057 using a DVI-HDMI adapter. If you intend to use the progressive scan feature with an HDTV monitor, you should use Component Video and/or HDMI video connections from the DVD player. If the DVD player has a DVI-D output, this can usually be connected to the HDMI input on the RSX-1057 using a DVI-HDMI adapter. If you intend to use the progressive scan feature with an HDTV monitor, you should use Component Video and/or HDMI video connections from the DVD player. If the DVD player has a DVI-D output, this can usually be connected to the HDMI input on the RSX-1057 using a DVI-HDMI adapter. If you intend to use the progressive scan feature with an HDTV monitor, you should use Component Video and/or HDMI video connections from the DVD player. If the DVD player has a DVI-D output, this can usually be connected to the HDMI input on the RSX-1057 using a DVI-HDMI adapter. If you intend to use the progressive scan feature with an HDTV monitor, you should use Component Video and/or HDMI video connections from the DVD player. If the DVD player has a DVI-D output, this can usually be connected to the HDMI input on the RSX-1057 using a DVI-HDMI adapter. Connect set of Component Video cables or an HDMI cable from the DVD player to the appropriate VIDEO 1 or VIDEO 2 input on the RSX-1057. Connect set of Component Video cables or an HDMI cable from the DVD player to the appropriate VIDEO 1 or VIDEO 2 input on the RSX-1057. Connect set of Component Video cables or an HDMI cable from the DVD player to the appropriate VIDEO 1 or VIDEO 2 input on the RSX-1057. Connect set of Component Video cables or an HDMI cable from the DVD player to the appropriate VIDEO 1 or VIDEO 2 input on the RSX-1057. Digital Audio connections: Digital Audio connections: Connect the digital output of the DVD player to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Connect the digital output of the DVD player to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Connect the digital output of the DVD player to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Connect the digital output of the DVD player to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Connect the digital output of the DVD player to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Connect the digital output of the DVD player to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Analog audio connections: Analog audio connections: If you want to record the audio signal from the DVD player or distribute the audio signal to Zone 2, connect the left and right analog outputs from the DVD player to the left and right AUDIO IN jacks corresponding to the VIDEO IN input selected above. If you want to record the audio signal from the DVD player or distribute the audio signal to Zone 2, connect the left and right analog outputs from the DVD player to the left and right AUDIO IN jacks corresponding to the VIDEO IN input selected above. If you want to record the audio signal from the DVD player or distribute the audio signal to Zone 2, connect the left and right analog outputs from the DVD player to the left and right AUDIO IN jacks corresponding to the VIDEO IN input selected above. If you want to record the audio signal from the DVD player or distribute the audio signal to Zone 2, connect the left and right analog outputs from the DVD player to the left and right AUDIO IN jacks corresponding to the VIDEO IN input selected above. Cable, Satellite, HDTV Tuner Cable, Satellite, HDTV Tuner See Figure 8 Standard Definition TVs: Standard Definition TVs: In a system with a standard definition TV, cable or satellite tuner connections can be made to the VIDEO 1, 2, 3, 4, or 5 inputs. You may wish to use VIDEO 4 or VIDEO 5, since these inputs do not have corresponding OUTPUT connections. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all analog audio and video connections. In a system with a standard definition TV, cable or satellite tuner connections can be made to the VIDEO 1, 2, 3, 4, or 5 inputs. You may wish to use VIDEO 4 or VIDEO 5, since these inputs do not have corresponding OUTPUT connections. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all analog audio and video connections. In a system with a standard definition TV, cable or satellite tuner connections can be made to the VIDEO 1, 2, 3, 4, or 5 inputs. You may wish to use VIDEO 4 or VIDEO 5, since these inputs do not have corresponding OUTPUT connections. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all analog audio and video connections. In a system with a standard definition TV, cable or satellite tuner connections can be made to the VIDEO 1, 2, 3, 4, or 5 inputs. You may wish to use VIDEO 4 or VIDEO 5, since these inputs do not have corresponding OUTPUT connections. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all analog audio and video connections. In a system with a standard definition TV, cable or satellite tuner connections can be made to the VIDEO 1, 2, 3, 4, or 5 inputs. You may wish to use VIDEO 4 or VIDEO 5, since these inputs do not have corresponding OUTPUT connections. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all analog audio and video connections. Connect a video cable (Composite Video or S-Video) from the output of the DVD player to the appropriate VIDEO IN 1–5 input. Connect a video cable (Composite Video or S-Video) from the output of the DVD player to the appropriate VIDEO IN 1–5 input. Connect a video cable (Composite Video or S-Video) from the output of the DVD player to the appropriate VIDEO IN 1–5 input. NOTE: If you plan to distribute video from the tuner to a TV monitor in Zone 2, you must make a Composite Video connection. NOTE: If you plan to distribute video from the tuner to a TV monitor in Zone 2, you must make a Composite Video connection. NOTE: If you plan to distribute video from the tuner to a TV monitor in Zone 2, you must make a Composite Video connection. 21 English High Definition TVs: VCR or Digital Video Recorder The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. With a high-definition cable or satellite tuner and an HDTV monitor, you should use Com- ponent Video and/or HDMI video connec- tions from the tuner. If the tuner has a DVI-D output, this can usually be connected to the HDMI input on the RSX-1057 using a DVI- HDMI adapter. Connect a set of Component Video cables or an HDMI cable from the tuner to the ap- propriate VIDEO 1 or VIDEO 2 input on the RSX-1057. Digital Audio connections: Connect the digital output of the tuner to any one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SETUP screen to assign that digital input to the same video input source used above. For example, if you use the Video 4 inputs above, assign the digital input to the VIDEO 4 input. Analog audio connections: If you want to record the audio signal from the tuner to a VCR or distribute the audio signal to Zone 2, connect the left and right analog outputs from the DVD player to the left and right AUDIO IN jacks corresponding to the VIDEO IN input selected above. Audio Recorder See Figure 11 Connect the left and right analog outputs from an audio tape deck to the AUDIO IN jacks labeled TAPE IN (left and right). Connect the left/right AUDIO OUT/TAPE OUT jacks to the inputs on the audio tape deck. Optional: For a digital recording device, connect the digital output of the recorder to one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SET- UP screen to assign that digital input to the TAPE source. If the recording device accepts a digital recording input, connect one of the OPTICAL OUT or COAXIAL OUT connections to the digital input of the recorder. No video connections are required for an audio recording device. See Figure 9 VCR connections can be made to the VIDEO 1, VIDEO 2, or VIDEO 3 inputs and outputs. If you choose VIDEO 1, make sure that you use VIDEO 1 inputs and outputs for all ana- log audio and video connections. Connect video cables (Composite Video, S-Video, and/or Component Video) from the output of the VCR to the appropriate VIDEO IN 1–3 input. Connect video cables (Composite Video and/or Component Video) from the VIDEO OUT jacks to the VCR inputs. Connect the left and right analog outputs from the VCR to one pair of the AUDIO IN jacks labeled VIDEO 1–3. Connect the left and right AUDIO OUT jacks for VIDEO 1–3 to the analog inputs on the VCR. Optional: For a digital recording device, you can use digital audio connections. Con- nect the digital output of the recorder to one of the OPTICAL IN or COAXIAL IN digital inputs on the RSX-1057. Use the INPUT SET- UP screen to assign that digital input to the VIDEO source (VIDEO 1, 2, or 3) used for the previous connections. If the recording device accepts a digital recording input, connect one of the OPTICAL OUT or CO- AXIAL OUT connections to the digital input of the recorder. DVD-A or SACD Player See Figure 7 To hook up a DVD-A, an SACD player, or any external surround decoder, use audio RCA cables to connect the outputs of the player to the RCA jacks labeled MULTI INPUT, making sure that you observe proper channel consis- tency, i.e. connect the right front channel to the R FRONT input, etc. Depending on your system configuration, make six connections (FRONT L & R, SURROUND L & R, CENTER, and SUBWOOFER), seven connections (add- ing a CENTER BACK connection), or eight connections (adding two CENTER BACK connections). The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. The MULTI inputs are analog bypass inputs, passing signals directly through to the Vol- ume Control and preamp outputs, bypassing all of the digital processing. The RSX-1057 provides an optional bass redirect feature that duplicates the seven main channels and passes them through an analog 100 Hz low pass filter, creating a summed mono sub- woofer output derived from the main chan- nels. See the INPUT SETUP menu in the Set- up section of this manual for details on bass redirect feature. TV Monitor TV Monitor See Figure 5 See Figure 5 Connect the TV MONITOR output to the cor- responding input on your television monitor, using Composite video, S-Video, Component Video, and/or HDMI cables. Connect the TV MONITOR output to the cor- responding input on your television monitor, using Composite video, S-Video, Component Video, and/or HDMI cables. Connect the TV MONITOR output to the cor- responding input on your television monitor, using Composite video, S-Video, Component Video, and/or HDMI cables. NOTE: The RCA Composite video output only sends signals from RCA Composite video source inputs to the TV monitor. The S-Video output only sends signals from S-Video source inputs to the TV. The HDMI output only sends signals from HMDI source inputs to the TV and cannot display the On Screen Menus. The RSX-1057 upconverts Composite and S-Video signals to Component Video. NOTE: The RCA Composite video output only sends signals from RCA Composite video source inputs to the TV monitor. The S-Video output only sends signals from S-Video source inputs to the TV. The HDMI output only sends signals from HMDI source inputs to the TV and cannot display the On Screen Menus. The RSX-1057 upconverts Composite and S-Video signals to Component Video. NOTE: The RCA Composite video output only sends signals from RCA Composite video source inputs to the TV monitor. The S-Video output only sends signals from S-Video source inputs to the TV. The HDMI output only sends signals from HMDI source inputs to the TV and cannot display the On Screen Menus. The RSX-1057 upconverts Composite and S-Video signals to Component Video. NOTE: The RCA Composite video output only sends signals from RCA Composite video source inputs to the TV monitor. The S-Video output only sends signals from S-Video source inputs to the TV. The HDMI output only sends signals from HMDI source inputs to the TV and cannot display the On Screen Menus. The RSX-1057 upconverts Composite and S-Video signals to Component Video. NOTE: The RCA Composite video output only sends signals from RCA Composite video source inputs to the TV monitor. The S-Video output only sends signals from S-Video source inputs to the TV. The HDMI output only sends signals from HMDI source inputs to the TV and cannot display the On Screen Menus. The RSX-1057 upconverts Composite and S-Video signals to Component Video. When configuring the unit, you must specify either an NTSC or a PAL standard TV moni- tor. See the Other Options menu in the Setup section of this manual. When configuring the unit, you must specify either an NTSC or a PAL standard TV moni- tor. See the Other Options menu in the Setup section of this manual. When configuring the unit, you must specify either an NTSC or a PAL standard TV moni- tor. See the Other Options menu in the Setup section of this manual. When configuring the unit, you must specify either an NTSC or a PAL standard TV moni- tor. See the Other Options menu in the Setup section of this manual. For HDTV monitors: For HDTV monitors: To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. To send progressive scanned or high-defi- nition signals to the TV, you must connect it with either a set of three Component Video cables or an HDMI digital cable. Either can provide excellent results, but in general using the HDMI cable is preferable for a monitor that displays digital signals (LCD, plasma, DLP, etc.). Component Video cables would be preferable for CRT-based direct view or rear projection monitors that display ana- log signals. If you use the HDMI connection, the moni- tor will display video at whatever resolution is sent from the source component. Set the resolution of the source component to match the TV’s native resolution. If you use the HDMI connection, the moni- tor will display video at whatever resolution is sent from the source component. Set the resolution of the source component to match the TV’s native resolution. If you use the HDMI connection, the moni- tor will display video at whatever resolution is sent from the source component. Set the resolution of the source component to match the TV’s native resolution.

22 RSX-1057 Surround Sound Receiver

When using the HDMI output, the RSX-1057’s menu screens and signals from non-HDMI components cannot be displayed on the TV monitor. Therefore, it is usually advisable to make connections using Component Video cables in addition to HDMI connections. The RSX-1057 HDMI connections conform to the Version 1.1 standard. You can usually connect the HDMI output of the RSX-1057 to a monitor with DVI-D inputs by using an appropriate HDMI-DVI adapter. NOTE: In order for HDMI signals to be displayed properly, the TV monitor must be compatible with HDCP copy protection. Speakers See Figure 3 The RSX-1057 has built-in amplifiers to power up to five speakers. There are five pairs of binding post connections (one pair for each speaker) which accept bare wire, spade lugs, or banana plug connectors (in some markets). NOTE: Speakers should have an impedance of 8 ohms or higher. Each pair of connectors is color-coded for polarity: red for positive and black for nega- tive. All speakers and all speaker wire is also marked for polarity. For proper performance, you must maintain this polarity at all speaker connections. Always connect the positive ter- minal of each speaker to the corresponding red speaker terminal on the RSX-1057 and the negative speaker terminal to the correspond- ing black connector on the RSX-1057. There are connectors for FRONT LEFT, FRONT RIGHT, SURROUND LEFT, SURROUND RIGHT, and CENTER. You must connect each of the five speakers to the proper terminal on the RSX-1057. Route the wires from the RSX-1057 to the speakers. Leave enough slack so you can move the components to allow access to the speaker connectors. If you are using banana plugs, connect them to the wires and then plug into the backs of the binding posts. The col- lars of the binding posts should be screwed in all the way (clockwise). If you are using terminal lugs, connect them to the wires. If you are attaching bare wires directly to the binding posts, separate the wire conductors and strip back the insulation from the end of each conductor. Be careful not to cut into the wire strands. Unscrew the binding post col- lars. Place the connector lug or the twisted bare wire around the binding post shaft. Turn the collars clockwise to clamp the connector lug or wire firmly in place. 1. Connect the front right speaker to the binding posts labeled FRONT/CB/ZONE RIGHT/2. 2. Connect the front left speaker to the bind- ing posts labeled FRONT/CB/ZONE LEFT/1. 3. Connect the center channel speaker to binding posts labeled CENTER. 4. Connect the surround right speaker to bind- ing posts labeled SURROUND RIGHT. 5. Connect the surround left speaker to bind- ing posts labeled SURROUND LEFT. NOTE: Be sure that no loose wire strands can touch adjacent wires or connectors. After you have connected the speakers, you need to configure the RSX-1057 for the size and style of speakers in your system and cali- brate the relative volume levels of the speak- ers using the built-in test tones. See the Setup section of this manual. Redirect Feature The RSX-1057 has a “redirect” feature that allows you to use the front left and front right amplifier channels to power center back or Zone 2 speakers. For example, you might use a separate Rotel stereo power amplifier to drive the front speakers and then use the extra amplifier channels in the RSX-1057 to power two center back speakers. If your system does not have center back speakers, you can also redirect the built-in center back channel amplifiers to drive two Zone 2 speakers. To use the redirect feature to power center back speakers in a 6.1 or 7.1 channel system: To use the redirect feature to power center back speakers in a 6.1 or 7.1 channel system: 1. Connect the center back speaker in a 6.1 channel system or the center back left speaker in a 7.1 channel system to the binding posts labeled FRONT/CB/ ZONE LEFT/1. 1. Connect the center back speaker in a 6.1 channel system or the center back left speaker in a 7.1 channel system to the binding posts labeled FRONT/CB/ ZONE LEFT/1. 1. Connect the center back speaker in a 6.1 channel system or the center back left speaker in a 7.1 channel system to the binding posts labeled FRONT/CB/ ZONE LEFT/1. 2. Connect the center back right speaker to binding posts labeled FRONT/CB/ZONE RIGHT/2. 2. Connect the center back right speaker to binding posts labeled FRONT/CB/ZONE RIGHT/2. 2. Connect the center back right speaker to binding posts labeled FRONT/CB/ZONE RIGHT/2. 2. Connect the center back right speaker to binding posts labeled FRONT/CB/ZONE RIGHT/2. 3. Go to the SPEAKER SETUP screen of the ON-SCREEN MENU system and change the REDIRECT setting to the center back channels instead of the front channels. 3. Go to the SPEAKER SETUP screen of the ON-SCREEN MENU system and change the REDIRECT setting to the center back channels instead of the front channels. 3. Go to the SPEAKER SETUP screen of the ON-SCREEN MENU system and change the REDIRECT setting to the center back channels instead of the front channels. 3. Go to the SPEAKER SETUP screen of the ON-SCREEN MENU system and change the REDIRECT setting to the center back channels instead of the front channels. Connecting a Subwoofer Connecting a Subwoofer See Figure 3 See Figure 3 See Figure 3 To hook up a powered subwoofer, connect a standard RCA audio cable from either of the two PREOUT jacks labeled SUB to the input on the subwoofer’s power amp. Both SUB outputs provide the same signal. Use either connection for a single subwoofer. Use both connections to hook up two subwoofers. To hook up a powered subwoofer, connect a standard RCA audio cable from either of the two PREOUT jacks labeled SUB to the input on the subwoofer’s power amp. Both SUB outputs provide the same signal. Use either connection for a single subwoofer. Use both connections to hook up two subwoofers. To hook up a powered subwoofer, connect a standard RCA audio cable from either of the two PREOUT jacks labeled SUB to the input on the subwoofer’s power amp. Both SUB outputs provide the same signal. Use either connection for a single subwoofer. Use both connections to hook up two subwoofers. To hook up a powered subwoofer, connect a standard RCA audio cable from either of the two PREOUT jacks labeled SUB to the input on the subwoofer’s power amp. Both SUB outputs provide the same signal. Use either connection for a single subwoofer. Use both connections to hook up two subwoofers. To hook up a powered subwoofer, connect a standard RCA audio cable from either of the two PREOUT jacks labeled SUB to the input on the subwoofer’s power amp. Both SUB outputs provide the same signal. Use either connection for a single subwoofer. Use both connections to hook up two subwoofers. To hook up a powered subwoofer, connect a standard RCA audio cable from either of the two PREOUT jacks labeled SUB to the input on the subwoofer’s power amp. Both SUB outputs provide the same signal. Use either connection for a single subwoofer. Use both connections to hook up two subwoofers. After you have connected the subwoofer, you need to configure the RSX-1057 to use the subwoofer and calibrate the relative volume level of the subwoofer using the built-in test tones. See the Setup section of this manual. After you have connected the subwoofer, you need to configure the RSX-1057 to use the subwoofer and calibrate the relative volume level of the subwoofer using the built-in test tones. See the Setup section of this manual. After you have connected the subwoofer, you need to configure the RSX-1057 to use the subwoofer and calibrate the relative volume level of the subwoofer using the built-in test tones. See the Setup section of this manual. Amplifiers Amplifiers To hook up power amplifiers, connect an audio cable from each PREOUT jack to the input of the amplifier channel that will power the corresponding speaker. In a full home theater system, you will need to make as many as seven different connections in addition to the subwoofer. These connec- tions are labeled FRONT L &R, CENTER, and REAR L & R. There are two CENTER jacks, use either jack for a single center channel or both if you have two center channels. In six or seven channel systems, you will make one or two additional connections for cen- ter back speaker(s). These jacks are labeled CB1 and CB2. Use CB1 for a single center back channel. To hook up power amplifiers, connect an audio cable from each PREOUT jack to the input of the amplifier channel that will power the corresponding speaker. In a full home theater system, you will need to make as many as seven different connections in addition to the subwoofer. These connec- tions are labeled FRONT L &R, CENTER, and REAR L & R. There are two CENTER jacks, use either jack for a single center channel or both if you have two center channels. In six or seven channel systems, you will make one or two additional connections for cen- ter back speaker(s). These jacks are labeled CB1 and CB2. Use CB1 for a single center back channel. To hook up power amplifiers, connect an audio cable from each PREOUT jack to the input of the amplifier channel that will power the corresponding speaker. In a full home theater system, you will need to make as many as seven different connections in addition to the subwoofer. These connec- tions are labeled FRONT L &R, CENTER, and REAR L & R. There are two CENTER jacks, use either jack for a single center channel or both if you have two center channels. In six or seven channel systems, you will make one or two additional connections for cen- ter back speaker(s). These jacks are labeled CB1 and CB2. Use CB1 for a single center back channel. To hook up power amplifiers, connect an audio cable from each PREOUT jack to the input of the amplifier channel that will power the corresponding speaker. In a full home theater system, you will need to make as many as seven different connections in addition to the subwoofer. These connec- tions are labeled FRONT L &R, CENTER, and REAR L & R. There are two CENTER jacks, use either jack for a single center channel or both if you have two center channels. In six or seven channel systems, you will make one or two additional connections for cen- ter back speaker(s). These jacks are labeled CB1 and CB2. Use CB1 for a single center back channel. To hook up power amplifiers, connect an audio cable from each PREOUT jack to the input of the amplifier channel that will power the corresponding speaker. In a full home theater system, you will need to make as many as seven different connections in addition to the subwoofer. These connec- tions are labeled FRONT L &R, CENTER, and REAR L & R. There are two CENTER jacks, use either jack for a single center channel or both if you have two center channels. In six or seven channel systems, you will make one or two additional connections for cen- ter back speaker(s). These jacks are labeled CB1 and CB2. Use CB1 for a single center back channel. To hook up power amplifiers, connect an audio cable from each PREOUT jack to the input of the amplifier channel that will power the corresponding speaker. In a full home theater system, you will need to make as many as seven different connections in addition to the subwoofer. These connec- tions are labeled FRONT L &R, CENTER, and REAR L & R. There are two CENTER jacks, use either jack for a single center channel or both if you have two center channels. In six or seven channel systems, you will make one or two additional connections for cen- ter back speaker(s). These jacks are labeled CB1 and CB2. Use CB1 for a single center back channel. Make sure that you have each output con- nected to the correct amplifier channel (front right, left rear, etc.).

23 English AM Antenna See Figure 12 The RSX-1057 includes a plastic loop anten- na to receive AM radio signals. Remove this antenna from the box and locate it near the RSX-1057. It can be tacked to a wall, using the mounting tab provided. Alternatively, you can fold the center portion of the antenna to form a tabletop stand. Connect the 300 ohm twin-conductor wire from the loop antenna to the push terminals labeled AM LOOP, attaching one wire to each terminal. It does not matter which wire attaches to which terminal, but make sure that the connections are solid and that the two wires do not touch. You may need to rotate or otherwise reorient the antenna to find the best position. NOTE: To use an outdoor antenna, connect its 300 ohm twin-conductor wire to the terminals in place of the loop antenna. FM Antenna See Figure 12 The RSX-1057 is supplied with a T-shaped in- door FM antenna. Connect the coax F-type plug to the FM antenna connector on the RSX-1057. For best reception, unfold the T-shaped anten- na. Eyelets at both ends of the T allow tacking the antenna to a wall, if desired. Experiment with positioning for best reception. NOTE: To use an outdoor antenna, connect its 75 ohm coax lead wire to the FM connec- tor instead of the indoor wire antenna, only after a professional contractor has installed the antenna system in accordance with local electrical codes. OPERATING THE Front Panel Overview RSX-1057 The following is a brief overview of the con- trol and features on the front panel of the Considering its large number of features, set- tings, and options, the RSX-1057 is remark- ably easy to operate. The key to operating RSX-1057. Details concerning the use of these controls are provided in subsequent sections of this manual describing various tasks. the RSX-1057 is its system of On-Screen Dis- plays (OSD) which guide you through vari- Front-panel Display ous choices. The fluorescent (FL) display in the upper por- The RSX-1057 can be operated from the front panel or the remote control. Front panel con- trols are unusually simple to use, with just a few knobs and buttons to guide you through OSD menu options. The remote control pro- vides more complete control options. tion of the RSX-1057 provides information about the status of the unit, tuner reception, and activation of special features. The main portion of the display typically shows the cur- rent input source (or radio station frequency) selected for listening on the left side and the current input source selected for recording To guide you through the operation of the on the right. RSX-1057, this section of the manual starts with explaining the basic layout and func- tion of the front panel and the remote con- trol. Then, we explain the basic operations such as turning the unit on and off, adjust- ing volume, selecting a source for listening, etc. Following that is a detailed explanation of surround sound modes and how to con- figure the RSX-1057 for various types of re- cordings. Finally, there are instructions for Icons along the left side of the display show the currently selected digital input. Icons at the right of the display show individual sur- round channels and are used in configur- ing the system. Icons across the bottom of the display show the current surround mode and other special features. Icons at the top of display assist in tuning radio stations and operation of RDS/RBDS features. additional features and Zone 2 operations. The FL display can be turned off, if desired. See All of these are features that may be used in the MENU button section for instructions. normal use. The last section of the manual (Configuration) details options that may be Remote Sensor selected during initial setup and configura- tion of the unit, many of which will be set once and left untouched. This sensor receives IR signals from the remote control. Do not block this sensor. Throughout this manual, numbers in gray boxes refer to the RSX-1057 illustration at the front of this manual. Letters refer to the RR-1060 NOTE: The remainder of the buttons and con- trols on the front panel are described in the Overview of Buttons and Controls section. remote illustration. When both appear, the function is found on both the RSX-1057 and the remote. When only one appears, that Remote Control Overview function is found only on the RSX-1057 or the remote. The RSX-1057 includes a full-function learning remote control that can operate the RSX-1057 plus nine other audio/video components. A separate manual gives detailed instructions on programming and using the RR-1060 to replace all of the remote controls in your sys- tem. The RR-1060 manual covers many extra features (such as custom labeling of remote buttons that appear in its LCD display). To avoid duplication, we provide only basic in- formation about using the RR-1060 to oper- ate the RSX-1057 in this manual.

24 RSX-1057 Surround Sound Receiver

Many of the RR-1060 functions duplicate the front panel controls. For that reason, we cover the controls on the remote under appropriate topics throughout this manual. Letters in gray boxes next to the name of a function refers to the labeled illustration of the remote at the front of this manual. Using the RR-1060 AUDIO Button To operate the RSX-1057 with the remote, make sure that the AUDIO mode is active by pressing the AUD button on the remote be- fore you start. If one of the other buttons (CD, TAPE, etc.) is pressed, the remote will control another component, not the RSX-1057. The AUDIO mode will stay active until another DEVICE/INPUT button is pressed. Overview of Buttons and Controls VOLUME Knob VOLUME Button The large rocker button on the remote and the large rotary control on the front panel provide the master VOLUME control, adjust- ing the output level of all channels simulta- neously. MUTE Buttons Push the MUTE button once to turn the sound off. An indication appears in the front panel and on-screen displays. Press the button again to restore previous volume levels. NOTE: Pressing the volume buttons on the re- mote also cancels the muting function. LIGHT Button Press this button on the side of the remote to turn the backlighting on for using the remote in a dark room. DEVICE/INPUT Buttons REC Buttons REC Buttons Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for recording. The signal from the selected source appears at the TAPE OUT and VIDEO OUT connectors. Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for recording. The signal from the selected source appears at the TAPE OUT and VIDEO OUT connectors. Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for recording. The signal from the selected source appears at the TAPE OUT and VIDEO OUT connectors. ZONE Buttons Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for ZONE 2. Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for ZONE 2. Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for ZONE 2. Press either of these buttons before pressing (long press on the remote) any DEVICE/INPUT button to select a source for ZONE 2. UP/DOWN Buttons UP/DOWN Buttons These two buttons on the remote are used to move the cursor up or down to select lines in the OSD menus. These buttons are also used in conjunction with the TONE button to make CONTOUR/TONE adjustments. These two buttons on the remote are used to move the cursor up or down to select lines in the OSD menus. These buttons are also used in conjunction with the TONE button to make CONTOUR/TONE adjustments. These two buttons on the remote are used to move the cursor up or down to select lines in the OSD menus. These buttons are also used in conjunction with the TONE button to make CONTOUR/TONE adjustments. These two buttons on the remote are used to move the cursor up or down to select lines in the OSD menus. These buttons are also used in conjunction with the TONE button to make CONTOUR/TONE adjustments. +/– Buttons +/– Buttons These two buttons on the remote are used to change settings on a selected line in the OSD menus. Also used for selecting options in some surround modes. These two buttons on the remote are used to change settings on a selected line in the OSD menus. Also used for selecting options in some surround modes. This section provides a basic overview of the buttons and controls on the front panel and the remote control. Detailed instructions on the use of these buttons a provided in the more complete operating instructions in the follow- ing sections. Buttons or controls identified with a number appear on the front panel. Those identified with a letter appear on the remote control. When both a number and a letter appear, the control is duplicated on both the front panel and the remote control. STANDBY Button POWER Button The front panel STANDBY button and the re- mote control POWER button activate or deac- tivate the unit. The rear panel master POWER switch must be in the ON position for the re- mote standby function to operate. ON/OFF Buttons The power ON and OFF buttons on the remote provide discrete ON and OFF commands to activate the unit or put it in standby mode. The rear panel master POWER switch must be in the ON position for the remote standby function to operate. The top row of buttons on the front panel plus the MULTI INPUT button are used to select source inputs for listening/viewing. These buttons are duplicated on the remote, except that the MULTI INPUT button is la- beled EXT and the remote buttons have two functions: Short press: A short press of any button changes the device that the remote oper- ates, but does not change the RSX-1057’s input selection. Long press: A longer press changes the remote control device and changes the source input for listening/viewing in the main room. NOTE: A long press of the EXT button changes the input to the 7.1 channel analog MULTI IN- PUT. Pressing the AUD button only changes the remote device; there is no input source associated with this button. D-SLT Button Press this button to change the digital input associated with the current source input. These two buttons on the remote are used to change settings on a selected line in the OSD menus. Also used for selecting options in some surround modes. These two buttons on the remote are used to change settings on a selected line in the OSD menus. Also used for selecting options in some surround modes. Speaker Selection Buttons Speaker Selection Buttons These three buttons on the remote are used to select a speaker or group of speakers for temporary level adjustments. In addition, the C button is used in conjunction with the UP/ DOWN buttons for temporary adjustment of group delay/lip synch. These three buttons on the remote are used to select a speaker or group of speakers for temporary level adjustments. In addition, the C button is used in conjunction with the UP/ DOWN buttons for temporary adjustment of group delay/lip synch. These three buttons on the remote are used to select a speaker or group of speakers for temporary level adjustments. In addition, the C button is used in conjunction with the UP/ DOWN buttons for temporary adjustment of group delay/lip synch. EQ Button This button on the remote is used to turn on and off the Cinema EQ feature, a high-cut filter useful for older movie soundtracks. This button on the remote is used to turn on and off the Cinema EQ feature, a high-cut filter useful for older movie soundtracks. This button on the remote is used to turn on and off the Cinema EQ feature, a high-cut filter useful for older movie soundtracks. This button on the remote is used to turn on and off the Cinema EQ feature, a high-cut filter useful for older movie soundtracks. TONE Button TONE Button This button on the remote is used for tempo- rary Contour adjustments. It toggles between high frequency (HF) and low frequency (LF) modes. Once a mode is selected, the UP/ DOWN buttons are used to make the adjust- ments to the speaker or speakers selected in the Contour Setup menu. This button on the remote is used for tempo- rary Contour adjustments. It toggles between high frequency (HF) and low frequency (LF) modes. Once a mode is selected, the UP/ DOWN buttons are used to make the adjust- ments to the speaker or speakers selected in the Contour Setup menu. This button on the remote is used for tempo- rary Contour adjustments. It toggles between high frequency (HF) and low frequency (LF) modes. Once a mode is selected, the UP/ DOWN buttons are used to make the adjust- ments to the speaker or speakers selected in the Contour Setup menu. This button on the remote is used for tempo- rary Contour adjustments. It toggles between high frequency (HF) and low frequency (LF) modes. Once a mode is selected, the UP/ DOWN buttons are used to make the adjust- ments to the speaker or speakers selected in the Contour Setup menu. This button on the remote is used for tempo- rary Contour adjustments. It toggles between high frequency (HF) and low frequency (LF) modes. Once a mode is selected, the UP/ DOWN buttons are used to make the adjust- ments to the speaker or speakers selected in the Contour Setup menu. NOTE: Permanent contour adjustments can be made using the Contour Setup menu. NOTE: Permanent contour adjustments can be made using the Contour Setup menu.

25 English Surround Mode Buttons Five buttons on the remote (2CH, PLC, PLM, 5CH, 7CH) and four buttons on the front panel (2CH, DOLBY PLIIx Mode, DTS/Neo 6, DSP) allow direct selection of certain sur- round modes. The function of these buttons varies depending on the type of recording being played. See the Manually Selecting Surround Modes section for detailed infor- mation. SUR+ Button This button on the remote is used in conjunc- tion with the +/– buttons for manual selec- tion of surround modes and features. See the Manually Selecting Surround Modes section for information. DYN Button Used the DYN button on the remote to select the dynamic range control setting in Dolby Digital surround mode. MENU/OSD Button Push this button on the remote to turn on the OSD menu system. If the menu system is al- ready visible, push this button to cancel the display. Press and hold the button to turn off the front panel display. ENTER Button The ENTER button is used to confirm and memorize various settings in the setup and operation of the RSX-1057. Its use is described in detail in the relevant sections. BAND Buttons Press either of the BAND buttons to toggle between AM and FM reception. TUNING Buttons The TUNING buttons (labeled CH UP/DOWN on the remote control) provide three different tuning functions, depending on the mode of operation: frequency tuning, preset tuning, or selection of an RDS/RBDS program type. MEM Button The front panel MEMORY button or remote control MEM button (also labeled “X”) is used with the NUMERIC buttons to store station presets. NUMERIC Buttons Basic Operations The NUMERIC buttons on the front panel or the remote are used to enter the number of a memorized station preset or for direct en- This section covers the basic operating con- trols of the RSX-1057 and the remote. try of a station frequency. Power and Standby On/Off DIRECT Button FRQ DIRECT Button The rear panel POWER switch on the RSX-1057 The front panel DIRECT and remote control FRQ DIRECT buttons are used in conjunction with the NUMERIC buttons for direct entry of a station frequency in AM/FM tuning. is a master power switch. The button must be in the ON position for the unit to oper- ate. When it is in the OFF position, the unit is fully off and cannot be activated from the front panel or remote control. MONO Button In normal operation, the rear panel POWER FM MONO Button switch is always left in the ON position. The The front panel MONO and remote control FM MONO buttons change the FM mode from stereo reception to mono reception. RSX-1057 is activated and deactivated using the front panel STANDBY button, the remote control POWER button, or the remote ON/ OFF buttons. When activated, the RSX-1057 TUNE Button PRESET Button P-TUN Button is fully functional and the front panel display illuminated. When deactivated, the unit goes into a standby mode, with minimal power ap- plied to the microprocessor. The TUNE, PRESET, and P-TUN buttons on the remote are used to select FREQUENCY tuning or PRESET tuning modes. The TUNE and PRESET buttons select the modes direct- ly. The P-TUN button toggles between the two modes. NOTE: When the unit has AC power applied and the rear panel POWER switch is on, the front panel STANDBY LED lights, regardless of whether the unit is in standby mode or activated. The front panel STANDBY button and the re- SCAN Button mote control POWER button function as tog- Preset scan tuning automatically scans through the memorized station presets, playing each for 5 seconds. Press the SCAN button on the gle switches. Press either button to activate the unit. Press either button again to put the unit in standby mode. remote to begin preset scanning. Press the The ON/OFF buttons on the remote serve button again to stop the scanning and listen the same function, but provide discrete ON to the desired preset. (active) or OFF (standby) commands. RDS/RBDS Buttons When using the Zone 2 capability of the RSX-1057, the standby activation is com- Four remote control buttons (DISP, PTY, TP, TA) pletely independent for the main room and are used to activate various RDS/RBDS tuning Zone 2. ON/OFF commands sent from the features. See the RDB/RBDS Tuning section of remote in the main room will not affect Zone the manual for detailed information. 2. Pressing the ON/OFF buttons on a remote located in Zone 2 will only affect that zone and not the main room. When the unit is ac- tivated in ZONE 2, the ZONE 2 LED on the front panel is lit. There are three available power mode op- tions, which may be useful in configuring the RSX-1057 for special system configurations. See the Other Options menu in the Setup sec- tion of this manual for additional details on changing the default standby behavior.

26 RSX-1057 Surround Sound Receiver

Volume Adjustments The listening volume of the RSX-1057 can be ad- justed from the front panel or the remote. Front Panel: Rotate the front panel VOL- UME knob clockwise to increase the volume, counterclockwise to decrease. Remote: Press the VOL UP button to in- crease the volume; press the VOL DOWN button to decrease. When you adjust the volume, the setting is shown on the TV monitor and/or the front panel display. The current volume setting is also shown on the SYSTEM STATUS OSD screen. NOTE: The VOLUME controls can be used to change the volume in Zone 2. Press the front- panel or remote control ZONE button and adjust the volume. After 10 seconds, the VOLUME control reverts to normal operation. Muting the Sound The volume of the RSX-1057 can be turned off or muted. Push the MUTE button on the front panel or the remote once to turn the sound off. A MUTE indication appears in the OSD and the front panel displays. Press the MUTE button again or adjust the volume settings to restore output levels. Selecting Inputs Input Buttons You can select any of nine source inputs for listening and/or watching: CD, TUNER, TAPE, VIDEO 1, VIDEO 2, VIDEO 3, VIDEO 4, VID- EO 5, or MULTI INPUT (EXT on remote). The front-panel display and the ON-SCREEN DISPLAY show the name of the current listen- ing source selection. The labels for VIDEO sources can be customized to match your components. NOTE: When the TUNER input source button is pressed, the frequency of the currently tuned station is displayed. Pressing the button again toggles the display to show the word TUNER instead of the frequency display. All of the source inputs can be customized using the ON-SCREEN DISPLAY configura- tion menus to accept either analog signals or digital signals from one of the five assignable digital inputs. When a digital input is assigned, the RSX-1057 checks for the presence of a digital signal at that input. If a digital signal is present when the source is selected, it is automatically activated and the proper sur- round mode enabled. If no digital signal is present, the analog inputs for that source are selected. This auto-sensing is the preferred configuration for digital source inputs such as DVD players. When an ANALOG input is assigned, the unit will not access a digital signal, even though one may be available at the digital input. By default, the source input buttons are factory configured to select the following inputs: CD: Analog input Tuner: Analog (built-in) Tape: Analog input Video 1: Digital Coaxial 1 Video 2: Digital Coaxial 2 Video 3: Digital Coaxial 3 Video 4: Digital Optical 1 Video 5: Digital Optical 2 Each source input should be configured us- ing the ON-SCREEN DISPLAY menu system to use the desired input type (analog or digital auto-sensing). See the INPUT MENU section for configuration instructions. NOTE: In addition to selecting analog or digital signals, the configuration options also permit custom labeling and selection of a default sur- round mode for each of the eight inputs. The input source buttons can also be used (with the REC button described in the next sec- tion) to select an analog input source signal to be available at the outputs for recording. Additionally, the input source buttons can be used with the ZONE button to select an analog input source for ZONE 2. Selecting a Source Input from the Front Panel To select a source for LISTENING: Press one of the eight INPUT buttons or the MULTI INPUT button. To select a source for RECORDING: Press the REC button and then press one of the eight INPUT buttons within 10 seconds. To select a source for Zone 2: Press the ZONE button and then press one of the INPUT buttons within 10 seconds. NOTE: See the section on Zone 2 operations for details of selecting a source for the re- mote zone. NOTE: See the section on Zone 2 operations for details of selecting a source for the re- mote zone. NOTE: See the section on Zone 2 operations for details of selecting a source for the re- mote zone. Selecting a Source from the Remote Selecting a Source from the Remote To select a source for LISTENING in the main room: press and hold one of the DEVICE/INPUT buttons for more than one second. To select the MULTI INPUT, press and hold the EXT button. To select a source for LISTENING in the main room: press and hold one of the DEVICE/INPUT buttons for more than one second. To select the MULTI INPUT, press and hold the EXT button. To select a source for LISTENING in the main room: press and hold one of the DEVICE/INPUT buttons for more than one second. To select the MULTI INPUT, press and hold the EXT button. To select a source for LISTENING in the main room: press and hold one of the DEVICE/INPUT buttons for more than one second. To select the MULTI INPUT, press and hold the EXT button. NOTE: A short press of a DEVICE/INPUT but- ton changes the remote control device only, but does not change the source input. NOTE: A short press of a DEVICE/INPUT but- ton changes the remote control device only, but does not change the source input. NOTE: A short press of a DEVICE/INPUT but- ton changes the remote control device only, but does not change the source input. To select a source for RECORDING: Press the REC button. Then, press and hold one of the DEVICE/INPUT buttons within 10 seconds. To select a source for RECORDING: Press the REC button. Then, press and hold one of the DEVICE/INPUT buttons within 10 seconds. To select a source for RECORDING: Press the REC button. Then, press and hold one of the DEVICE/INPUT buttons within 10 seconds. Alternatively, you can press the REC button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Select- ing the SOURCE option links the recording source to the input selected for main room listening. Whatever input is selected for listen- ing is also sent to the record outputs. Alternatively, you can press the REC button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Select- ing the SOURCE option links the recording source to the input selected for main room listening. Whatever input is selected for listen- ing is also sent to the record outputs. Alternatively, you can press the REC button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Select- ing the SOURCE option links the recording source to the input selected for main room listening. Whatever input is selected for listen- ing is also sent to the record outputs. Alternatively, you can press the REC button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Select- ing the SOURCE option links the recording source to the input selected for main room listening. Whatever input is selected for listen- ing is also sent to the record outputs. Alternatively, you can press the REC button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Select- ing the SOURCE option links the recording source to the input selected for main room listening. Whatever input is selected for listen- ing is also sent to the record outputs. To select a source for Zone 2: Press the ZONE button. Then, press and hold one of the DEVICE/INPUT buttons within 10 seconds. To select a source for Zone 2: Press the ZONE button. Then, press and hold one of the DEVICE/INPUT buttons within 10 seconds. To select a source for Zone 2: Press the ZONE button. Then, press and hold one of the DEVICE/INPUT buttons within 10 seconds. Alternatively, you can press the ZONE button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Selecting the SOURCE option links the Zone 2 source to the input selected for main room listening. Whatever input is selected for the main room is also sent to the Zone 2 outputs. Alternatively, you can press the ZONE button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Selecting the SOURCE option links the Zone 2 source to the input selected for main room listening. Whatever input is selected for the main room is also sent to the Zone 2 outputs. Alternatively, you can press the ZONE button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Selecting the SOURCE option links the Zone 2 source to the input selected for main room listening. Whatever input is selected for the main room is also sent to the Zone 2 outputs. Alternatively, you can press the ZONE button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Selecting the SOURCE option links the Zone 2 source to the input selected for main room listening. Whatever input is selected for the main room is also sent to the Zone 2 outputs. Alternatively, you can press the ZONE button and then use the +/– buttons to scroll through the available source options. Select any input (CD, TUNER, TAPE, or VIDEO 1–5). Selecting the SOURCE option links the Zone 2 source to the input selected for main room listening. Whatever input is selected for the main room is also sent to the Zone 2 outputs. Selecting Digital Inputs Selecting Digital Inputs A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. A default digital audio input can be speci- fied for each source input using the Input Setup menu. However, you can override the default digital input for the currently select- ed source by pressing the D-SLT button on the remote. Each press of the button steps to the next digital input in order: OPTICAL 1, OPTICAL 2, COAXIAL 1, COAXIAL2, CO- AXIAL 3. The actual choices you see will be limited to those inputs with an active digital signal connected, so you may not see all of the inputs listed. 27 English Overview of Surround Formats To get the best performance from your RSX-1057, it helps to understand the many surround sound formats available today, to know which decoding process to use for a particular recording, and how to select it. This section provides basic background informa- tion about surround sound formats. The fol- lowing sections provide detailed operating instructions for automatic and manual selec- tion of surround modes. Dolby Digital In 1992, a digital recording system, called Dolby Digital, was first used in the film indus- try. Dolby Digital is a recording/playback system that uses compression techniques to store large amounts of audio data efficiently, much like the JPEG format stores large pho- tographs in small files on a computer. Be- cause it is capable of performance beyond that of audio CDs and can tailor its output for a wide ranges of system configurations, Dolby Digital is the standard audio format for DVDs and for digital television broadcasting in the United States. NOTE: Many DVDs have a Dolby Digital 2.0 matrix soundtrack as the default, which should be decoded with Pro Logic II. The Dolby Digital 5.1 soundtrack may have to be selected as an option from the setup menus at the beginning of the DVD. Look for a Dolby Digital 5.1 selec- tion under “Audio” or “Languages” or “Setup Options” when you insert the disc. NOTE: Many DVDs have a Dolby Digital 2.0 matrix soundtrack as the default, which should be decoded with Pro Logic II. The Dolby Digital 5.1 soundtrack may have to be selected as an option from the setup menus at the beginning of the DVD. Look for a Dolby Digital 5.1 selec- tion under “Audio” or “Languages” or “Setup Options” when you insert the disc. NOTE: Many DVDs have a Dolby Digital 2.0 matrix soundtrack as the default, which should be decoded with Pro Logic II. The Dolby Digital 5.1 soundtrack may have to be selected as an option from the setup menus at the beginning of the DVD. Look for a Dolby Digital 5.1 selec- tion under “Audio” or “Languages” or “Setup Options” when you insert the disc. NOTE: Many DVDs have a Dolby Digital 2.0 matrix soundtrack as the default, which should be decoded with Pro Logic II. The Dolby Digital 5.1 soundtrack may have to be selected as an option from the setup menus at the beginning of the DVD. Look for a Dolby Digital 5.1 selec- tion under “Audio” or “Languages” or “Setup Options” when you insert the disc. DTS 5.1 DTS 96/24 DTS 5.1 DTS 96/24 DTS® (Digital Theater Systems) is an alterna- tive digital format competing with Dolby Digi- tal in both movie theaters and home theater markets. The basic functions of the DTS sys- tem are similar to those of Dolby Digital (for example, 5.1 discrete channels), however the technical details of the compression and decoding processes differ somewhat and a DTS decoder is required. DTS® (Digital Theater Systems) is an alterna- tive digital format competing with Dolby Digi- tal in both movie theaters and home theater markets. The basic functions of the DTS sys- tem are similar to those of Dolby Digital (for example, 5.1 discrete channels), however the technical details of the compression and decoding processes differ somewhat and a DTS decoder is required. NOTE: The RSX-1057 has built-in amplifiers to drive five speakers in a 5.1 channel system. To use surround modes for 6.1 or 7.1 chan- nel systems, you will need a separate power amplifier to drive one or two speakers. Dolby Surround Dolby Pro Logic II The most widely available surround sound format for consumer audio/video is Dolby Surround®, available on nearly all commer- cial VHS tapes, many television broadcasts, and most DVDs. Dolby Surround is the con- sumer version of the analog Dolby Stereo system first introduced in the film industry in 1972. It is a matrix-encoding system that re- cords front left, front center, front right, and a mono surround channel into a 2-channel stereo recording. During playback, a Dolby Pro Logic® or Pro Logic II decoder extracts each channel and distributes it to the appro- priate speakers. The original Dolby Pro Logic decoder delivered a mono signal with reduced high-frequency content to the surround speakers. A more advanced decoder in the RSX-1057, Dolby Pro Logic II, increases the separation and frequency response of the surround channels for significantly improved performance with Dolby Surround encoded recordings. Dolby Pro Logic II decoding should be used for any analog recording labeled “Dolby Sur- round” or any Dolby Digital 2.0 soundtrack. Dolby Pro Logic II does a superb job deriving surround sound from conventional 2-channel stereo recordings, using phase relationships to extract front, right, center, and surround channels. A “music mode” makes Pro Logic II an excellent choice for audio CDs. The Dolby Digital system can be used to re- cord up to six discrete audio channels, but can also be used for fewer. For example, a Dolby Digital 2.0 soundtrack is a digital 2- channel recording of a matrix encoded Dol- by Surround soundtrack.. To play a Dolby Digital 2.0 recording, use Dolby Pro Logic II decoding as previously described. The most common use of Dolby Digital in newer films, in both the film industry and in home theater, is Dolby Digital 5.1. Instead of encoding multiple surround channels on a two-channel recording, Dolby Digital 5.1 records six discrete channels: front left, front center, front right, surround left, surround right, and a Low Frequency Effects (LFE) channel containing ultra-low bass signals intended for a subwoofer. A Dolby Digital decoder extracts the channels from the digital bit- stream, converts them to analog signals and routes them to the appropriate amplifiers and speakers. All channels provide full frequency response with total separation between all channels and large dynamic range capabil- ity. A Dolby Digital 5.1 soundtrack can pro- vide more impressive surround sound than matrix Dolby Surround. Decoding of Dolby Digital 5.1 soundtracks is automatic. When the RSX-1057 detects a Dolby 5.1 signal on one of its digital inputs, it activates the proper processing. Keep in mind that Dolby Digital is only available from digital sources (a DVD, a LaserDisc, or a Digital TV/Cable/SAT tuner). Also, you must connect the source with a digital cable (coax or optical) to an active digital input on the RSX-1057. DTS® (Digital Theater Systems) is an alterna- tive digital format competing with Dolby Digi- tal in both movie theaters and home theater markets. The basic functions of the DTS sys- tem are similar to those of Dolby Digital (for example, 5.1 discrete channels), however the technical details of the compression and decoding processes differ somewhat and a DTS decoder is required. DTS® (Digital Theater Systems) is an alterna- tive digital format competing with Dolby Digi- tal in both movie theaters and home theater markets. The basic functions of the DTS sys- tem are similar to those of Dolby Digital (for example, 5.1 discrete channels), however the technical details of the compression and decoding processes differ somewhat and a DTS decoder is required. A recent extension of the DTS encoding sys- tem is DTS 96/24. These recordings provide the performance of a 96kHz sampling rate while still using actual 48kHz sampling rate of standard DTS discs. A recent extension of the DTS encoding sys- tem is DTS 96/24. These recordings provide the performance of a 96kHz sampling rate while still using actual 48kHz sampling rate of standard DTS discs. A recent extension of the DTS encoding sys- tem is DTS 96/24. These recordings provide the performance of a 96kHz sampling rate while still using actual 48kHz sampling rate of standard DTS discs. A recent extension of the DTS encoding sys- tem is DTS 96/24. These recordings provide the performance of a 96kHz sampling rate while still using actual 48kHz sampling rate of standard DTS discs. Like Dolby Digital, DTS can only be used on a digital recording and, therefore, is only avail- able for home use on LaserDiscs, DVDs, or other digital formats. To use the RSX-1057’s DTS decoder, you must connect your DVD player to the RSX-1057’s digital inputs. Like Dolby Digital, DTS can only be used on a digital recording and, therefore, is only avail- able for home use on LaserDiscs, DVDs, or other digital formats. To use the RSX-1057’s DTS decoder, you must connect your DVD player to the RSX-1057’s digital inputs. As with Dolby Digital 5.1, detection and proper decoding of DTS 5.1 signals is automatic. As with Dolby Digital 5.1, detection and proper decoding of DTS 5.1 signals is automatic. NOTE: DVDs with a DTS soundtrack almost al- ways have it configured as an option to the standard matrix Dolby Surround format. To use DTS, you may have to go to the setup menus at the beginning of the DVD and select “DTS 5.1” instead of “Dolby Surround” or “Dolby Digital 5.1”. In addition, many DVD players have the DTS digital bitstream turned off by default and cannot output a DTS soundtrack (even if selected on the disc’s menu) until you activate the player’s DTS output. If you hear no sound the first time you attempt to play a DTS disc, go to the DVD player’s configura- tion menus and turn on the DTS bitstream. This is a one-time setting and need only be done once. NOTE: DVDs with a DTS soundtrack almost al- ways have it configured as an option to the standard matrix Dolby Surround format. To use DTS, you may have to go to the setup menus at the beginning of the DVD and select “DTS 5.1” instead of “Dolby Surround” or “Dolby Digital 5.1”. In addition, many DVD players have the DTS digital bitstream turned off by default and cannot output a DTS soundtrack (even if selected on the disc’s menu) until you activate the player’s DTS output. If you hear no sound the first time you attempt to play a DTS disc, go to the DVD player’s configura- tion menus and turn on the DTS bitstream. This is a one-time setting and need only be done once. NOTE: DVDs with a DTS soundtrack almost al- ways have it configured as an option to the standard matrix Dolby Surround format. To use DTS, you may have to go to the setup menus at the beginning of the DVD and select “DTS 5.1” instead of “Dolby Surround” or “Dolby Digital 5.1”. In addition, many DVD players have the DTS digital bitstream turned off by default and cannot output a DTS soundtrack (even if selected on the disc’s menu) until you activate the player’s DTS output. If you hear no sound the first time you attempt to play a DTS disc, go to the DVD player’s configura- tion menus and turn on the DTS bitstream. This is a one-time setting and need only be done once. NOTE: DVDs with a DTS soundtrack almost al- ways have it configured as an option to the standard matrix Dolby Surround format. To use DTS, you may have to go to the setup menus at the beginning of the DVD and select “DTS 5.1” instead of “Dolby Surround” or “Dolby Digital 5.1”. In addition, many DVD players have the DTS digital bitstream turned off by default and cannot output a DTS soundtrack (even if selected on the disc’s menu) until you activate the player’s DTS output. If you hear no sound the first time you attempt to play a DTS disc, go to the DVD player’s configura- tion menus and turn on the DTS bitstream. This is a one-time setting and need only be done once. NOTE: DVDs with a DTS soundtrack almost al- ways have it configured as an option to the standard matrix Dolby Surround format. To use DTS, you may have to go to the setup menus at the beginning of the DVD and select “DTS 5.1” instead of “Dolby Surround” or “Dolby Digital 5.1”. In addition, many DVD players have the DTS digital bitstream turned off by default and cannot output a DTS soundtrack (even if selected on the disc’s menu) until you activate the player’s DTS output. If you hear no sound the first time you attempt to play a DTS disc, go to the DVD player’s configura- tion menus and turn on the DTS bitstream. This is a one-time setting and need only be done once.

28 RSX-1057 Surround Sound Receiver

DTS Neo:6 The RSX-1057 features a second type of DTS surround sound decoding: DTS Neo:6. This decoding system is similar to Dolby Pro Logic II and is designed for playback of any 2-channel stereo recording, either matrix- encoded or not. The Neo:6 decoder can be used with any conventional 2-channel source such a stereo TV or FM broadcast or a CD. It can also be used as an alternative method of decoding matrix-encoded Dolby Surround recordings or TV broadcasts. Ac- tivate the DTS Neo:6 decoding with the DTS Neo:6 button as detailed later in this section. DTS Neo:6 is not used with DTS 5.1 digital sources and the button need not be pressed for those recordings. Dolby Digital Surround EX DTS-ES 6.1 and 7.1 Channel Surround In 1999, the first Dolby Digital soundtrack was released to theaters with an additional center back surround channel, intended to increase the directional effects from behind the audience. This additional surround chan- nel is encoded into the two existing surround channels in Dolby Digital 5.1, using a matrix encoding process similar to that used previ- ously in Dolby Surround. This new extended surround capability is called Dolby Digital Surround EX. DTS has added a similar capability for re- cording this extended surround information called DTS-ES® 6.1 Matrix. They have also taken it one step further and developed the capability to record this extended surround information as a discrete channel in a system called DTS-ES® 6.1 Discrete. All of these systems are extensions of the ex- isting Dolby Digital 5.1 and DTS 5.1 digital surround sound formats. Users with one cen- ter back speaker (a 6.1 configuration) or two center back speakers (a 7.1 configuration) can take advantage of this extended surround information. On traditional 5.1 channel sys- tems, Dolby Digital Surround EX or DTS-ES 6.1 discs sound exactly the same as 5.1 channel discs in each respective format. If you have configured your system with one or two center back speakers, decoding of DTS-ES discs is automatic, just as it is with standard DTS soundtracks. Likewise, decod- ing of Dolby Digital Surround EX discs is au- tomatic with one exception. Some Surround EX titles do not have the detection “flag” encoded on the disc. To activate the Dolby Digital Surround EX features for these discs (or for standard 5.1 channel Dolby Digital discs), you must manually activate Dolby Sur- round EX processing. Dolby Pro Logic IIx 6.1 and 7.1 Channel Surround The latest technology from Dolby uses ad- vanced matrix decoding for the surround channels in a 6.1 channel or 7.1 channel system. Working with any 2.0 channel or 5.1 channel recording, Dolby Pro Logic IIx processing distributes the surround channel information among three or four surround channels, with a Music mode optimized for musical recordings and a Cinema mode op- timized for film soundtracks. Rotel XS 6.1 and 7.1 Channel Surround The RSX-1057 also features Rotel XS (eXtend- ed Surround) processing provides extended surround performance on 6.1 and 7.1 chan- nel systems. The key benefit of Rotel XS is that it works at all times with all multichan- nel digital signals, even those that might not otherwise activate Dolby Digital EX or DTS- ES surround decoding for the center back channel(s). Always available when center back speaker(s) are configured in the system setup, Rotel XS decodes the surround chan- nels and distributes the extended surround channels to the center back speaker(s) in a way that tends to create a diffuse surround effect. Rotel XS works with matrix-encoded surround signals (such as non-flagged DTS- ES and Dolby Surround EX discs) as well as digital source material that is not Dolby Sur- round EX encoded (such as DTS 5.1, Dolby Digital 5.1, and even Dolby Pro Logic II de- coded Dolby Digital 2.0 recordings). DSP Music Modes DSP Music Modes Unlike all of the formats mentioned above, the RSX-1057 offers four surround modes that are not part of a specific recording/playback system. These modes (MUSIC 1–4) use digital signal processing that adds special acoustic effects to any signal. DSP processing can be used with Dolby Surround recordings, Dolby Digital recordings, CDs, radio broadcasts, or any other source material; however, typi- cally DSP settings would be used with source material for which there is no specific sur- round decoder. Unlike all of the formats mentioned above, the RSX-1057 offers four surround modes that are not part of a specific recording/playback system. These modes (MUSIC 1–4) use digital signal processing that adds special acoustic effects to any signal. DSP processing can be used with Dolby Surround recordings, Dolby Digital recordings, CDs, radio broadcasts, or any other source material; however, typi- cally DSP settings would be used with source material for which there is no specific sur- round decoder. Unlike all of the formats mentioned above, the RSX-1057 offers four surround modes that are not part of a specific recording/playback system. These modes (MUSIC 1–4) use digital signal processing that adds special acoustic effects to any signal. DSP processing can be used with Dolby Surround recordings, Dolby Digital recordings, CDs, radio broadcasts, or any other source material; however, typi- cally DSP settings would be used with source material for which there is no specific sur- round decoder. The four MUSIC MODES in the RSX-1057 use digital delay and reverberation effects to simulate progressively larger acoustic en- vironments with MUSIC 1 being the small- est type of venue (such as a jazz club) and MUSIC 4 being a large venue (such as a stadium). Typically used to add ambience and a sense of space when listening to music sources or other sources that lack surround sound encoding. The four MUSIC MODES in the RSX-1057 use digital delay and reverberation effects to simulate progressively larger acoustic en- vironments with MUSIC 1 being the small- est type of venue (such as a jazz club) and MUSIC 4 being a large venue (such as a stadium). Typically used to add ambience and a sense of space when listening to music sources or other sources that lack surround sound encoding. The four MUSIC MODES in the RSX-1057 use digital delay and reverberation effects to simulate progressively larger acoustic en- vironments with MUSIC 1 being the small- est type of venue (such as a jazz club) and MUSIC 4 being a large venue (such as a stadium). Typically used to add ambience and a sense of space when listening to music sources or other sources that lack surround sound encoding. The four MUSIC MODES in the RSX-1057 use digital delay and reverberation effects to simulate progressively larger acoustic en- vironments with MUSIC 1 being the small- est type of venue (such as a jazz club) and MUSIC 4 being a large venue (such as a stadium). Typically used to add ambience and a sense of space when listening to music sources or other sources that lack surround sound encoding. The four MUSIC MODES in the RSX-1057 use digital delay and reverberation effects to simulate progressively larger acoustic en- vironments with MUSIC 1 being the small- est type of venue (such as a jazz club) and MUSIC 4 being a large venue (such as a stadium). Typically used to add ambience and a sense of space when listening to music sources or other sources that lack surround sound encoding. 2Ch/5Ch/7Ch Stereo Formats 2Ch/5Ch/7Ch Stereo Formats The RSX-1057 also provides four modes that disable all surround processing and deliver stereo signals to amplifiers and speakers. There are three options: The RSX-1057 also provides four modes that disable all surround processing and deliver stereo signals to amplifiers and speakers. There are three options: The RSX-1057 also provides four modes that disable all surround processing and deliver stereo signals to amplifiers and speakers. There are three options: 2CH Stereo: Turns off the center channel and all surround channels in the system and delivers a conventional 2-channel signal to the front speakers. If the system is con- figured to route bass signals from the front speakers to the subwoofer, this capability remains in effect. 2CH Stereo: Turns off the center channel and all surround channels in the system and delivers a conventional 2-channel signal to the front speakers. If the system is con- figured to route bass signals from the front speakers to the subwoofer, this capability remains in effect. 2CH Stereo: Turns off the center channel and all surround channels in the system and delivers a conventional 2-channel signal to the front speakers. If the system is con- figured to route bass signals from the front speakers to the subwoofer, this capability remains in effect. Analog Bypass: For 2-channel analog inputs, there is a special stereo mode that bypasses ALL of the RSX-1057’s digital pro- cessing. The two front speakers receive pure analog stereo full-range signals with no sub- woofer crossover, no delay, no level adjust- ments, and no contour adjustment. Analog Bypass: For 2-channel analog inputs, there is a special stereo mode that bypasses ALL of the RSX-1057’s digital pro- cessing. The two front speakers receive pure analog stereo full-range signals with no sub- woofer crossover, no delay, no level adjust- ments, and no contour adjustment. Analog Bypass: For 2-channel analog inputs, there is a special stereo mode that bypasses ALL of the RSX-1057’s digital pro- cessing. The two front speakers receive pure analog stereo full-range signals with no sub- woofer crossover, no delay, no level adjust- ments, and no contour adjustment. 5CH Stereo: Distributes a stereo signal to 5.1 channel systems. The left channel signal is sent, unchanged, to the front left and sur- round left speakers. The right channel is sent to the front right and surround right speak- ers. A mono sum of the two channels is sent to the center channel speaker. 5CH Stereo: Distributes a stereo signal to 5.1 channel systems. The left channel signal is sent, unchanged, to the front left and sur- round left speakers. The right channel is sent to the front right and surround right speak- ers. A mono sum of the two channels is sent to the center channel speaker. 7CH Stereo: This mode is the same as 5CH Stereo described above except that it also distributes stereo signals to center back speaker(s) installed in the system.

29 English

Other Digital Formats Several other digital formats are not surround sound formats at all, but rather systems for digital 2-channel recordings. PCM 2-channel: This is an uncompressed 2-channel digital signal such as that used for standard CD recordings and some DVD re- cordings, particularly of older films. HDCD®: This system uses higher bit rates and a variety of enhancements to improve the sonic performance compared to standard audio CDs. These discs, labeled HDCD, can be played on standard CD players. Howev- er, when the digital signal is decoded using an HDCD decoder like that in the RSX-1057, they will provide exceptional musical repro- duction. DTS Music 5.1 Discs: These discs are a variation of audio CDs that include a DTS 5.1 channel recording. The RSX-1057 decodes these discs just like a DTS movie soundtrack when played on a CD player or DVD player with a digital output connection. DVD-A music discs: Taking advantage of the increased storage capacity of the DVD disc, new high bit rate multichannel audio re- cordings are available on DVD-A discs. DVD- A discs may include multiple versions of the recording including standard PCM stereo, Dolby Digital 5.1, DTS 5.1, and 96kHz/24 bit (or higher) multichannel recordings using MLP compression. Several of these formats (standard PCM, Dolby Digital, and DTS 5.1 can be decoded by the RSX-1057 when the DVD player is connected with a digital ca- ble. However, the existing optical and coax digital connection standard does not provide sufficient bandwidth for multichannel high sampling rate MLP recordings. Therefore, DVD-A discs with these high-resolution audio soundtracks must be decoded by a the DVD player and the resulting analog signals sent to the RSX-1057’s MULTI INPUT. SACD®: This is a proprietary high-resolution audio standard for use on SACD compatible disc players. As with high-resolution DVD-A discs, the bandwidth is too high for today’s digital connection. Thus, these discs must be decoded by SACD compatible player, with the output sent to the RSX-1057’s MULTI INPUTS. MP3: The RSX-1057 also features a decoder for the digital MP3 (MPEG1- Audio Layer 3) compression format. MP3 format recordings are available on the Internet and can be played on portable MP3 players or some disc play- ers that can read CD-ROM discs connected to the RSX-1057’s digital inputs. MPEG Multichannel: The RSX-1057 can decode MPEG Multichannel digital record- ings. Widely used in Europe, this format uses MPEG data compression to record up to 5.1 channels of discrete digital audio, similar in function to the Dolby Digital and DTS formats. Automatic Surround Modes Decoding of digital sources connected to the digital inputs is generally automatic, with de- tection triggered by a “flag” embedded in the digital recording telling the RSX-1057 what decoding format is required. For example, when Dolby Digital 5.1 or DTS 5.1 channel surround is detected, the RSX-1057 activates the proper decoding. The unit will also detect DTS-ES Matrix 6.1 or DTS-ES Discrete 6.1 discs and activate DTS-ES® Extended Surround decoding. Dol- by Digital Surround EX recordings also trig- ger automatic decoding (although not all Surround EX DVDs have the necessary flag and may require manually activating Sur- round EX decoding). Likewise, a digital input from an HDCD® en- coded compact disc, a standard CD, a DTS 96/24 disc, or MP3 player will be auto-de- tected and properly decoded to 2CH stereo operation. Dolby Pro Logic IIx or Rotel XS processing can be configured to be automatically active in all 6.1 or 7.1 channel systems configured with center back speaker(s) and will ensure proper extended surround decoding of all multichannel digital signals, even those that might not otherwise trigger the proper ex- tended surround mode. In many cases, the RSX-1057 will also rec- ognize a digital signal with Dolby Surround encoding (such as the default soundtrack on many DVDs) and activate Dolby® Pro Logic II® decoding. NOTE: A digital signal coming into the RSX-1057 will be recognized and properly decoded. However, on a DVD with multiple soundtracks, you must tell the DVD player which one to send to the RSX-1057. For example, you may need to use the DVD’s menu system to select the Dolby Digital 5.1 or DTS 5.1 soundtrack rather than the default Dolby Digital 2.0 Dolby Surround soundtrack. NOTE: A digital signal coming into the RSX-1057 will be recognized and properly decoded. However, on a DVD with multiple soundtracks, you must tell the DVD player which one to send to the RSX-1057. For example, you may need to use the DVD’s menu system to select the Dolby Digital 5.1 or DTS 5.1 soundtrack rather than the default Dolby Digital 2.0 Dolby Surround soundtrack. NOTE: A digital signal coming into the RSX-1057 will be recognized and properly decoded. However, on a DVD with multiple soundtracks, you must tell the DVD player which one to send to the RSX-1057. For example, you may need to use the DVD’s menu system to select the Dolby Digital 5.1 or DTS 5.1 soundtrack rather than the default Dolby Digital 2.0 Dolby Surround soundtrack. NOTE: A digital signal coming into the RSX-1057 will be recognized and properly decoded. However, on a DVD with multiple soundtracks, you must tell the DVD player which one to send to the RSX-1057. For example, you may need to use the DVD’s menu system to select the Dolby Digital 5.1 or DTS 5.1 soundtrack rather than the default Dolby Digital 2.0 Dolby Surround soundtrack. NOTE: A digital signal coming into the RSX-1057 will be recognized and properly decoded. However, on a DVD with multiple soundtracks, you must tell the DVD player which one to send to the RSX-1057. For example, you may need to use the DVD’s menu system to select the Dolby Digital 5.1 or DTS 5.1 soundtrack rather than the default Dolby Digital 2.0 Dolby Surround soundtrack. Additionally, you can configure a default surround mode for each input using the IN- PUT SETUP menu (see the Setup section of this manual). Combined with the auto-de- tection of Dolby Digital 5.1 and DTS, this default surround setting makes operation of the RSX-1057 surround modes totally au- tomatic. For example, if you set Dolby Pro Logic II movie mode as the default for all of your video inputs, the RSX-1057 will auto- matically decode Dolby Digital 5.1 and DTS soundtracks when they are played and use Pro Logic II matrix decoding for all other re- cordings. For stereo inputs such as CD and Tuner, you could select STEREO mode as the default for 2-channel playback or Dolby Pro Logic II music mode if you prefer to hear mu- sic sources in surround sound. Additionally, you can configure a default surround mode for each input using the IN- PUT SETUP menu (see the Setup section of this manual). Combined with the auto-de- tection of Dolby Digital 5.1 and DTS, this default surround setting makes operation of the RSX-1057 surround modes totally au- tomatic. For example, if you set Dolby Pro Logic II movie mode as the default for all of your video inputs, the RSX-1057 will auto- matically decode Dolby Digital 5.1 and DTS soundtracks when they are played and use Pro Logic II matrix decoding for all other re- cordings. For stereo inputs such as CD and Tuner, you could select STEREO mode as the default for 2-channel playback or Dolby Pro Logic II music mode if you prefer to hear mu- sic sources in surround sound. Additionally, you can configure a default surround mode for each input using the IN- PUT SETUP menu (see the Setup section of this manual). Combined with the auto-de- tection of Dolby Digital 5.1 and DTS, this default surround setting makes operation of the RSX-1057 surround modes totally au- tomatic. For example, if you set Dolby Pro Logic II movie mode as the default for all of your video inputs, the RSX-1057 will auto- matically decode Dolby Digital 5.1 and DTS soundtracks when they are played and use Pro Logic II matrix decoding for all other re- cordings. For stereo inputs such as CD and Tuner, you could select STEREO mode as the default for 2-channel playback or Dolby Pro Logic II music mode if you prefer to hear mu- sic sources in surround sound. Additionally, you can configure a default surround mode for each input using the IN- PUT SETUP menu (see the Setup section of this manual). Combined with the auto-de- tection of Dolby Digital 5.1 and DTS, this default surround setting makes operation of the RSX-1057 surround modes totally au- tomatic. For example, if you set Dolby Pro Logic II movie mode as the default for all of your video inputs, the RSX-1057 will auto- matically decode Dolby Digital 5.1 and DTS soundtracks when they are played and use Pro Logic II matrix decoding for all other re- cordings. For stereo inputs such as CD and Tuner, you could select STEREO mode as the default for 2-channel playback or Dolby Pro Logic II music mode if you prefer to hear mu- sic sources in surround sound. Additionally, you can configure a default surround mode for each input using the IN- PUT SETUP menu (see the Setup section of this manual). Combined with the auto-de- tection of Dolby Digital 5.1 and DTS, this default surround setting makes operation of the RSX-1057 surround modes totally au- tomatic. For example, if you set Dolby Pro Logic II movie mode as the default for all of your video inputs, the RSX-1057 will auto- matically decode Dolby Digital 5.1 and DTS soundtracks when they are played and use Pro Logic II matrix decoding for all other re- cordings. For stereo inputs such as CD and Tuner, you could select STEREO mode as the default for 2-channel playback or Dolby Pro Logic II music mode if you prefer to hear mu- sic sources in surround sound. Additionally, you can configure a default surround mode for each input using the IN- PUT SETUP menu (see the Setup section of this manual). Combined with the auto-de- tection of Dolby Digital 5.1 and DTS, this default surround setting makes operation of the RSX-1057 surround modes totally au- tomatic. For example, if you set Dolby Pro Logic II movie mode as the default for all of your video inputs, the RSX-1057 will auto- matically decode Dolby Digital 5.1 and DTS soundtracks when they are played and use Pro Logic II matrix decoding for all other re- cordings. For stereo inputs such as CD and Tuner, you could select STEREO mode as the default for 2-channel playback or Dolby Pro Logic II music mode if you prefer to hear mu- sic sources in surround sound. Manually Selecting Surround Modes Manually Selecting Surround Modes As described in the previous section, the com- bination of auto-detection of Dolby Digital and DTS recordings and setting default sur- round modes for each input during the setup of the RSX-1057 makes operation of surround modes totally automatic. For many users, this automatic surround mode selection will meet all of their listening needs. As described in the previous section, the com- bination of auto-detection of Dolby Digital and DTS recordings and setting default sur- round modes for each input during the setup of the RSX-1057 makes operation of surround modes totally automatic. For many users, this automatic surround mode selection will meet all of their listening needs. As described in the previous section, the com- bination of auto-detection of Dolby Digital and DTS recordings and setting default sur- round modes for each input during the setup of the RSX-1057 makes operation of surround modes totally automatic. For many users, this automatic surround mode selection will meet all of their listening needs. For users who prefer a more active role in set- ting surround modes, buttons on the remote and the front panel provide manual selection of surround mode that are not automatically detected or, in some cases, to override an automatic setting. For users who prefer a more active role in set- ting surround modes, buttons on the remote and the front panel provide manual selection of surround mode that are not automatically detected or, in some cases, to override an automatic setting. For users who prefer a more active role in set- ting surround modes, buttons on the remote and the front panel provide manual selection of surround mode that are not automatically detected or, in some cases, to override an automatic setting. For users who prefer a more active role in set- ting surround modes, buttons on the remote and the front panel provide manual selection of surround mode that are not automatically detected or, in some cases, to override an automatic setting. Manual settings available from the front panel and/or the remote might be used when you want to play: Manual settings available from the front panel and/or the remote might be used when you want to play: • Standard 2-channel stereo (left/right speak- ers only) with no surround processing. • Standard 2-channel stereo (left/right speak- ers only) with no surround processing. • Downmixed 2-channel playback of Dolby Digital 5.1 or DTS recordings.

30 RSX-1057 Surround Sound Receiver

• Dolby 3-channel stereo (left/right/center) of 2-channel recordings. • 5-channel or 7-channel stereo from 2- channel recordings. • One of four MUSIC modes for DSP con- cert hall simulation from 2-channel record- ings. • Dolby Pro Logic II cinema or music mode matrix decoding of 2-channel record- ings. • DTS Neo:6 cinema or music mode matrix decoding of 2-channel recordings. • Dolby Digital Surround EX decoding of Dolby Digital 5.1 channel recordings or Dolby Digital Surround EX discs that do not trigger automatic decoding. NOTE: DTS, DTS-ES Matrix 6.1, DTS-ES Dis- crete 6.1, DTS 96/24, Dolby Digital, MP3, MPEG Multichannel, HDCD (96kHz), and PCM 2-channel (96kHz) digital signals are auto-detected and cannot be overridden. However, you can choose to use Dolby Digital Surround EX decoding for any Dolby Digital 5.1 source material. You can also downmix Dolby Digital 5.1 or DTS 5.1 recordings for 2-channel playback. • HDCD (non 96kHz) and PCM 2-chan- nel (non 96kHz) digital signals can be overridden to Dolby Pro Logic II, Dolby 3-Stereo, DTS Neo:6, Music 1 – 4, 5CH Stereo, 7CH Stereo, and Stereo. • Dolby Digital 2-channel Stereo can be overridden to Dolby Pro Logic II, Dolby 3-Stereo, and Stereo. The following topics describe in detail the manual surround mode options available for each type of recording: Dolby Digital 5.1 discs Dolby Digital Surround EX discs Dolby Digital decoding is auto-detected and cannot be overridden. You may, however, select a 2 channel downmix of 5.1 channel recordings. In a 6.1ch or 7.1 ch system, you can also choose Dolby Surround EX, Dolby Pro Logic IIx Music, Dolby Pro Logic IIx Cin- ema (7.1ch only), or Rotel XS processing for center back channels. NOTE: In addition to the options that follow, you can press the 2CH button on the front panel or the remote to toggle between 2-channel downmix and multichannel playback. • On a 5.1 system. Press the SUR+ but- ton on the remote, then press the +/– but- tons to change between DD 5.1 channel or DD 2.0 channel downmix playback. • On a 6.1 system. Press the SUR+ button on the remote, then use the +/– buttons to step through five options: DD 2.0 channel downmix, DD 5.1 channel, DD Surround EX center back processing, DD with Pro Logic IIx Music center back processing or DD with Rotel XS center back process- ing. You should typically select Surround EX or discs that are labeled Dolby Digital Surround EX. For standard 5.1 channel discs, Dolby Pro Logic IIx Music or Rotel XS processing will provide a more diffuse surround effect than the more highly local- ized Dolby EX decoding and will prob- ably be the better 6.1 channel options for non-Surround EX discs. Selecting DD 5.1 forces the center back channel pro- cessing off for conventional 5.1 channel playback. You can also repeatedly press the DOLBY PLIIx Mode button on the front panel until the desired center back chan- nel option is selected. • On a 7.1 system. Press the SUR+ button on the remote, then use the +/– buttons to step through six options: DD 2.0 channel downmix, DD 5.1 channel, DD Surround EX center back processing, DD with Pro Logic IIx Music center back processing, DD with Pro Logic IIx Cinema back chan- nel processing, or DD with Rotel XS center back processing. You should typically se- lect Surround EX or discs that are labeled Dolby Digital Surround EX. For standard 5.1 channel discs, Dolby Pro Logic IIx Mu- sic or Rotel XS processing will provide a more diffused surround effect than the more highly localized Dolby EX decoding and may be the better 7.1 channel options for non-Surround EX discs. Selecting DD 5.1 forces the center back channel pro- cessing off for conventional 5.1 channel playback. You can also repeatedly press the DOLBY PLIIx Mode button on the front panel until the desired center back chan- nel option is selected. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. Dolby Digital 2.0 discs Dolby Digital 2.0 discs Dolby Digital decoding is auto-detected and cannot be overridden. You may, however, se- lect 2-channel playback, 5.1 channel play- back with Pro Logic II matrix surround, 6.1/7.1 channel playback with Pro Logic IIx matrix surround, or Dolby 3-Stereo playback. Dolby Digital decoding is auto-detected and cannot be overridden. You may, however, se- lect 2-channel playback, 5.1 channel play- back with Pro Logic II matrix surround, 6.1/7.1 channel playback with Pro Logic IIx matrix surround, or Dolby 3-Stereo playback. Dolby Digital decoding is auto-detected and cannot be overridden. You may, however, se- lect 2-channel playback, 5.1 channel play- back with Pro Logic II matrix surround, 6.1/7.1 channel playback with Pro Logic IIx matrix surround, or Dolby 3-Stereo playback. • On a 5.1 system. Press the SUR+ but- ton on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic II Cinema ma- trix surround, DD with Pro Logic II Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • On a 5.1 system. Press the SUR+ but- ton on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic II Cinema ma- trix surround, DD with Pro Logic II Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • On a 5.1 system. Press the SUR+ but- ton on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic II Cinema ma- trix surround, DD with Pro Logic II Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • On a 6.1/7.1 system. Press the SUR+ button on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic IIx Cinema ma- trix surround, DD with Pro Logic IIx Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • On a 6.1/7.1 system. Press the SUR+ button on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic IIx Cinema ma- trix surround, DD with Pro Logic IIx Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • On a 6.1/7.1 system. Press the SUR+ button on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic IIx Cinema ma- trix surround, DD with Pro Logic IIx Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • On a 6.1/7.1 system. Press the SUR+ button on the remote, then use the +/– but- tons to step through four options: DD 2.0 channel, DD with Pro Logic IIx Cinema ma- trix surround, DD with Pro Logic IIx Music matrix surround, or Dolby Digital 3 chan- nel stereo. You can also repeatedly press the 2CH button on the front panel or the remote to select the same options. • To select Cinema or Music options in Pro Logic II or Pro Logic IIx modes. Press the SUR+ button twice while in Pro Logic II or Pro Logic IIx modes. Then, use the +/– buttons to select the Music or Cin- ema options. • To select Cinema or Music options in Pro Logic II or Pro Logic IIx modes. Press the SUR+ button twice while in Pro Logic II or Pro Logic IIx modes. Then, use the +/– buttons to select the Music or Cin- ema options. • To select Cinema or Music options in Pro Logic II or Pro Logic IIx modes. Press the SUR+ button twice while in Pro Logic II or Pro Logic IIx modes. Then, use the +/– buttons to select the Music or Cin- ema options. • To select Cinema or Music options in Pro Logic II or Pro Logic IIx modes. Press the SUR+ button twice while in Pro Logic II or Pro Logic IIx modes. Then, use the +/– buttons to select the Music or Cin- ema options. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. NOTE: When playing any Dolby Digital source, you can select one of three dynamic range control settings. See the Dynamic Range topic in the Other Settings section of this manual. 31 English DTS 5.1 discs DTS 96/24 discs DTS-ES 6.1 discs DTS decoding is auto-detected and cannot be overridden. You may, however, select a 2 channel downmix of 5.1 channel record- ings or add Rotel XS center back processing for 5.1 channel discs. NOTE: In addition to the options that follow, you can press the 2CH button on the remote to toggle between 2-channel downmix and multichannel playback. • On a 5.1 system. Press the SUR+ but- ton on the remote, then press the +/– but- tons to change between DTS 5.1 channel or DTS 2.0 channel downmix playback. • On a 6.1/7.1 system with a DTS 5.1 disc. Press the SUR+ button on the remote, then use the +/– buttons to step through the optional modes: DTS 2.0 channel downmix, DTS 5.1 channel, DTS with Rotel XS center back processing, DTS with Pro Logic IIx Music center back pro- cessing, or DTS with Pro Logic IIx Cinema center back processing (available only for 7.1 channel systems). Selecting DTS 5.1 forces the center back channel pro- cessing off for conventional 5.1 channel playback. You can also repeatedly press the DTS Neo:6 button on the front panel until the desired option is selected. MPEG Multichannel discs MPEG decoding is auto-detected and cannot be overridden. You may, however, select a 2 channel downmix of 5.1 channel record- ings. If the system is configured with center back speaker(s), you can also force Rotel XS processing on or off. NOTE: In addition to the options that follow, you can press the 2CH button on the remote to toggle between 2-channel downmix and multichannel playback. • On a 5.1 system. Press the SUR+ button on the remote, then press the +/– buttons to change between MPEG 5.1 channel or MPEG 2.0 channel downmix playback. • On a 6.1/7.1 system. Press the SUR+ button on the remote, then use the +/– but- tons to step through the optional modes: MPEG 2.0 channel downmix, MPEG 5.1 channel, MPEG with Rotel XS center back processing, MPEG with Pro Logic IIx Mu- sic center back processing, or MPEG with Pro Logic IIx Cinema center back processing (available only for 7.1 chan- nel systems). Selecting MPEG 5.1 forces the center back channel processing off for conventional 5.1 channel playback. You can also repeatedly press the DSP button on the front panel until the desired option is selected. NOTE: In addition to the options that follow, you can select 2-channel, Pro Logic II Cin- ema (for 5.1 ch systems), Pro Logic II Music (for 5.1 ch systems), Pro Logic IIx Music (for 6.1/7.1 ch systems), Pro Logic IIx Cinema (for 7.1 ch systems), 5-channel stereo, or 7-chan- nel stereo by pressing one of the surround mode buttons on the remote (2CH, PLC, PLM, 5CH, 7CH). NOTE: In addition to the options that follow, you can select 2-channel, Pro Logic II Cin- ema (for 5.1 ch systems), Pro Logic II Music (for 5.1 ch systems), Pro Logic IIx Music (for 6.1/7.1 ch systems), Pro Logic IIx Cinema (for 7.1 ch systems), 5-channel stereo, or 7-chan- nel stereo by pressing one of the surround mode buttons on the remote (2CH, PLC, PLM, 5CH, 7CH). NOTE: In addition to the options that follow, you can select 2-channel, Pro Logic II Cin- ema (for 5.1 ch systems), Pro Logic II Music (for 5.1 ch systems), Pro Logic IIx Music (for 6.1/7.1 ch systems), Pro Logic IIx Cinema (for 7.1 ch systems), 5-channel stereo, or 7-chan- nel stereo by pressing one of the surround mode buttons on the remote (2CH, PLC, PLM, 5CH, 7CH). NOTE: In addition to the options that follow, you can select 2-channel, Pro Logic II Cin- ema (for 5.1 ch systems), Pro Logic II Music (for 5.1 ch systems), Pro Logic IIx Music (for 6.1/7.1 ch systems), Pro Logic IIx Cinema (for 7.1 ch systems), 5-channel stereo, or 7-chan- nel stereo by pressing one of the surround mode buttons on the remote (2CH, PLC, PLM, 5CH, 7CH). • To select any mode for 2-channel digital recordings. Press the SUR+ but- ton on the remote, then use the +/– but- tons to step through the optional modes until the desired mode is displayed. • To select any mode for 2-channel digital recordings. Press the SUR+ but- ton on the remote, then use the +/– but- tons to step through the optional modes until the desired mode is displayed. • To select any mode for 2-channel digital recordings. Press the SUR+ but- ton on the remote, then use the +/– but- tons to step through the optional modes until the desired mode is displayed. • To select STEREO mode for 2-chan- nel digital recordings. Press the 2CH button on the front panel or remote. • To select STEREO mode for 2-chan- nel digital recordings. Press the 2CH button on the front panel or remote. • To select Dolby multichannel modes for 2-channel digital recordings. You can also step through the Dolby options (Pro Logic II, Pro Logic IIx, or 3-Stereo) by repeatedly pressing the DOLBY PLIIx Mode button on the front panel. You can select Pro Logic or Pro Logic IIx Cinema or Music modes by pressing the PLC or PLM buttons on the remote. • To select Dolby multichannel modes for 2-channel digital recordings. You can also step through the Dolby options (Pro Logic II, Pro Logic IIx, or 3-Stereo) by repeatedly pressing the DOLBY PLIIx Mode button on the front panel. You can select Pro Logic or Pro Logic IIx Cinema or Music modes by pressing the PLC or PLM buttons on the remote. To change the Cinema or Music option in Pro Logic II mode, press the SUR+ but- ton the remote twice while in Pro Logic II or Pro Logic IIx modes. Then, press the +/– buttons to select the option. To change the Cinema or Music option in Pro Logic II mode, press the SUR+ but- ton the remote twice while in Pro Logic II or Pro Logic IIx modes. Then, press the +/– buttons to select the option. • To select DTS Neo:6 mode for 2- channel digital recordings. You can also step through the DTS options (Neo:6 Cinema or Neo:6 Music) by repeatedly pressing the DTS Neo:6 button on the front panel. • On a 6.1/7.1 system with a DTS-ES disc. Press the SUR+ button on the remote, then use the +/– buttons to step through three optional modes: DTS 2.0 channel downmix, DTS 5.1, or DTS-ES 6.1ch/7.1ch playback. On the front panel, press the DTS Neo:6 button while playing a DTS source to step through the same options. • On a 6.1/7.1 system with a DTS 96/24 disc. Press the SUR+ button on the remote, then use the +/– buttons to step through the optional modes: DTS 2.0 channel downmix, DTS 96, or DTS 96 with Rotel XS center back processing. You can also repeatedly press the DTS Neo:6 but- ton on the front panel until the desired op- tion is selected. Digital Stereo discs (PCM, MP3, and HDCD) This group of recordings includes any non-Dolby Digital 2-channel signal from the RSX-1057’s digital inputs. You can play these recordings in 2-CH Stereo, Dolby 3-Stereo, 5-CH Stereo, 7-CH Stereo modes. You can also use Dolby Pro Logic II matrix surround (5.1 ch systems), Dolby Pro Logic IIx Music (6.1/7.1 ch sys- tems), Dolby Pro Logic IIx Cinema (6.1/7.1 ch systems), DTS Neo:6 surround, or one of the MUSIC 1-4 DSP modes. All of the bass management settings (speaker size, subwoofer, and crossover) are in effect with digital stereo inputs. • To select DTS Neo:6 mode for 2- channel digital recordings. You can also step through the DTS options (Neo:6 Cinema or Neo:6 Music) by repeatedly pressing the DTS Neo:6 button on the front panel. • To select DTS Neo:6 mode for 2- channel digital recordings. You can also step through the DTS options (Neo:6 Cinema or Neo:6 Music) by repeatedly pressing the DTS Neo:6 button on the front panel. • To select DTS Neo:6 mode for 2- channel digital recordings. You can also step through the DTS options (Neo:6 Cinema or Neo:6 Music) by repeatedly pressing the DTS Neo:6 button on the front panel. To change the Cinema or Music option in Neo:6 mode, press the SUR+ button the remote twice while in Neo:6 mode. Then, press the +/– buttons to select the option. To change the Cinema or Music option in Neo:6 mode, press the SUR+ button the remote twice while in Neo:6 mode. Then, press the +/– buttons to select the option. To change the Cinema or Music option in Neo:6 mode, press the SUR+ button the remote twice while in Neo:6 mode. Then, press the +/– buttons to select the option. • To select DSP multichannel modes for 2-channel digital recordings. You can also step through the DSP options (MUSIC 1-4, 5CH, 7CH) by repeatedly pressing the DSP button on the front panel. Directly select 5CH mode by pressing the 5CH button on the remote. Directly select 7CH mode by pressing the 7CH button on the remote. • To select DSP multichannel modes for 2-channel digital recordings. You can also step through the DSP options (MUSIC 1-4, 5CH, 7CH) by repeatedly pressing the DSP button on the front panel. Directly select 5CH mode by pressing the 5CH button on the remote. Directly select 7CH mode by pressing the 7CH button on the remote. • To select DSP multichannel modes for 2-channel digital recordings. You can also step through the DSP options (MUSIC 1-4, 5CH, 7CH) by repeatedly pressing the DSP button on the front panel. Directly select 5CH mode by pressing the 5CH button on the remote. Directly select 7CH mode by pressing the 7CH button on the remote.

32 RSX-1057 Surround Sound Receiver

Analog Stereo This type of recording includes any conven- tional stereo signal from the RSX-1057’s ana- log inputs, including analog audio from CD players, FM tuners, VCRs, tape decks, etc. Analog stereo inputs require a choice about how the signal is routed through the RSX-1057. One option is the analog bypass mode. In this mode, the stereo signal is routed directly to the volume control and the outputs. It is pure 2-channel stereo, bypassing all of the digital circuitry. None of the bass manage- ment features, speaker level settings, contour settings, or delay settings are active. There is no subwoofer output. A full-range signal is sent directly to two speakers. The other option converts the analog inputs to digital signals, passing them through the digital processors in the RSX-1057. This option allows all of the features to be active includ- ing bass management settings, crossovers, subwoofer outputs, contour settings, etc. In this mode, you can select several surround modes including 2-CH Stereo, Dolby 3-Ste- reo, 5-CH Stereo, 7-CH Stereo modes. You can also use Dolby Pro Logic II or Pro Logic IIx surround, DTS Neo:6 surround, or one of the MUSIC 1-4 DSP modes. NOTE: In addition to the options that follow, you can select Pro Logic II Cinema, Pro Logic II Music, Pro Logic IIx Cinema, Pro Logic IIx Music, 5-channel stereo, or 7-channel stereo by pressing one of the surround mode buttons on the remote (PLC, PLM, 5CH, 7CH). • To select Stereo or Analog bypass mode for 2-channel analog re- cordings. Press the 2CH button on the remote to toggle between Stereo (with digital processing) or Analog Bypass (no digital processing) modes. • To select any mode for 2-channel analog recordings. Press the SUR+ button on the remote, then use the +/– but- tons to step through the optional modes until the desired mode is displayed. • To select Dolby multichannel modes for 2-channel analog recordings. You can also step through the Dolby op- tions (Pro Logic II, Pro Logic IIx, or 3-Ste- reo) by repeatedly pressing the DOLBY PLIIx/3ST button on the front panel. You can select Pro Logic or Pro Logic IIx Cin- ema or Music modes by pressing the PLC or PLM buttons on the remote. To change the Cinema or Music option in Pro Logic II mode, press the SUR+ but- ton the remote twice while in Pro Logic II or Pro Logic IIx modes. Then, press the +/– buttons to select the option. • To select DTS Neo:6 modes for 2- channel analog recordings. You can also step through the DTS options (Neo:6 Cinema or Neo:6 Music) by repeatedly pressing the DTS Neo:6 button on the front panel. To change the Cinema or Music option in Neo:6 mode, press the SUR+ button the remote twice while in Neo:6 mode. Then, press the +/– buttons to select the option. • To select DSP multichannel modes for 2-channel analog recordings. You can also step through the DSP options (MUSIC 1-4, 5CH, 7CH) by repeatedly pressing the DSP button on the front panel. Directly select 5CH mode by pressing the 5CH button on the remote. Directly select 7CH mode by pressing the 7CH button on the remote. Other Settings Speaker Level The levels of all channels should be calibrated using the TEST TONE procedure during the initial setup of the RSX-1057. You can make a temporary change in the relative volume of the center, surround, center back, or sub- woofer channels using buttons on the remote control or the front panel controls. These temporary adjustments only remain in effect until a different input is selected or until the RSX-1057 is turned off. To adjust speaker levels using the remote: 1. Press a selection button on the remote to select a channel (or pair of channels) for adjustment. Press the C button to adjust the CENTER channel. Press the S button to ad- just the SUBWOOFER channel. Press the R button to adjust the rear SURROUND or CENTER BACK channels (each press of the R button toggles between the SURROUND channels and the CENTER BACK channels). The selected speaker and its current setting appear briefly in the display. channels and the CENTER BACK channels). The selected speaker and its current setting appear briefly in the display. channels and the CENTER BACK channels). The selected speaker and its current setting appear briefly in the display. 2. Use the UP or DOWN buttons on the re- mote to adjust the output level of the se- lected channel(s). 2. Use the UP or DOWN buttons on the re- mote to adjust the output level of the se- lected channel(s). 2. Use the UP or DOWN buttons on the re- mote to adjust the output level of the se- lected channel(s). NOTE: If no level adjustment is made for 10 seconds, the levels revert to the default cali- brated settings. NOTE: If no level adjustment is made for 10 seconds, the levels revert to the default cali- brated settings. NOTE: If no level adjustment is made for 10 seconds, the levels revert to the default cali- brated settings. As you select a speaker in the above adjust- ments, you may notice an addition choice, “group delay”. See the following for an ex- planation of this feature. As you select a speaker in the above adjust- ments, you may notice an addition choice, “group delay”. See the following for an ex- planation of this feature. Group Delay Group Delay The SPEAKER adjustments (described above) can also be used to make a temporary ad- justment to the group delay or “lip-synch” delay. Group delay delays the overall audio signal (to all speakers) by a specified amount to correct for situations where the video and audio signals are out of synch. This can oc- cur with upconverted digital TV signals or when trying to match a radio broadcast with the video from a sports event. The set- tings range from 0 to 500 milliseconds in 5 ms increments. The SPEAKER adjustments (described above) can also be used to make a temporary ad- justment to the group delay or “lip-synch” delay. Group delay delays the overall audio signal (to all speakers) by a specified amount to correct for situations where the video and audio signals are out of synch. This can oc- cur with upconverted digital TV signals or when trying to match a radio broadcast with the video from a sports event. The set- tings range from 0 to 500 milliseconds in 5 ms increments. The SPEAKER adjustments (described above) can also be used to make a temporary ad- justment to the group delay or “lip-synch” delay. Group delay delays the overall audio signal (to all speakers) by a specified amount to correct for situations where the video and audio signals are out of synch. This can oc- cur with upconverted digital TV signals or when trying to match a radio broadcast with the video from a sports event. The set- tings range from 0 to 500 milliseconds in 5 ms increments. Like the speaker settings, this is a temporary adjustment that overrides the permanent de- fault setting for a video source until a dif- ferent input source is selected or the unit is turned off. Like the speaker settings, this is a temporary adjustment that overrides the permanent de- fault setting for a video source until a dif- ferent input source is selected or the unit is turned off. Like the speaker settings, this is a temporary adjustment that overrides the permanent de- fault setting for a video source until a dif- ferent input source is selected or the unit is turned off. To adjust group delay using the re- mote: To adjust group delay using the re- mote: To adjust group delay using the re- mote: To adjust group delay using the re- mote: 1. Press the C button on the remote twice. 1. Press the C button on the remote twice. 2. Use the UP or DOWN buttons on the re- mote to adjust the amount of delay ap- plied to all channels. 2. Use the UP or DOWN buttons on the re- mote to adjust the amount of delay ap- plied to all channels. Dynamic Range Dynamic Range Dolby Digital recordings are capable of wide dynamic range (the difference between the softest and loudest sounds). In some cases, this may tax amplifiers and/or speakers. In other cases, you may want to reduce the dy- namic range when listening at low volume levels. This is particularly useful in order to keep dialog loud enough to be intelligible while avoiding excessively loud sound ef- fects. Dolby Digital dynamic compensation is a sophisticated feature that allows you to adjust the dynamic range while still preserv- Dolby Digital recordings are capable of wide dynamic range (the difference between the softest and loudest sounds). In some cases, this may tax amplifiers and/or speakers. In other cases, you may want to reduce the dy- namic range when listening at low volume levels. This is particularly useful in order to keep dialog loud enough to be intelligible while avoiding excessively loud sound ef- fects. Dolby Digital dynamic compensation is a sophisticated feature that allows you to adjust the dynamic range while still preserv- Dolby Digital recordings are capable of wide dynamic range (the difference between the softest and loudest sounds). In some cases, this may tax amplifiers and/or speakers. In other cases, you may want to reduce the dy- namic range when listening at low volume levels. This is particularly useful in order to keep dialog loud enough to be intelligible while avoiding excessively loud sound ef- fects. Dolby Digital dynamic compensation is a sophisticated feature that allows you to adjust the dynamic range while still preserv- Dolby Digital recordings are capable of wide dynamic range (the difference between the softest and loudest sounds). In some cases, this may tax amplifiers and/or speakers. In other cases, you may want to reduce the dy- namic range when listening at low volume levels. This is particularly useful in order to keep dialog loud enough to be intelligible while avoiding excessively loud sound ef- fects. Dolby Digital dynamic compensation is a sophisticated feature that allows you to adjust the dynamic range while still preserv- Dolby Digital recordings are capable of wide dynamic range (the difference between the softest and loudest sounds). In some cases, this may tax amplifiers and/or speakers. In other cases, you may want to reduce the dy- namic range when listening at low volume levels. This is particularly useful in order to keep dialog loud enough to be intelligible while avoiding excessively loud sound ef- fects. Dolby Digital dynamic compensation is a sophisticated feature that allows you to adjust the dynamic range while still preserv- 33 English ing fidelity. The actual amount of compres- sion relies on instructions embedded in the Dolby Digital recording and varies to best suit the specific program content. There are three dynamic range settings avail- able for Dolby Digital recordings: • MAX: full dynamic range. To adjust the contour settings from the remote: 1. Press the TONE button on the remote. Either LF or HF appears in the OSD and front panel displays, depending on which adjustment is currently active. Press the TONE button again to toggle to the other adjustment. • Automatic frequency search tun- ing searches up or down to find the next receivable broadcast signal. Press and hold a TUNING button (CH UP/DOWN on the remote) for at least one second to search up or down. • Automatic frequency search tun- ing searches up or down to find the next receivable broadcast signal. Press and hold a TUNING button (CH UP/DOWN on the remote) for at least one second to search up or down. • Automatic frequency search tun- ing searches up or down to find the next receivable broadcast signal. Press and hold a TUNING button (CH UP/DOWN on the remote) for at least one second to search up or down. • Automatic frequency search tun- ing searches up or down to find the next receivable broadcast signal. Press and hold a TUNING button (CH UP/DOWN on the remote) for at least one second to search up or down. • Station preset tuning lets you directly enter the number of a memorized station preset. Enter the number of the memorized preset using the NUMERIC buttons. • Station preset tuning lets you directly enter the number of a memorized station preset. Enter the number of the memorized preset using the NUMERIC buttons. • MID: slightly reduced dynamic range, roughly comparable to the signal from a compact disc. • MIN: more heavily reduced dynamic range, but still comparable to the signal from a typical VHS Hi-Fi recording. To adjust dynamic range: Press the DYN button on the remote repeat- edly until the desired setting appears in the front panel display. This setting remains in effect for all Dolby Digital program material until it is changed. NOTE: The dynamic range compensation fea- ture is only available in Dolby Digital mode. The setting is ignored with all other types of recordings. 2. Press the UP/DOWN buttons on the re- mote to increase or decrease the setting. The display will revert to normal operation following several seconds of inactivity. NOTE: The tone adjustments are available for all surround modes and inputs, except the MULTI input and analog bypass mode. Cinema EQ The EQ button (remote only) activates or de- activates a special CINEMA EQ setting. This equalization may be desirable for playback of movie source material to compensate for the acoustic differences between a commercial cinema and a home theater environment by reducing the high-frequency content. • Station preset tuning lets you directly enter the number of a memorized station preset. Enter the number of the memorized preset using the NUMERIC buttons. • Station preset tuning lets you directly enter the number of a memorized station preset. Enter the number of the memorized preset using the NUMERIC buttons. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset tuning jumps up/down to the next memorized station preset. When in PRESET mode, press a TUNING button (CH UP/DOWN on the remote) to select the next station preset. Press the PRESET button on the remote to select PRESET tuning mode. Press the TUNE button on the remote to select FREQUENCY tuning mode. Press the P-TUN button on the re- mote to toggle between preset and fre- quency tuning modes. • Preset scan tuning automatically scans through the memorized station pre- sets, playing each for 5 seconds. Press the SCAN button on the remote to begin preset scanning. Press the button again to stop the scanning and listen to the de- sired preset. • Preset scan tuning automatically scans through the memorized station pre- sets, playing each for 5 seconds. Press the SCAN button on the remote to begin preset scanning. Press the button again to stop the scanning and listen to the de- sired preset. Contour/Tone Settings The contour controls (available on the remote control) can be used to make a temporary change the high or low frequency content at the frequency extremes. Adjustments to the contour settings are temporary; they remain in effect only until a different source input is selected or the unit is turned off. Permanent settings can be made using the Contour Setup menu. The settings can be adjusted up or down by a maximum of 6dB. Changing the high fre- quency contour (HF) increases or decreas- es the treble. Changing the low frequency contour (LF) increases or decreases the bass content. The changes affect only the speak- er or speaker(s) selected for adjustment in the Contour Setup menu. The settings are shown on the front panel display as you adjust them. The EQ setting is independent for each source input. Using the button only changes the set- ting for the currently active source input. Tuner Controls The RSX-1057 features a digital synthesized AM/FM tuner with RDS capability and 30 station presets. The unit offers a wide range of tuning options. Here is an overview of the tuning options (more detailed informa- tion is provided in subsequent sections of this manual): • Manual frequency tuning tunes up or down to the next station frequency (when in frequency tuning mode). Press and release a TUNING button (CH UP/ DOWN on the remote) to tune. • Direct frequency tuning lets you enter the desired station frequency digits. Press the DIRECT button (or the FRQ DIRECT) button on the remote) and enter the digits using the NUMERIC buttons. • Preset scan tuning automatically scans through the memorized station pre- sets, playing each for 5 seconds. Press the SCAN button on the remote to begin preset scanning. Press the button again to stop the scanning and listen to the de- sired preset. • Preset scan tuning automatically scans through the memorized station pre- sets, playing each for 5 seconds. Press the SCAN button on the remote to begin preset scanning. Press the button again to stop the scanning and listen to the de- sired preset. • Preset scan tuning automatically scans through the memorized station pre- sets, playing each for 5 seconds. Press the SCAN button on the remote to begin preset scanning. Press the button again to stop the scanning and listen to the de- sired preset. • RDS (Europe) or RBDS (USA) tuning provides a range of special tuning and search features based on data codes en- coded with the broadcast signal. See the RDS section of this manual for detailed information. • RDS (Europe) or RBDS (USA) tuning provides a range of special tuning and search features based on data codes en- coded with the broadcast signal. See the RDS section of this manual for detailed information. • RDS (Europe) or RBDS (USA) tuning provides a range of special tuning and search features based on data codes en- coded with the broadcast signal. See the RDS section of this manual for detailed information. NOTE: The RSX-1057 comes configured for tun- ing in the market where you purchased it (N. America or Europe). To change this default setting, see the information on the DEFAULT SETUP on-screen menu later in this manual. NOTE: The RSX-1057 comes configured for tun- ing in the market where you purchased it (N. America or Europe). To change this default setting, see the information on the DEFAULT SETUP on-screen menu later in this manual. NOTE: The RSX-1057 comes configured for tun- ing in the market where you purchased it (N. America or Europe). To change this default setting, see the information on the DEFAULT SETUP on-screen menu later in this manual. NOTE: The RSX-1057 comes configured for tun- ing in the market where you purchased it (N. America or Europe). To change this default setting, see the information on the DEFAULT SETUP on-screen menu later in this manual. BAND Buttons BAND Buttons Press the BAND button to toggle between AM and FM reception. An indicator in the front- panel display confirms your choice and the currently tuned station frequency is shown. Press the BAND button to toggle between AM and FM reception. An indicator in the front- panel display confirms your choice and the currently tuned station frequency is shown. Press the BAND button to toggle between AM and FM reception. An indicator in the front- panel display confirms your choice and the currently tuned station frequency is shown. TUNING Buttons The TUNING buttons (labeled CH UP/DOWN on the remote control) provide three differ- ent tuning functions, depending on the mode of operation.

34 RSX-1057 Surround Sound Receiver

In the normal FREQUENCY tuning mode, press a TUNING button (CH UP/DOWN on the remote) and release to manually jump to the next station frequency, regardless of whether or not a station is broadcasting on that frequency. For auto frequency search tuning, press and hold the TUNING button for approximately one second. An AUTO indicator will appear in the front-panel dis- play and the tuner will begin scanning up or down through the frequencies until the next available signal is detected. If this is not the desired station, repeat the automatic tuning procedure to find the next station. Weak sta- tions will be skipped during auto tuning. NOTE: Select the FREQUENCY tuning mode by pressing the TUNE button on the remote or toggle between FREQUENCY and PRESET modes by pressing the P-TUN button. In the PRESET tuning mode, press a TUN- ING button (CH UP/DOWN on the remote) and release to jump to the next memorized station preset. NOTE: Select the PRESET tuning mode by pressing the PRESET button on the remote or toggle between FREQUENCY and PRESET modes by pressing the P-TUN button. A PRE- SET indicator appears in the display when PRESET TUNING is activated. In the RDS PTY search mode, press a TUNING button (CH UP/DOWN on the re- mote) to select the desired program type from the scrolling list in the display. See the section on RDS tuning for more details. NOTE: Several indicators in the front-panel display assist tuning. A large display shows the tuned frequency. A TUNED indicator lights when a sufficiently strong signal is received. A ST indicator lights when a stereo FM signal is received. MEMORY Button NUMERIC Buttons: Station Presets The RSX-1057 can store up to 30 station presets for recall at any time using the NU- MERIC buttons on the front panel. To memo- rize a station: 1. Tune to the desired station, AM or FM. 2. Press the MEMORY button on the front- panel or remote. A MEMORY indicator will flash for five seconds in the front-panel display. 3. While the MEMORY indicator is flashing, press the number of the preset where you wish to store the station frequency. For ex- ample, to memorize the station as preset 3, press the 3 button. To memorize preset 15, press the 1 button followed by the 5 button. 4. A previously stored frequency is erased from memory when a new frequency is memorized for the same preset number. To tune to a previously memorized station, just press the preset number on the NUMERIC but- tons. For example, to tune to preset 3, press the 3 button. To tune to preset 15, press the 1 button and then press the 5 button. NOTE: If the TUNER is not already the se- lected input, pressing a NUMERIC button on the front-panel activates the TUNER. If using the NUMERIC buttons on the remote, first manually select the tuner input, if not already active. The NUMERIC buttons can also be used for direct access tuning (see next section). DIRECT Button FRQ DIRECT Button If you know the frequency of the desired sta- tion, you may tune it directly using the DIRECT button and the NUMERIC buttons. second bar will flash. Enter the remain- ing digits of the frequency. When all of the necessary digits have been entered, the receiver will tune to the displayed sta- tion frequency. Note that entering a sta- tion frequency is slightly different for the USA and Europe: second bar will flash. Enter the remain- ing digits of the frequency. When all of the necessary digits have been entered, the receiver will tune to the displayed sta- tion frequency. Note that entering a sta- tion frequency is slightly different for the USA and Europe: second bar will flash. Enter the remain- ing digits of the frequency. When all of the necessary digits have been entered, the receiver will tune to the displayed sta- tion frequency. Note that entering a sta- tion frequency is slightly different for the USA and Europe: In the USA: In the USA: FM87.50MHz Press: 8>7>5 FM101.90MHz Press: 1>1>9 AM1410kHz Press: 1>4>1 FM87.50MHz Press: 8>7>5 FM101.90MHz Press: 1>1>9 AM1410kHz Press: 1>4>1 In Europe: In Europe: FM87.50MHz Press: 8>7>5>0 FM101.90MHz Press: 1>1>9>0 AM1413kHz Press: 1>4>1>3 FM87.50MHz Press: 8>7>5>0 FM101.90MHz Press: 1>1>9>0 AM1413kHz Press: 1>4>1>3 FM87.50MHz Press: 8>7>5>0 FM101.90MHz Press: 1>1>9>0 AM1413kHz Press: 1>4>1>3 MONO Button FM MONO Button MONO Button FM MONO Button The MONO button on the front panel or the FM MONO button on the remote change the FM mode from stereo reception to mono recep- tion. In stereo mode, a stereo signal will be heard if the station is broadcasting a stereo signal and there is sufficient signal strength. An ST indicator will light in the front-panel display. In mono mode, a mono signal will be heard even if the station is broadcasting a stereo signal. The MONO button on the front panel or the FM MONO button on the remote change the FM mode from stereo reception to mono recep- tion. In stereo mode, a stereo signal will be heard if the station is broadcasting a stereo signal and there is sufficient signal strength. An ST indicator will light in the front-panel display. In mono mode, a mono signal will be heard even if the station is broadcasting a stereo signal. The MONO button on the front panel or the FM MONO button on the remote change the FM mode from stereo reception to mono recep- tion. In stereo mode, a stereo signal will be heard if the station is broadcasting a stereo signal and there is sufficient signal strength. An ST indicator will light in the front-panel display. In mono mode, a mono signal will be heard even if the station is broadcasting a stereo signal. The MONO button on the front panel or the FM MONO button on the remote change the FM mode from stereo reception to mono recep- tion. In stereo mode, a stereo signal will be heard if the station is broadcasting a stereo signal and there is sufficient signal strength. An ST indicator will light in the front-panel display. In mono mode, a mono signal will be heard even if the station is broadcasting a stereo signal. The MONO button on the front panel or the FM MONO button on the remote change the FM mode from stereo reception to mono recep- tion. In stereo mode, a stereo signal will be heard if the station is broadcasting a stereo signal and there is sufficient signal strength. An ST indicator will light in the front-panel display. In mono mode, a mono signal will be heard even if the station is broadcasting a stereo signal. NOTE: Switching to mono mode can improve the reception of weak or distant FM signals. Less signal strength is required for clean mono reception than for stereo reception. NOTE: Switching to mono mode can improve the reception of weak or distant FM signals. Less signal strength is required for clean mono reception than for stereo reception. TUNE Button PRESET Button P-TUN Button TUNE Button PRESET Button P-TUN Button These remote control buttons are used to change between FREQUENCY tuning mode and PRESET tuning mode. In frequency tuning mode, the TUNING buttons (CH UP/DOWN on the remote ) advance to the next station frequency. In preset tuning mode, the TUN- ING buttons advance to the next memorized station preset. These remote control buttons are used to change between FREQUENCY tuning mode and PRESET tuning mode. In frequency tuning mode, the TUNING buttons (CH UP/DOWN on the remote ) advance to the next station frequency. In preset tuning mode, the TUN- ING buttons advance to the next memorized station preset. These remote control buttons are used to change between FREQUENCY tuning mode and PRESET tuning mode. In frequency tuning mode, the TUNING buttons (CH UP/DOWN on the remote ) advance to the next station frequency. In preset tuning mode, the TUN- ING buttons advance to the next memorized station preset. These remote control buttons are used to change between FREQUENCY tuning mode and PRESET tuning mode. In frequency tuning mode, the TUNING buttons (CH UP/DOWN on the remote ) advance to the next station frequency. In preset tuning mode, the TUN- ING buttons advance to the next memorized station preset. The MEMORY button (labeled MEM and “X” on the remote is used with the NUMERIC but- tons to store memorized station presets. See the next section for detailed instructions. 1. Press the DIRECT button on the front panel or the FRQ DIRECT button on the remote to change the NUMERIC buttons from station preset to Direct Access mode. The station frequency in the front-panel display will change to a series of four bars, represent- ing the digits of a station frequency, with the first bar flashing. 2. Enter the first digit of the station frequency using the NUMERIC buttons. The digit will appear in the frequency display and the These remote control buttons are used to change between FREQUENCY tuning mode and PRESET tuning mode. In frequency tuning mode, the TUNING buttons (CH UP/DOWN on the remote ) advance to the next station frequency. In preset tuning mode, the TUN- ING buttons advance to the next memorized station preset. These remote control buttons are used to change between FREQUENCY tuning mode and PRESET tuning mode. In frequency tuning mode, the TUNING buttons (CH UP/DOWN on the remote ) advance to the next station frequency. In preset tuning mode, the TUN- ING buttons advance to the next memorized station preset. Select the FREQUENCY tuning mode by press- ing the TUNE button on the remote. Select the PRESET tuning mode by pressing the PRESET button on the remote. Toggle between the two modes by pressing the P-TUN button. A PRE- SET indicator appears in the display when PRESET TUNING is activated. Select the FREQUENCY tuning mode by press- ing the TUNE button on the remote. Select the PRESET tuning mode by pressing the PRESET button on the remote. Toggle between the two modes by pressing the P-TUN button. A PRE- SET indicator appears in the display when PRESET TUNING is activated.

35 English SCAN Button This button activates a preset scanning fea- ture. When you press the button, the tuner begins scanning through all memorized sta- tion presets, playing each for 5 seconds be- fore moving to the next. To stop the station scanning when the desired station preset is reached, press the button again. NOTE: If a PRESET station is currently tuned when the PRESET SCAN button is pressed, scanning will start with the next higher pre- set number and continue through all presets, stopping on the initial preset. If a PRESET sta- tion is not currently tuned when the button is pressed, scanning will start from PRESET 1 and continue to PRESET 30. RDS and RBDS Tuning The Rotel RSX-1057 is equipped with RDS (Radio Data Systems) reception capabilities for Europe and RBDS (Radio Broadcast Data Service) capabilities for the United States. These broadcast systems provide additional functionality to FM radio reception by trans- mitting encoded information along with the radio signal. This signal is decoded by an RDS or RBDS receiver and can provide a range of informational features including: 1. a display of the station’s identifying name (e.g. BBC1) 2. a display of the station’s program content (e.g. ROCK or NEWS) 3. traffic information broadcasts 4. a scrolling text display for announcements or information In addition, RDS provides several advanced search features including: 1. Search for a station with the desired pro- gram content (PTY) 2. Search for traffic information (TP) 3. Search for stations broadcasting special traffic announcements (TA). RDS broadcasting has been widely available in many European markets for years. There are a large number of RDS stations and most users will be familiar with the features and operation. In the USA, implementation of the RBDS system is more recent. Fewer sta- tions are broadcasting RBDS signals and the features may be less familiar to many users. PTY Button Consult your authorized Rotel dealer for more information on RDS or RBDS broadcasting in your area. The PTY search function permits you to scan available broadcasts for RDS stations broadcasting a particular type of program NOTE: The RDS and RBDS features are en- content. tirely dependent on the broadcaster send- ing encoded signals. Thus, they will only be available in markets where RDS or RBDS is 1. Press the PTY button. The current RDS pro- gram type will appear in the display. implemented and where stations are broad- 2. If desired, change to a different PROGRAM casting these data signals. If there are no RDS TYPE using the TUNING UP/DOWN but- or RBDS stations, the RSX-1057 will function tons to scroll through the list. as a standard radio receiver. 3. Press the PTY button a second time within NOTE: RDS and RBDS services are only avail- 10 seconds. The tuner will attempt to find able on FM broadcasts. The features and but- an RDS station broadcasting the select- tons described below are only operational ed type of program. If the button is not in FM mode. pressed within 10 seconds after selecting a program type, the PTY function will be DISP Button cancelled. There are five display options when the cur- 4. If no station is located for the desired con- rently tuned station is broadcasting RDS in- tent type, the tuner will return to the last formation and the RDS indicator in the front- previously tuned station. panel display is lit. Press the DISP button on the remote to step through the five display options: 5. Cancel the PTY function by pressing any other button. 1. Standard FREQUENCY display. NOTE: If the currently tuned station is broad- casting PTY data, a PTY indicator lights in the 2. PROGRAM SERVICE name. This is typical- front-panel display. ly the station’s call letters, such as BBC1. If the current station is not broadcasting TP Button an RDS signal, the display will show “NO NAME DATA”. Searches for an RDS station broadcasting traffic information programming: 3. PROGRAM TYPE. This is a description of the station’s content from a standardized list of program types in each market. If the current station is not broadcasting an RDS signal, the display will show “NO PTY DATA”. 1. Press the TP button. The tuner attempts to find an RDS station broadcasting the traf- fic programming. If a station is found, a TP indicator lights in the front-panel dis- play. 4. CLOCK TIME. A time and date display broadcast by the station. If the current sta- 2. If no station is located, the tuner will re- turn to the last previously tuned station. tion is not broadcasting an RDS signal, 3. Cancel the TP function by pressing any the display will show “NO TIME DATA”. other button. 5. RADIO TEXT. Additional scrolling text messages broadcast by the station. If the TA Button current station is broadcasting radio text Searches for an RDS station broadcasting data, an RT indicator lights in the display special traffic announcements: and the scrolling text appears. If the cur- rent station is not broadcasting an RDS signal, the display will show “NO TEXT DATA”. 1. Press the TA button. The tuner will attempt to find an RDS station broadcasting traf- fic announcements. 2. If no station is located, the tuner will re- turn to the last previously tuned station. 3. Cancel the TA function by pressing any other button.

36 RSX-1057 Surround Sound Receiver

Zone 2 Operation The RSX-1057 provides Zone 2 multi-room capability, allowing you to enjoy music and operate the system from a second room. From the remote location, you can select a source component (independent from the source playing in the main room), adjust the volume level in the remote zone, and oper- ate the source components. To use the Zone 2 capability, you need addi- tional components: a pair of speakers installed in the remote zone, an amplifier to drive them, an optional TV monitor for video signals, and a third-party IR repeater system. Zone 2 can be controlled from the main room using RSX-1057’s front panel or remote con- trol ZONE button. Operation from the remote zone requires the installation of an infrared repeater system (Xantech, Niles, etc.) which relays infrared remote control commands from Zone 2 to the ZONE REM IN connec- tor on the back of the RSX-1057. Several points to keep in mind about the Zone 2 function: • There are two options for the Zone 2 output level, selectable from the OSD configura- tion menu. VARIABLE output provides full adjustment of the volume level. FIXED output disables the Zone 2 volume control with the output permanently set to a specified level. This might be useful for sending a line level signal to a preamp or integrated amp with its own volume control or to a distribution amplifier with multiple volume controls. • The RR-1060 remote control supplied with the RSX-1057 will operate Zone 2 if used with a repeater system from the remote zone. It can also be programmed to op- erate Rotel source components via the RSX-1057’s IR OUT jack. • Any source component connected to the RSX-1057’s analog inputs can be sent to the Zone 2 outputs. ZONE 2 operates in- dependently of the main room. You can select a different source or adjust Zone 2 volume without affecting the MAIN out- puts in any way. • Avoid sending the same infrared command to the RSX-1057 front panel sensor and a Zone 2 repeater at the same time. This means that Zone 2 must be in a differ- ent room from the RSX-1057. Zone 2 Power On/Off Once master power is applied to the unit by pressing the rear panel POWER switch button, the RSX-1057 provides independent power on/off operation for both zones. Pressing the remote control ON/OFF buttons in the main room activates or deactivates the RSX-1057 in the main room only and has no effect on Zone 2. Conversely, activating or deactivat- ing Zone 2 has no effect on the main listening room. However, placing the rear panel master POWER switch in the OFF position completely shuts off the unit, for both zones. NOTE: For proper power on and off operation with Zone 2, the RSX-1057’s power mode should be set to the factory default STAND- BY setting or to the DIRECT setting using the Other Options menu described in the Setup section of this manual. Controlling Zone 2 from the Main Room You can control Zone 2 from the main room using front panel or remote control buttons to activate or deactivate Zone 2, change input sources, and adjust the volume. Controlling Zone 2 from the main room is accomplished by pressing the ZONE button on the front panel or remote, putting the RSX-1057 in Zone 2 control mode temporarily. When the Zone 2 status is displayed, the OSD and/or front panel displays show the current source selection and volume in Zone 2 for ten sec- onds, during which time you can use the front panel VOLUME control and INPUT buttons to change the ZONE 2 settings. To turn Zone 2 on or off: 1. Press the front panel or remote ZONE but- ton. Zone 2 status appears in the OSD and front panel displays. 2. Within 10 seconds, press the front panel or remote ZONE button to toggle Zone 2 on or off. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. To change the Zone 2 input source: To change the Zone 2 input source: 1. Press the front panel or remote ZONE but- ton. Zone 2 status appears in the OSD and front panel displays. 1. Press the front panel or remote ZONE but- ton. Zone 2 status appears in the OSD and front panel displays. 2. Within 10 seconds, press one of the INPUT buttons to select a new source for Zone 2. The name of the selected source ap- pears in the display. Instead of pressing an INPUT button, you can also push the +/– buttons on the remote to step through the inputs. 2. Within 10 seconds, press one of the INPUT buttons to select a new source for Zone 2. The name of the selected source ap- pears in the display. Instead of pressing an INPUT button, you can also push the +/– buttons on the remote to step through the inputs. 2. Within 10 seconds, press one of the INPUT buttons to select a new source for Zone 2. The name of the selected source ap- pears in the display. Instead of pressing an INPUT button, you can also push the +/– buttons on the remote to step through the inputs. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. To change the Zone 2 volume: To change the Zone 2 volume: 1. Press the front panel or remote ZONE but- ton. Zone 2 status appears in the OSD and front panel displays. 1. Press the front panel or remote ZONE but- ton. Zone 2 status appears in the OSD and front panel displays. 2. Within 10 seconds, adjust the volume control on the front panel or remote to change the Zone 2 output level. The new setting appears in the display. 2. Within 10 seconds, adjust the volume control on the front panel or remote to change the Zone 2 output level. The new setting appears in the display. 2. Within 10 seconds, adjust the volume control on the front panel or remote to change the Zone 2 output level. The new setting appears in the display. 2. Within 10 seconds, adjust the volume control on the front panel or remote to change the Zone 2 output level. The new setting appears in the display. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. 3. Following 10 seconds with no commands, the RSX-1057 reverts to normal opera- tion. Controlling Zone 2 from the Remote Location Controlling Zone 2 from the Remote Location With a properly configured IR repeater sys- tem, you have full control of Zone 2 using an RR-1060 remote from the Zone 2 location. You can select and operate a source, adjust the volume, and turn Zone 2 on or off. Whatever commands you send from the RR-1060 will change Zone 2 and only Zone 2, just as if you were controlling a totally independent audio system in that room. These changes will have no effect on the main listening room. With a properly configured IR repeater sys- tem, you have full control of Zone 2 using an RR-1060 remote from the Zone 2 location. You can select and operate a source, adjust the volume, and turn Zone 2 on or off. Whatever commands you send from the RR-1060 will change Zone 2 and only Zone 2, just as if you were controlling a totally independent audio system in that room. These changes will have no effect on the main listening room. With a properly configured IR repeater sys- tem, you have full control of Zone 2 using an RR-1060 remote from the Zone 2 location. You can select and operate a source, adjust the volume, and turn Zone 2 on or off. Whatever commands you send from the RR-1060 will change Zone 2 and only Zone 2, just as if you were controlling a totally independent audio system in that room. These changes will have no effect on the main listening room. With a properly configured IR repeater sys- tem, you have full control of Zone 2 using an RR-1060 remote from the Zone 2 location. You can select and operate a source, adjust the volume, and turn Zone 2 on or off. Whatever commands you send from the RR-1060 will change Zone 2 and only Zone 2, just as if you were controlling a totally independent audio system in that room. These changes will have no effect on the main listening room. With a properly configured IR repeater sys- tem, you have full control of Zone 2 using an RR-1060 remote from the Zone 2 location. You can select and operate a source, adjust the volume, and turn Zone 2 on or off. Whatever commands you send from the RR-1060 will change Zone 2 and only Zone 2, just as if you were controlling a totally independent audio system in that room. These changes will have no effect on the main listening room. To turn Zone 2 on or off, press the ON/OFF buttons on the remote. To adjust the volume in Zone 2, press the VOLUME buttons on the re- mote. To select a different analog input source, press one of the DEVICE/INPUT buttons on the remote. You can also use the +/– buttons to step through the source inputs. To turn Zone 2 on or off, press the ON/OFF buttons on the remote. To adjust the volume in Zone 2, press the VOLUME buttons on the re- mote. To select a different analog input source, press one of the DEVICE/INPUT buttons on the remote. You can also use the +/– buttons to step through the source inputs. To turn Zone 2 on or off, press the ON/OFF buttons on the remote. To adjust the volume in Zone 2, press the VOLUME buttons on the re- mote. To select a different analog input source, press one of the DEVICE/INPUT buttons on the remote. You can also use the +/– buttons to step through the source inputs. To turn Zone 2 on or off, press the ON/OFF buttons on the remote. To adjust the volume in Zone 2, press the VOLUME buttons on the re- mote. To select a different analog input source, press one of the DEVICE/INPUT buttons on the remote. You can also use the +/– buttons to step through the source inputs. To turn Zone 2 on or off, press the ON/OFF buttons on the remote. To adjust the volume in Zone 2, press the VOLUME buttons on the re- mote. To select a different analog input source, press one of the DEVICE/INPUT buttons on the remote. You can also use the +/– buttons to step through the source inputs. NOTE: The volume adjustment is only avail- able if the Zone 2 outputs are configured to use VARIABLE levels. With FIXED levels, the volume control for Zone 2 is disabled. NOTE: The volume adjustment is only avail- able if the Zone 2 outputs are configured to use VARIABLE levels. With FIXED levels, the volume control for Zone 2 is disabled. 37 English SETUP visible, push this button to cancel the display. The MENU button on the front panel provides the same function. SPEAKERS: highlights the speakers that are currently configured for the system (front right, center, subwoofer, front left, surround left, center back 1, center back 2, and sur- round right) SPEAKERS: highlights the speakers that are currently configured for the system (front right, center, subwoofer, front left, surround left, center back 1, center back 2, and sur- round right) The RSX-1057 features two types of infor- mation displays to help operate the system. The first consists of simple status displays that appear on the TV screen and/or front panel display whenever primary settings (Volume, Input, etc.) are changed. These status displays are self-explanatory. A more comprehensive ON-SCREEN DIS- PLAY (OSD) menu system is available at any time by pressing the MENU/OSD button on the remote. These OSD menus guide you through the configuration and setup of the RSX-1057. In general, the settings made in the configuration process are memorized as default settings and need not be made again for normal operation of the unit. The OSD menus can be configured to dis- play several different languages. The default English version of all the menus is shown at the front of this manual. If your language is available, those menus will be shown in the following instructions. If you would like to change from the default English language before proceeding, go to the instructions for the OTHER OPTIONS menu later in this manual. From this menu, you can change the language display. Menu Basics Navigation Buttons The following remote control buttons are used to navigate the OSD menu system: MENU/OSD button: Press to display the SYSTEM STATUS screen. From the SYSTEM STATUS screen, press the ENTER button to display the MAIN MENU screen which has links to all other menus. If a menu is already DOWN/UP Buttons: Press to move up and down in the lists of menu items that ap- pear on the OSD screens. +/– Buttons: Press to change the current settings for a selected menu item on OSD screens. ENTER Button: From the SYSTEM STATUS screen, press ENTER to display the MAIN MENU screen. From any other OSD screen, press ENTER to confirm a setting and return to the MAIN menu. System Status SYSTEM STATUS LISTEN:Tuner VID RECORD:Source INPUT:Video 1 MODE:Dolby Digital VOLUME:65 INPUT:Coaxial 2 ZONE 2:Off SPEAKERS:FR SR CNT CB1 SUB CB2 FL SL The SYSTEM STATUS menu provides a snap- shot of the current system settings and a start- ing point for reaching all other screens and menus. This screen appears when you press the remote MENU/OSD and displays the fol- lowing information: LISTEN: the input source selected for lis- tening. VID INPUT: the video source selected for viewing. Can be VIDEO 1–5 or OFF (no vid- eo) as selected on the INPUT SETUP menu. Typically, the video source matches the au- dio from listening source; however a differ- ent video input can be selected. RECORD: the source selected for recording from the VIDEO and AUDIO outputs. VOLUME: the current volume setting. ZONE: the current status of ZONE 2, ON or OFF. SPEAKERS: highlights the speakers that are currently configured for the system (front right, center, subwoofer, front left, surround left, center back 1, center back 2, and sur- round right) SPEAKERS: highlights the speakers that are currently configured for the system (front right, center, subwoofer, front left, surround left, center back 1, center back 2, and sur- round right) No changes can be made using this screen; it only provides information. To go to the rest of the menus, press the ENTER button to go to the MAIN menu. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. No changes can be made using this screen; it only provides information. To go to the rest of the menus, press the ENTER button to go to the MAIN menu. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. No changes can be made using this screen; it only provides information. To go to the rest of the menus, press the ENTER button to go to the MAIN menu. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. No changes can be made using this screen; it only provides information. To go to the rest of the menus, press the ENTER button to go to the MAIN menu. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. No changes can be made using this screen; it only provides information. To go to the rest of the menus, press the ENTER button to go to the MAIN menu. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. NOTE: The SYSTEM STATUS screen appears for five seconds when the unit is turned on and automatically turns off. NOTE: The SYSTEM STATUS screen appears for five seconds when the unit is turned on and automatically turns off. Main Menu MAIN MENU Main Menu MAIN MENU Main Menu MAIN MENU INPUT SPEAKER DELAY SUB OTHER SETUP TEST ZONE DEFAULT TONE 2 CONTOUR INPUT SPEAKER DELAY SUB OTHER SETUP TEST ZONE DEFAULT TONE 2 CONTOUR INPUT SPEAKER DELAY SUB OTHER SETUP TEST ZONE DEFAULT TONE 2 CONTOUR EXIT EXIT The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. The MAIN MENU provides access to OSD screens for various configuration options. MAIN MENU is reached by pressing the EN- TER button from the SYSTEM STATUS menu described above or from most other menus. To go to the desired menu, move the high- light using the UP/DOWN and +/– buttons on the remote and press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation.

MODE: the current surround sound mode. INPUT: the input selected for the current source: Optical Digital, Coaxial Digital, Analog, etc. 38 RSX-1057 Surround Sound Receiver Configuring Inputs A key step in setting up the RSX-1057 is to configure each source input using the INPUT SETUP screens. Configuring the inputs allows you to set defaults for a number of settings including the type of input connector, the desired surround mode, custom labels that appear in the displays when a source is se- lected, and many more. The following OSD menus are used to configure the inputs. Input Setup INPUT SETUP VID LISTEN:CD INPUT:Video 1 INPUT CINEMA LABEL:_______ INPUT:Coaxial EQ:Off 2 DEFAULT 12V GROUP TRIGGER:1 DELAY:200ms MODE:Dolby 3 Stereo MAIN MENU The INPUT SETUP menu configures the source inputs and is reached from the MAIN menu. The screen provides the following options, se- lected by placing the highlight on the desired line using the UP/DOWN buttons: LISTEN: changes the current listening input source (CD, TUNER, TAPE, VIDEO 1–5, & MULTI INPUT). Changing this input also al- lows you to select a specific input for con- figuring. VID INPUT: select the video source to be displayed on the TV monitor with the listen- ing source specified on the first line. Can be VIDEO 1–5 or OFF (no video). Typically, the video source matches the audio from listen- ing source; however a different video input can be selected. For audio only sources (such as a CD player), you would typically specify OFF so that no video is displayed. INPUT LABEL: The eight character labels for the all eight inputs can be customized. Place the highlight on this line to begin la- belling. The first character in the label will be flashing. 1. Press the +/– buttons on the remote to change the first letter, scrolling through the list of available characters. 2. Press the ENT button on the remote to confirm that letter and move to the next position. 3. Repeat steps 1 and 2 until all eight char- acters (including blank spaces) have been completed. The final press of the ENT but- ton saves the new label. INPUT: assigns a physical input connection to use as the default for the source displayed in the first line of the menu. The options are ANALOG input, two OPTICAL digital inputs (OPTICAL 1–2), and three COAXIAL digital inputs (COAXIAL 1–3). When a digital input is the default, the unit will check for a digital signal when the IN- PUT SOURCE is selected. If no digital signal is present, the unit will automatically revert to the analog input. When an ANALOG input is the default, the unit will not access a digital signal, even though one may be present at the digital in- put; thus, the ANALOG setting forces the unit to use an analog signal. Assigning a digital input (with its auto-sensing) is generally the preferred configuration for any source with a digital output. NOTE: If a source connected to a digital input is selected, that signal will automatically be sent to both digital outputs for recording. CINEMA EQ: The RSX-1057 includes a CIN- EMA EQ feature which reduces the high-fre- quency content of movie soundtracks to simu- late the frequency response of a large movie theater and/or eliminate sibilance. You can turn the CINEMA EQ on or off as the default setting for the selected input using this menu choice. In general, this setting should be OFF for most source inputs, unless you are consis- tently bothered by excessively bright sound from movie soundtracks. 12V TRIGGER: The RSX-1057 has three 12V trigger outputs (labeled 1, 2, and ZONE2) that supply a 12V DC signal to turn on Ro- tel components and other components as needed. This menu item turns on specific 12V trigger outputs whenever the indicated source is selected. For example, set up the VIDEO 1 input to turn on the 12V trigger for your DVD player. The options for this menu item are: 1, 2, zone, 1+2, 1+zone, 2+zone, ALL, and No. DEFAULT MODE: The DEFAULT MODE setting allows you to set a default surround sound mode for each source input. The de- fault setting will be used unless the source material triggers automatic decoding of a particular type or unless the default setting is temporarily overridden by the front panel or remote surround mode buttons. NOTE: Default surround modes are stored in- dependently for the analog and digital inputs for each source. Options for the default surround modes are: Dolby Pro Logic II, Dolby 3 Stereo, Music 1, Music 2, Music 3, Music 4, 5ch Stereo, 7ch Stereo, PCM 2 Channel, DTS Neo:6, Bypass (for analog input only), and Stereo. NOTE: The following types of digital discs or source material are generally detected automatically and the proper decoding ac- tivated with no action or setting required: DTS, DTS-ES Matrix 6.1, DTS-ES Discrete 6.1, Dolby Digital, Dolby Digital Surround EX, Dolby Digital 2-channel, MPEG Multichannel, PCM 2-Channel, PCM 96kHz, MP3, HDCD, and HDCD 96kHz. Since Dolby Digital 5.1 and DTS sources are detected and decoded automatically, the default setting typically tells the RSX-1057 how to process a 2-channel stereo signal. For example, you might have your CD input default to 2-channel stereo, DVD and VCR inputs default to Dolby Pro Logic II process- ing for matrix-encoded Dolby surround ma- terial, and TUNER input default to one of the MUSIC modes. In some cases, the default setting can be manually overridden by the front panel sur- round mode buttons or the SUR+ button on the remote. See the Manually Selecting Surround Modes section of this manual for more information on which settings can be overridden. Two of the default surround mode settings available on this menu offer additional choices. Dolby Pro Logic II decoding offers a choice of CINEMA or MUSIC settings. DTS Neo:6 decoding offers a choice of CINEMA or MUSIC settings. When either Dolby Pro Logic II or DTS Neo:6 is selected with this menu item, the current setting choice will also be displayed. In addition, the function of the ENTER button changes, taking you to a sub-menu where you can change the set- tings and/or additional parameters for Dolby Pro Logic II or DTS Neo:6 decoding. See the following section for details.

39 English GROUP DELAY: Also known as “lip-sync” delay, this setting delays the audio signal for an input by the specified amount to match the video input. This feature can be useful when the video signal is delayed more than the audio signal as sometimes happens with upconverted digital TV processors or when trying to match a radio broadcast with the video from a sports event. The range of available settings is from 0ms to 500ms, in 5ms increments. The setting is individually stored for each input and is the default group delay each time that input is selected. The setting can be temporarily over- ridden from the front panel or the remote. OPTIONS: This selection is only visible when Pro Logic II or Neo:6 surround mode is se- lected. Highlight this line and press ENTER to go to submenus with additional options for these surround modes. See below. To return to the MAIN menu from the INPUT SETUP menu (except when Dolby Pro Log- ic II or DTS Neo:6 is selected in the SURR MODE field), press the ENTER button. Press the MENU/OSD button on the remote to cancel the menu display and return to nor- mal operation. Multi Input Setup INPUT SETUP LISTEN:Multi Input INPUT VID INPUT:Video LABEL:_______ 1 12V TRIGGER:1 LFE REDIRECT:On MAIN MENU When the MULTI INPUT source is selected on the INPUT SETUP menu, the available options change to reflect the fact that these inputs are direct analog inputs and bypass the RSX-1057’s digital processing. The INPUT, CINEMA EQ, and DEFAULT MODE options are not available since these are all digitally implemented features. The VID INPUT, INPUT LABEL, and 12V TRIG- GER options are still available and work as described on the previous menu. One additional option, LFE REDIRECT, pro- vides an alternative bass management con- figuration. Typically, the eight channels of the MULTI INPUT are configured as pure analog bypass signals, going straight from the inputs to the volume control and the preamp outputs, bypassing all of the digital processing. There are no crossovers and no bass management; therefore, whatever signal goes into the sub- woofer channel will be sent to the subwoofer preamp output. This configuration may not be ideal for mul- tichannel systems configured with high-pass speakers, redirecting bass to a powered subwoofer. An option, called LFE REDIRECT, sends the seven main channels directly to the outputs as usual. In addition, it takes a duplicate copy of these seven channels, combines them into mono, and routes them through a 100 Hz analog low-pass cross- over to the subwoofer preamp output. This creates a summed mono subwoofer signal, derived from the seven main channels of the MULTI INPUT. Use the LFE REDIRECT off for the pure ana- log bypass configuration. Use the LFE REDI- RECT on setting to derive the mono summed subwoofer output. Dolby Pro Logic IIx ������������������������ ������ ��������������������������� ������������������������ ���������������� �������������� �������������� �������������������� ��� When Dolby Pro Logic IIx is selected as the default surround mode on the INPUT SETUP menu, there are additional settings and pa- rameters to optimize the surround decoding for music or movie soundtracks. Dolby Pro Logic II uses matrix decoding algorithms to derive a center channel and surround chan- nels from 2-channel source material. The first line of the Dolby Pro Logic IIx sub- menu selects CINEMA, MUSIC, GAME, or PRO LOGIC modes for matrix decoding. Use the +/– buttons on the remote to select a mode. Select CINEMA to optimize for Dolby Sur- round encoded movie soundtracks includ- ing increased surround separation and full- bandwidth surround channel frequency re- sponse. Select MUSIC to optimize for musical record- ings. When the MUSIC mode is selected, three additional parameters will be available on the OSD screen. Use the UP/DOWN buttons on the remote to select a parameter. Use the +/– buttons to change the selected param- eter as follows: Select MUSIC to optimize for musical record- ings. When the MUSIC mode is selected, three additional parameters will be available on the OSD screen. Use the UP/DOWN buttons on the remote to select a parameter. Use the +/– buttons to change the selected param- eter as follows: Select MUSIC to optimize for musical record- ings. When the MUSIC mode is selected, three additional parameters will be available on the OSD screen. Use the UP/DOWN buttons on the remote to select a parameter. Use the +/– buttons to change the selected param- eter as follows: • PANORAMA: The Panorama option ex- tends the front stereo image to include the surround speakers for a dramatic “wrap- around” effect. The options are OFF or ON. • PANORAMA: The Panorama option ex- tends the front stereo image to include the surround speakers for a dramatic “wrap- around” effect. The options are OFF or ON. • PANORAMA: The Panorama option ex- tends the front stereo image to include the surround speakers for a dramatic “wrap- around” effect. The options are OFF or ON. • DIMENSION: The Dimension option al- lows you to gradually adjust the sound- field towards the front or towards the rear. There are seven incremental settings from 0 to 6. A setting of 0 shifts the soundfield towards the rear for maximum surround ef- fect. A setting of 6 shifts the soundfield to the front for minimum surround effect. The default setting of 3 provides a “neutral” balance between the two extremes. • DIMENSION: The Dimension option al- lows you to gradually adjust the sound- field towards the front or towards the rear. There are seven incremental settings from 0 to 6. A setting of 0 shifts the soundfield towards the rear for maximum surround ef- fect. A setting of 6 shifts the soundfield to the front for minimum surround effect. The default setting of 3 provides a “neutral” balance between the two extremes. • DIMENSION: The Dimension option al- lows you to gradually adjust the sound- field towards the front or towards the rear. There are seven incremental settings from 0 to 6. A setting of 0 shifts the soundfield towards the rear for maximum surround ef- fect. A setting of 6 shifts the soundfield to the front for minimum surround effect. The default setting of 3 provides a “neutral” balance between the two extremes. • DIMENSION: The Dimension option al- lows you to gradually adjust the sound- field towards the front or towards the rear. There are seven incremental settings from 0 to 6. A setting of 0 shifts the soundfield towards the rear for maximum surround ef- fect. A setting of 6 shifts the soundfield to the front for minimum surround effect. The default setting of 3 provides a “neutral” balance between the two extremes. • DIMENSION: The Dimension option al- lows you to gradually adjust the sound- field towards the front or towards the rear. There are seven incremental settings from 0 to 6. A setting of 0 shifts the soundfield towards the rear for maximum surround ef- fect. A setting of 6 shifts the soundfield to the front for minimum surround effect. The default setting of 3 provides a “neutral” balance between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. • CENTER WIDTH: The Center Width op- tion allows you to spread the signal in- tended for the center speaker to the left and right front speakers, widening the perceived soundfield. There are eight in- cremental settings from 0 to 7. With the default setting of 0, there is no center width spreading and all of the center channel information is sent to the center speaker. The maximum setting of 7 shifts all of the center channel signal to the left and right speakers, essentially muting the center speaker and maximizing the soundfield width. Other settings provide incremental steps between the two extremes. Select GAME to optimize for Dolby Surround encoded video games. Select GAME to optimize for Dolby Surround encoded video games. Select PRO LOGIC for original Dolby Pro Logic decoding. Typically, Pro Logic II (Cin- ema or Music modes) will provide better sur- round performance, even with older source material. Original Pro Logic mode provides 5.1 channel surround sound, even on 6.1/7.1 channel systems. Select PRO LOGIC for original Dolby Pro Logic decoding. Typically, Pro Logic II (Cin- ema or Music modes) will provide better sur- round performance, even with older source material. Original Pro Logic mode provides 5.1 channel surround sound, even on 6.1/7.1 channel systems. Select PRO LOGIC for original Dolby Pro Logic decoding. Typically, Pro Logic II (Cin- ema or Music modes) will provide better sur- round performance, even with older source material. Original Pro Logic mode provides 5.1 channel surround sound, even on 6.1/7.1 channel systems. When you have completed all the desired ad- justments, highlight the INPUT SETUP MENU line at the bottom of the screen and press the ENTER button to return to the INPUT SETUP menu (or just press the ENTER button). When you have completed all the desired ad- justments, highlight the INPUT SETUP MENU line at the bottom of the screen and press the ENTER button to return to the INPUT SETUP menu (or just press the ENTER button). When you have completed all the desired ad- justments, highlight the INPUT SETUP MENU line at the bottom of the screen and press the ENTER button to return to the INPUT SETUP menu (or just press the ENTER button).

40 RSX-1057 Surround Sound Receiver

DTS Neo:6 DTS Neo:6 MODE:Cinema INPUT SETUP MENU When DTS Neo:6 is selected as the default surround mode on the INPUT SETUP menu, there are additional option settings and pa- rameters available to optimize the surround decoding for various types of recordings, music or movie soundtracks. DTS Neo:6 uses matrix decoding algorithms to derive a center channel and surround channels from 2-channel source material. In DTS Neo:6 surround mode, there will only be one choice available on the sub-menu: selecting CINEMA or MUSIC modes. Use the +/– buttons on the remote to change the settings. • Select CINEMA to optimize the DTS Neo:6 decoding for movie soundtracks. • Select MUSIC to optimize the DTS Neo:6 decoding for musical recordings. When you have completed the setting, high- light the INPUT SETUP MENU line at the bot- tom of the screen and press the ENTER but- ton to return to the INPUT SETUP menu (or just press the ENTER button). Configuring Speakers and Audio This section of the setup process covers items concerning audio reproduction such as the number of speakers, bass management in- cluding subwoofer crossovers, establishing equal output levels for all channels, delay settings, and tone contour settings. Understanding Speaker Con- figuration Home theater systems vary in the number of speakers and the bass capabilities of those speakers. The RSX-1057 offers surround modes tailored to systems with various numbers of speakers and bass management features which send bass information to the speaker(s) best able to handle it – subwoofers and/or large speakers. For optimum performance, you must tell the RSX-1057 the number of speak- ers in your system and how bass should be distributed among them. NOTE: There are two types of bass in a sur- round system. The first is bass recorded in each of the main channels (front, center, and surround). This bass is present in all recordings and soundtracks. In addition, Dolby Digital 5.1 and DTS 5.1 recordings may have a Low Frequency Effects (LFE) channel – the .1 chan- nel. This LFE channel, typically played by a subwoofer, is used for effects such as explo- sions or rumble. The use of the LFE channel will vary from soundtrack to soundtrack. Record- ings that are not encoded in Dolby Digital or DTS do not have the LFE channel. The following configuration instructions refer to LARGE and SMALL speakers, referring more to their desired bass configuration than their physical size. Specifically, use the LARGE set- ting for speakers that you want to play deep bass signals. Use the SMALL designation for speakers that would benefit from having their bass sent to more capable speakers. The bass management system redirects bass information away from all SMALL speakers and sends it to the LARGE speakers and/or the SUBWOOFER. It may be useful to think of LARGE as “full-range” and SMALL as “high-pass filtered.” Four typical examples of the many possible system configurations illustrate the principles behind bass management: • Five LARGE speakers and sub- woofer: This system requires no bass redirection. All five speakers play the normal bass recorded in their respective channels. The subwoofer plays only the LFE channel bass. Depending on the soundtrack, there may be minimal use of the LFE channel, so the subwoofer would be under utilized. Meanwhile the normal bass places higher demands on the ca- pabilities of the other speakers and the amplifiers driving them. • LARGE front, center, surround speakers, no subwoofer. The nor- mal bass from the front, center, and sur- round channels is played in its respective speakers. With no subwoofer, the LFE bass is redirected to all five LARGE speakers. This places significant demands on these speakers and their amplifiers, as they must play their own normal bass plus the very demanding LFE bass. speakers and their amplifiers, as they must play their own normal bass plus the very demanding LFE bass. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • All SMALL speakers and subwoof- er. The normal bass from all channels is redirected to the subwoofer, which also plays the LFE channel. The subwoofer handles ALL of the bass in the system. This configuration provides several ben- efits: deep bass is played by the speaker most suited to do so, the main speakers may play louder with less distortion, and the need for amplifier power is reduced. This configuration should be used with bookshelf-size or smaller main speak- ers. It should also be considered in some cases with floorstanding front speakers. This configuration is advantageous when driving the system with moderate power amplifiers. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. • LARGE front speakers, SMALL cen- ter and surround speakers, and a subwoofer. The normal bass from the SMALL center and surround speakers is re- directed to the LARGE front speakers and the subwoofer. The LARGE front speakers play their own normal bass plus the redi- rected bass from the SMALL speakers and LFE bass. The subwoofer plays the LFE bass plus the redirected bass from all of the oth- er channels. This might be an appropriate configuration with a pair of very capable front speakers driven by a large power amplifier. A potential disadvantage with mixed LARGE and SMALL configurations is that the bass response may not be as con- sistent from channel to channel as it might be with the all SMALL configuration. NOTE: As an alternative configuration with a satellite/subwoofer package as the front speakers, follow the speaker manufacturer’s instructions, connecting the high-level inputs of the powered subwoofer directly to the front speaker outputs of the RSX-1057 and con- necting the satellites to the subwoofer’s own crossover. In this arrangement, the speakers would be classified as LARGE and the sub- woofer setting would be OFF for all surround modes. No information is lost during playback because the system redirects bass informa- tion to the front LARGE speakers. While this configuration ensures proper satellite speaker operation by using the speaker’s own cross- overs, it has some disadvantages in terms of system calibration and would generally not be the preferred configuration. NOTE: As an alternative configuration with a satellite/subwoofer package as the front speakers, follow the speaker manufacturer’s instructions, connecting the high-level inputs of the powered subwoofer directly to the front speaker outputs of the RSX-1057 and con- necting the satellites to the subwoofer’s own crossover. In this arrangement, the speakers would be classified as LARGE and the sub- woofer setting would be OFF for all surround modes. No information is lost during playback because the system redirects bass informa- tion to the front LARGE speakers. While this configuration ensures proper satellite speaker operation by using the speaker’s own cross- overs, it has some disadvantages in terms of system calibration and would generally not be the preferred configuration. NOTE: As an alternative configuration with a satellite/subwoofer package as the front speakers, follow the speaker manufacturer’s instructions, connecting the high-level inputs of the powered subwoofer directly to the front speaker outputs of the RSX-1057 and con- necting the satellites to the subwoofer’s own crossover. In this arrangement, the speakers would be classified as LARGE and the sub- woofer setting would be OFF for all surround modes. No information is lost during playback because the system redirects bass informa- tion to the front LARGE speakers. While this configuration ensures proper satellite speaker operation by using the speaker’s own cross- overs, it has some disadvantages in terms of system calibration and would generally not be the preferred configuration. NOTE: As an alternative configuration with a satellite/subwoofer package as the front speakers, follow the speaker manufacturer’s instructions, connecting the high-level inputs of the powered subwoofer directly to the front speaker outputs of the RSX-1057 and con- necting the satellites to the subwoofer’s own crossover. In this arrangement, the speakers would be classified as LARGE and the sub- woofer setting would be OFF for all surround modes. No information is lost during playback because the system redirects bass informa- tion to the front LARGE speakers. While this configuration ensures proper satellite speaker operation by using the speaker’s own cross- overs, it has some disadvantages in terms of system calibration and would generally not be the preferred configuration. NOTE: As an alternative configuration with a satellite/subwoofer package as the front speakers, follow the speaker manufacturer’s instructions, connecting the high-level inputs of the powered subwoofer directly to the front speaker outputs of the RSX-1057 and con- necting the satellites to the subwoofer’s own crossover. In this arrangement, the speakers would be classified as LARGE and the sub- woofer setting would be OFF for all surround modes. No information is lost during playback because the system redirects bass informa- tion to the front LARGE speakers. While this configuration ensures proper satellite speaker operation by using the speaker’s own cross- overs, it has some disadvantages in terms of system calibration and would generally not be the preferred configuration. NOTE: As an alternative configuration with a satellite/subwoofer package as the front speakers, follow the speaker manufacturer’s instructions, connecting the high-level inputs of the powered subwoofer directly to the front speaker outputs of the RSX-1057 and con- necting the satellites to the subwoofer’s own crossover. In this arrangement, the speakers would be classified as LARGE and the sub- woofer setting would be OFF for all surround modes. No information is lost during playback because the system redirects bass informa- tion to the front LARGE speakers. While this configuration ensures proper satellite speaker operation by using the speaker’s own cross- overs, it has some disadvantages in terms of system calibration and would generally not be the preferred configuration.

41 English Speaker Setup SPEAKER SETUP FRONT:Large CENTER:Large CENTER SURROUND:Large BACK:Large1 SUBWOOFER:Yes ADVANCED:Enter MAIN MENU The SPEAKER SETUP menu is used to con- figure the RSX-1057 for use with your specif- ic loudspeakers and to determine the bass management configuration as described in the previous overview. The menu is accessed from the MAIN menu. The following speaker options are avail- able: FRONT SPEAKERS (small/large): Use the LARGE setting to have the front speakers play low bass (full-range). Use the SMALL setting to redirect normal bass away from these speakers to a subwoofer (high-pass filtered). CENTER SPEAKER(S) (large/small/ none): Use the LARGE position (not avail- able with SMALL front speakers) to have the center speaker play low bass (full-range). Use the SMALL position if your center chan- nel speaker has limited low frequency capa- bility, or if you prefer that the bass be sent to the subwoofer (high-pass). Select the NONE setting if your system does not have a center channel speaker (the surround modes will au- tomatically divide all center channel informa- tion equally between the two front speakers, creating a phantom center channel). SURROUND SPEAKERS (large/small/ none): Select the LARGE setting (not avail- able with SMALL front speakers) to have the surround speakers play low bass (full-range). If your rear speakers have limited bass capa- bility or if you would prefer that the bass go to a subwoofer, use the SMALL setting (high- pass). If your system has no rear surround speakers, select the NONE setting (surround channels are added to the front speakers so none of the recording is lost). CENTER BACK SPEAKER(S) (large1/ Advance Speaker Setup large2/small1/small2/none): Some sys- tems have one or two additional center back ADV SPEAKER SETUP surround speakers. Select the LARGE settings (not available with SMALL front speakers) to SPEAKER:Front CROSSOVER:100Hz have your center back speaker(s) play low bass. Use LARGE 1 if you have one center back speaker (6.1) or LARGE 2 (7.1) if you DOLBY:Small DTS:Small STEREO/MPEG:Large MUSIC:Small have two center back speakers (7.1). If your SPEAKER SETUP MENU center back speakers have limited bass ca- pability or if you would prefer that the bass go to a subwoofer, use the SMALL setting (SMALL1 for one speaker, SMALL2 for two speakers). If your system has no center back speakers, select the NONE setting. With center back speakers, the Rotel XS eXtended surround, Dolby Digital EX, DTS-ES, Dolby Pro Logic II, DTS Neo:6 or other decoders will provide center back signals for any sur- round mode. In most cases, the standard speaker config- uration described above is a global setting and can be used for all surround modes. However, the RSX-1057 provides the capa- bility to customize these settings for four dif- ferent surround modes: Dolby, DTS, Stereo, and Music. For example, you could set up the Dolby and DTS modes for 5.1 channel sound, while the Stereo mode changes to a 2-speaker setup with or without a subwoofer. SUBWOOFER (yes/no/max): The YES set- In addition, the ADVANCED SPEAKER SETUP ting is the standard setting if your system has allows you to select a customized high-pass a subwoofer. If your system does not have a crossover frequency for the front, center, sur- subwoofer, select NO. Select the MAX setting round, and surround back speakers. for maximum bass output with normal bass being duplicated by both the subwoofer and any LARGE speakers in the system. NOTE: In most systems, the default settings on this menu will provide the most predictable results and most users will not need to change ADVANCED: Speaker configuration is gener- any settings. You should fully understand bass ally a global setting for all surround modes management and have a specific reason for and need only be done once. However, for needing a custom configuration before chang- special circumstances, the RSX-1057 provides ing these settings. Otherwise, skip to the fol- the option of setting the speaker configura- lowing topic, SUBWOOFER SETUP. tion independently for each of four surround modes. Select the ADVANCED line on the menu and press ENTER to go to the AD- The available settings on the ADVANCED SPEAKER SETUP menu are as follows: VANCED SPEAKER SETUP menu described SPEAKER (front/center/surround/ in the following section. center back/subwoofer): Select the To change a setting on the SPEAKER SETUP menu, place the highlight on the desired line set of speakers to be configured with cus- tom settings. using the UP/DOWN buttons and use the CROSSOVER (40Hz/60Hz/80Hz/ +/– buttons to toggle through the available 100Hz/120Hz/150Hz/200Hz): Typi- settings. To return to the MAIN menu, press cally, the RSX-1057 uses a single master set- the ENTER button. Press the MENU/OSD but- ting for the high-pass and low-pass cross- ton on the remote to cancel the display and over point between all SMALL speakers and return to normal operation. the subwoofer. This master crossover point is set on the SUBWOOFER SETUP menu described in the following section. When you first access the ADVANCED SPEAKER SETUP menu, the current master crossover point will be shown on this line. Change the value of this line only if you want the current speaker to have a different crossover point. For example, if your master crossover is set to 80Hz, but you want your front speakers to crossover to the subwoofer at 60 Hz, you

42 RSX-1057 Surround Sound Receiver

would select 60Hz for the front speakers on this line. This setting ONLY affects redirected bass and does not affect the LFE channel in any way. The OFF setting (available only for the subwoofer) sends a full-range signal to your subwoofer so that you can use its built- in low-pass filter. NOTE: When a speaker is set to LARGE on the SPEAKER SETUP menu or on this MENU, the crossover setting is not available since, by definition, a LARGE speaker plays full-range with no bass redirection to the subwoofer and no crossover. Likewise, the OFF setting for the subwoofer crossover is not available for SMALL speakers, since SMALL means that the speaker will redirect its bass below a given crossover point to the subwoofer. In addition, the CROSSOVER setting is not available for the MULTI INPUT. DOLBY (large/small/none): Sets the cur- rent speaker (shown in the first line) to LARGE, SMALL, or NONE, overriding the master set- ting from the SPEAKER SETUP menu. This set- ting will ONLY take effect with Dolby Digital or Dolby Pro Logic II decoding. DTS (large/small/none): The same op- tions described for Dolby above, except these settings ONLY take effect with DTS and DTS Neo:6 decoding. STEREO/MPEG (large/small/none): The same options described for Dolby above, except these settings ONLY take effect in STE- REO surround mode. MUSIC (large/small/none): The same options described for Dolby above, except these settings ONLY take effect with any of the DSP MUSIC surround modes. NOTE: When the front speakers are set to use the master crossover frequency on the AD- VANCED SPEAKER SETUP menu, the surround mode specific “large/small/none” settings are not available for the other speakers. These speakers will use the setting determined in the basic SPEAKER SETUP menu. Subwoofer Setup SUBWOOFER SETUP CROSSOVER:100hZ DOLBY DOLBY STEREO/MPEG:+ MULTI PL DIGITAL: II(X): MUSIC: INPUT:- DTS: 0dB 0dB 0dB 2dB Off 2dB MAIN MENU The SUBWOOFER SETUP menu allows selec- tion of the master subwoofer crossover fre- quency and independent adjustment of sub- woofer level for each surround mode. CROSSOVER (40Hz/60Hz/80Hz/100Hz/ 120Hz/150Hz/200Hz/OFF): This setting specifies a master low-pass filter for the sub- woofer and a corresponding high-pass filter for all SMALL speakers in the system at the selected frequency. To adjust the crossover frequency, highlight the CROSSOVER line using the UP/DOWN buttons. Then, use the +/– buttons to choose the master crossover point. The 80Hz or 100Hz crossover points are the most common in home theater systems and should be used unless you have a specific reason to choose a different crossover point based on your specific speakers. The OFF setting sends a full-range signal to your subwoofer so that you can use its built-in low-pass filter. With the OFF setting, a 100 Hz high-pass filter is activated for all SMALL speakers in the system. NOTE: The master crossover point can be over- ridden with a custom crossover frequency for the front, center, surround, or surround back speakers in the ADVANCED SPEAKER SETUP menu; however, in most systems the single master crossover point should work well DOLBY DIGITAL: DOLBY PLII: DTS: STEREO/MPEG: MUSIC: MULTI INPUT: These six lines allow you to override the mas- ter subwoofer level setting as determined on the TEST TONE menu (see below) for each specific surround mode. When going to the SUBWOOFER SETUP menu from the MAIN menu, the current surround mode is auto- matically highlighted. Use the +/– buttons to adjust the subwoofer level for the current surround mode. The options are OFF (which turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. turns off the subwoofer for that mode) and a range of adjustments from -9dB to +9dB and MAX (+10dB). A setting of 0dB means that the specified surround mode will use the mas- ter subwoofer level. Any other setting is an offset to the master setting. For example, an adjustment of -2db for a particular surround mode means that the subwoofer level will be 2dB quieter than the master subwoofer level when that surround mode is selected. Use these subwoofer level settings to adjust the relative bass output of various surround modes. Changing the master subwoofer lev- el will increase or decrease the level for all surround modes. NOTE: Only the current surround mode can be adjusted on this menu. You will need to change surround modes using the front panel or remote buttons to adjust a different mode. NOTE: Only the current surround mode can be adjusted on this menu. You will need to change surround modes using the front panel or remote buttons to adjust a different mode. We recommend starting with the settings for all surround modes at the default 0dB setting during the test tone calibration of the system and for a period of familiarization after that. As you listen to a variety of source material over time, you may notice that certain sur- round modes consistently produce too much or too little bass from the subwoofer. If so, then use these menu settings to customize each surround mode. In general, if the master subwoofer level is set properly (i.e. not too loud), individual settings for each surround mode should not be necessary. We recommend starting with the settings for all surround modes at the default 0dB setting during the test tone calibration of the system and for a period of familiarization after that. As you listen to a variety of source material over time, you may notice that certain sur- round modes consistently produce too much or too little bass from the subwoofer. If so, then use these menu settings to customize each surround mode. In general, if the master subwoofer level is set properly (i.e. not too loud), individual settings for each surround mode should not be necessary. We recommend starting with the settings for all surround modes at the default 0dB setting during the test tone calibration of the system and for a period of familiarization after that. As you listen to a variety of source material over time, you may notice that certain sur- round modes consistently produce too much or too little bass from the subwoofer. If so, then use these menu settings to customize each surround mode. In general, if the master subwoofer level is set properly (i.e. not too loud), individual settings for each surround mode should not be necessary. We recommend starting with the settings for all surround modes at the default 0dB setting during the test tone calibration of the system and for a period of familiarization after that. As you listen to a variety of source material over time, you may notice that certain sur- round modes consistently produce too much or too little bass from the subwoofer. If so, then use these menu settings to customize each surround mode. In general, if the master subwoofer level is set properly (i.e. not too loud), individual settings for each surround mode should not be necessary. We recommend starting with the settings for all surround modes at the default 0dB setting during the test tone calibration of the system and for a period of familiarization after that. As you listen to a variety of source material over time, you may notice that certain sur- round modes consistently produce too much or too little bass from the subwoofer. If so, then use these menu settings to customize each surround mode. In general, if the master subwoofer level is set properly (i.e. not too loud), individual settings for each surround mode should not be necessary. NOTE: In Dolby Digital and DTS recordings, the LFE channel is used to produce spectacular low bass effects, placing considerable de- mands on your subwoofer system. If you hear distortion or other signs of distress from your subwoofer at loud listening levels, you may consider reducing the subwoofer level for the Dolby Digital and/or DTS surround modes. In other surround modes, there is no LFE channel and the subwoofer will only reproduce redi- rected bass from the other channels, which is not as likely to tax the subwoofer. NOTE: In Dolby Digital and DTS recordings, the LFE channel is used to produce spectacular low bass effects, placing considerable de- mands on your subwoofer system. If you hear distortion or other signs of distress from your subwoofer at loud listening levels, you may consider reducing the subwoofer level for the Dolby Digital and/or DTS surround modes. In other surround modes, there is no LFE channel and the subwoofer will only reproduce redi- rected bass from the other channels, which is not as likely to tax the subwoofer. NOTE: In Dolby Digital and DTS recordings, the LFE channel is used to produce spectacular low bass effects, placing considerable de- mands on your subwoofer system. If you hear distortion or other signs of distress from your subwoofer at loud listening levels, you may consider reducing the subwoofer level for the Dolby Digital and/or DTS surround modes. In other surround modes, there is no LFE channel and the subwoofer will only reproduce redi- rected bass from the other channels, which is not as likely to tax the subwoofer. NOTE: In Dolby Digital and DTS recordings, the LFE channel is used to produce spectacular low bass effects, placing considerable de- mands on your subwoofer system. If you hear distortion or other signs of distress from your subwoofer at loud listening levels, you may consider reducing the subwoofer level for the Dolby Digital and/or DTS surround modes. In other surround modes, there is no LFE channel and the subwoofer will only reproduce redi- rected bass from the other channels, which is not as likely to tax the subwoofer. NOTE: In Dolby Digital and DTS recordings, the LFE channel is used to produce spectacular low bass effects, placing considerable de- mands on your subwoofer system. If you hear distortion or other signs of distress from your subwoofer at loud listening levels, you may consider reducing the subwoofer level for the Dolby Digital and/or DTS surround modes. In other surround modes, there is no LFE channel and the subwoofer will only reproduce redi- rected bass from the other channels, which is not as likely to tax the subwoofer. NOTE: In Dolby Digital and DTS recordings, the LFE channel is used to produce spectacular low bass effects, placing considerable de- mands on your subwoofer system. If you hear distortion or other signs of distress from your subwoofer at loud listening levels, you may consider reducing the subwoofer level for the Dolby Digital and/or DTS surround modes. In other surround modes, there is no LFE channel and the subwoofer will only reproduce redi- rected bass from the other channels, which is not as likely to tax the subwoofer. To return to the MAIN menu, press the EN- TER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. To return to the MAIN menu, press the EN- TER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. 43 English Test Tone Calibration with an SPL meter: bass is readily apparent. The proper setting will generally work well for music and movie soundtracks. bass is readily apparent. The proper setting will generally work well for music and movie soundtracks. TEST TONE LEFT:+ 1dB CENTER:- 1dB RIGHT:+ 2dB R R SURROUND:+ CTR BACK:+ 5dB 2dB L CTR BACK:+ 2dB L SUBWOOFER:+ SURROUND:+ 4dB 9dB MAIN MENU This menu uses filtered pink noise test tones to set equal volume levels for all speakers (left front, center, right front, right surround, center back, left surround, and subwoofer) to ensure proper surround sound reproduction. Setting the output levels using the test proce- dure provides the most accurate adjustment so that digital surround sound material will be reproduced as it was intended and is a critical step in calibrating the system. NOTE: If you have configured your system to use two center back speakers, there will be an additional line in the menu, giving you the ability to independently adjust the CENTER BACK 1 and CENTER BACK 2 speakers. To access this menu and perform the test tone calibration, you can be in any surround mode except BYPASS with any input except the MULTI INPUT. Enter the OSD menu sys- tem and select TEST TONE from the MAIN MENU to reach this screen. When you enter the TEST TONE menu, you will hear a test tone coming from the high- lighted speaker. Highlight different speakers by moving the cursor to the desired line using the UP/DOWN buttons. The test tone will shift accordingly to the selected speaker. Seated in the normal listening location, shift the test tone to the various speakers. Using the one speaker as a reference, listen for any speakers that are noticeably louder or qui- eter. If so, adjust that speaker’s levels up or down (in 1dB increments) using the +/– but- tons. Continue switching among the speak- ers and adjusting until all speakers are the same volume. To return to the MAIN menu, press the EN- TER button. Press the MENU/OSD button on the remote to cancel the menu display and return to normal operation. Calibrating the system with an SPL meter, rather than by ear, provides more precise results and improves the system’s perfor- mance significantly. Inexpensive SPL meters are widely available and the procedure is quick and easy. Both Dolby and DTS specify a standard cal- ibration level for all theaters to ensure that soundtracks can be played at the volume level intended by the director of the film. This ref- erence level should result in spoken dialog played at a realistic level for normal speech with the loudest peaks in any single channel at about 105dB. The RSX-1057’s test tones are generated at a precise level (-30dBFs) relative to the loudest possible digitally re- corded sound. At the Dolby or DTS reference level, these test tones should produce a 75dB reading on an SPL meter. Set the meter to its 70dB dial setting with SLOW response and C-weighting, held away from your body at your listening position (mount- ing the SPL meter on a camera tripod makes this easier). You can point the SPL meter at each speaker as it is being measured; how- ever, positioning the meter in a fixed position pointing at the ceiling is easier and probably produces more consistent results. Increase the master volume control on the RSX-1057 until the meter reads 75dB (+5dB on the meter scale) when playing the test tone through one of the front speakers. Then, use the individual channel adjustments on the TEST TONE menu to adjust each of the indi- vidual speakers, including the subwoofer, to the same 75dB on the SPL meter. NOTE: Due to meter weighting curves and room effects, the actual level of the subwoofer may be slightly higher than you measure. To compensate, Dolby suggests setting the sub- woofer several dB lower when calibrating with an SPL meter (i.e. set the subwoofer to read 72dB on the meter instead of 75dB). Ultimately, the proper subwoofer level must be determined by personal taste and some listeners prefer to set it above 75dB for film soundtracks. Exaggerated bass effects come at the expense of proper blending with the main speakers and place stress on the sub- woofer and its amplifier. If you can localize bass from the subwoofer, the subwoofer level may be too high. Music can be useful for fine-tuning the subwoofer level as excessive bass is readily apparent. The proper setting will generally work well for music and movie soundtracks. bass is readily apparent. The proper setting will generally work well for music and movie soundtracks. Remember the setting of the master volume control used during this calibration. To play a Dolby Digital or DTS soundtrack at the ref- erence volume level, simply return to that vol- ume setting. Note that most home theater lis- teners find this setting to be excessively loud. Let your own ears be the judge for deciding how loud to playback movie soundtracks and adjust the master volume control according- ly. Regardless of your listening levels, using an SPL meter to calibrate equal levels for all speakers in the system is recommended. Remember the setting of the master volume control used during this calibration. To play a Dolby Digital or DTS soundtrack at the ref- erence volume level, simply return to that vol- ume setting. Note that most home theater lis- teners find this setting to be excessively loud. Let your own ears be the judge for deciding how loud to playback movie soundtracks and adjust the master volume control according- ly. Regardless of your listening levels, using an SPL meter to calibrate equal levels for all speakers in the system is recommended. Remember the setting of the master volume control used during this calibration. To play a Dolby Digital or DTS soundtrack at the ref- erence volume level, simply return to that vol- ume setting. Note that most home theater lis- teners find this setting to be excessively loud. Let your own ears be the judge for deciding how loud to playback movie soundtracks and adjust the master volume control according- ly. Regardless of your listening levels, using an SPL meter to calibrate equal levels for all speakers in the system is recommended. Remember the setting of the master volume control used during this calibration. To play a Dolby Digital or DTS soundtrack at the ref- erence volume level, simply return to that vol- ume setting. Note that most home theater lis- teners find this setting to be excessively loud. Let your own ears be the judge for deciding how loud to playback movie soundtracks and adjust the master volume control according- ly. Regardless of your listening levels, using an SPL meter to calibrate equal levels for all speakers in the system is recommended. Remember the setting of the master volume control used during this calibration. To play a Dolby Digital or DTS soundtrack at the ref- erence volume level, simply return to that vol- ume setting. Note that most home theater lis- teners find this setting to be excessively loud. Let your own ears be the judge for deciding how loud to playback movie soundtracks and adjust the master volume control according- ly. Regardless of your listening levels, using an SPL meter to calibrate equal levels for all speakers in the system is recommended. Delay Setup DELAY SETUP Delay Setup DELAY SETUP LEFT: 12ft 3.6m CENTER: 11ft 3.3m RIGHT: 11ft 3.3m R R SURROUND: CTR BACK: 6ft 8ft 1.8m 2.4m L CTR BACK: 9ft 2.7m L SUBWOOFER: SURROUND: 5ft 5ft 1.5m 1.5m LEFT: 12ft 3.6m CENTER: 11ft 3.3m RIGHT: 11ft 3.3m R R SURROUND: CTR BACK: 6ft 8ft 1.8m 2.4m L CTR BACK: 9ft 2.7m L SUBWOOFER: SURROUND: 5ft 5ft 1.5m 1.5m LEFT: 12ft 3.6m CENTER: 11ft 3.3m RIGHT: 11ft 3.3m R R SURROUND: CTR BACK: 6ft 8ft 1.8m 2.4m L CTR BACK: 9ft 2.7m L SUBWOOFER: SURROUND: 5ft 5ft 1.5m 1.5m LEFT: 12ft 3.6m CENTER: 11ft 3.3m RIGHT: 11ft 3.3m R R SURROUND: CTR BACK: 6ft 8ft 1.8m 2.4m L CTR BACK: 9ft 2.7m L SUBWOOFER: SURROUND: 5ft 5ft 1.5m 1.5m MAIN MENU MAIN MENU The DELAY SETUP menu, which is reached from the MAIN menu, allows you to set the delay for individual speakers. This ensures that the sound from each speaker arrives si- multaneously at the listening position, even when the speakers are not all placed at equal distances from the listener. Increase the delay to speakers located closer to the seating area and decrease the delay to speakers located farther from the seating area. The DELAY SETUP menu, which is reached from the MAIN menu, allows you to set the delay for individual speakers. This ensures that the sound from each speaker arrives si- multaneously at the listening position, even when the speakers are not all placed at equal distances from the listener. Increase the delay to speakers located closer to the seating area and decrease the delay to speakers located farther from the seating area. The DELAY SETUP menu, which is reached from the MAIN menu, allows you to set the delay for individual speakers. This ensures that the sound from each speaker arrives si- multaneously at the listening position, even when the speakers are not all placed at equal distances from the listener. Increase the delay to speakers located closer to the seating area and decrease the delay to speakers located farther from the seating area. The DELAY SETUP menu, which is reached from the MAIN menu, allows you to set the delay for individual speakers. This ensures that the sound from each speaker arrives si- multaneously at the listening position, even when the speakers are not all placed at equal distances from the listener. Increase the delay to speakers located closer to the seating area and decrease the delay to speakers located farther from the seating area. The RSX-1057 makes setting the delay time for each speaker very easy. Simply measure the distance (in feet or meters) from your seating position to each speaker in your system. Set the measured distance in the line for each speaker. The menu provides a line for each speaker configured in your system and pro- vides a range of settings up to 99 feet (30 meters) in 1 foot (0.3 m) increments with each increment equivalent to an additional delay of 1ms. The RSX-1057 makes setting the delay time for each speaker very easy. Simply measure the distance (in feet or meters) from your seating position to each speaker in your system. Set the measured distance in the line for each speaker. The menu provides a line for each speaker configured in your system and pro- vides a range of settings up to 99 feet (30 meters) in 1 foot (0.3 m) increments with each increment equivalent to an additional delay of 1ms. The RSX-1057 makes setting the delay time for each speaker very easy. Simply measure the distance (in feet or meters) from your seating position to each speaker in your system. Set the measured distance in the line for each speaker. The menu provides a line for each speaker configured in your system and pro- vides a range of settings up to 99 feet (30 meters) in 1 foot (0.3 m) increments with each increment equivalent to an additional delay of 1ms. The RSX-1057 makes setting the delay time for each speaker very easy. Simply measure the distance (in feet or meters) from your seating position to each speaker in your system. Set the measured distance in the line for each speaker. The menu provides a line for each speaker configured in your system and pro- vides a range of settings up to 99 feet (30 meters) in 1 foot (0.3 m) increments with each increment equivalent to an additional delay of 1ms. To change a setting, place the highlight on the desired line using the UP/DOWN but- tons and use the +/– buttons to increase or decrease the delay setting. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. To change a setting, place the highlight on the desired line using the UP/DOWN but- tons and use the +/– buttons to increase or decrease the delay setting. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation.

44 RSX-1057 Surround Sound Receiver

Contour Setup CONTOUR SETUP SPEAKER:Front DEFEAT:On HF CONTOUR:+5 LF CONTOUR: 0 MAIN MENU The CONTOUR SETUP menu allows digital adjustment of the bass and treble response of each group of speakers in the system. For example, if your center channel speaker sounds too bright, you could roll off the ex- treme high frequencies. SPEAKER (front/center/surround/ center back/all): Select which speaker or group of speakers to adjust. Selecting ALL permits adjustment of the entire system as a whole. DEFEAT (on/off): Selecting the ON setting defeats the contour adjustment, bypassing the contour processing entirely for that speaker or group of speakers. HF CONTOUR: Adjusts the extreme high frequency slope over a range of -6dB (MIN) to +6dB (MAX). Negative number settings reduce the high frequency output; positive number settings increase it. LF CONTOUR: Adjusts the extreme low fre- quency slope over a range of -6dB (MIN) to +6dB (MAX). Negative number settings reduce the low frequency output; positive number settings increase it. The contour adjustments are designed to work at the frequency extremes and be relatively subtle so that they do not have a negative impact on midrange sounds. We recom- mend acclimating to the sound of the sys- tem with the contour adjustments defeated and then making adjustments, if necessary, to address specific speaker response issues or personal taste. NOTE: You can also make temporary contour adjustments using the TONE and UP/DOWN buttons on the remote. See the Contour/Tone Settings section of this manual for details. Miscellaneous Settings Other Options ���������������������� ���������������������� �������������������� ������������������� ����������������������� ����������������������� �������������������� ������������������ ������������������ ����������� This OTHER OPTIONS menu, accessed from the MAIN menu, provides access to several miscellaneous settings as follows: RECORD: Select which source signal to be sent to the recording outputs by choosing one of the input sources. The options are: CD, TAPE, TUNER, VIDEO 1–5, and SOURCE. You can either select a specific component or select SOURCE which will send the signal to the record outputs from whatever source is selected for listening. TURN ON VOL: Specifies a default volume level to be used each time the RSX-1057 is activated. You can select LAST to have the RSX-1057 power up with the last previously used volume setting. Or, you specify a vol- ume from MIN (full mute) to MAX, in 1dB increments. Note that this setting cannot ex- ceed the MAX VOL established in the next line of the menu. MAX VOL: Specifies the maximum volume level for the RSX-1057. The volume cannot be adjusted above this level. Settings range from MIN to MAX, in 1dB increments. POWER: This setting determines how the RSX-1057 powers up. With the default STANDBY setting, the unit powers up in standby mode when AC is ap- plied and the rear panel POWER button is ON. The unit must be activated using the front panel STANDBY button or the remote ON/OFF buttons. With the DIRECT setting, the unit is fully ac- tivated when AC power is applied and the rear panel POWER button is ON; however, it may be put in standby mode using the front panel STANDBY button or the remote ON/ OFF buttons. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. In ALWAYS-ON mode, the unit remains fully active whenever AC is present and the rear panel POWER button is ON; the front panel STANDBY button and the remote ON/OFF buttons are disabled and the unit cannot be put in standby mode. LANGUAGE: Selects a language for the On Screen Display. LANGUAGE: Selects a language for the On Screen Display. LANGUAGE: Selects a language for the On Screen Display. VIDEO: Specifies whether an NTSC or PAL television monitor is connected to the TV MONITOR outputs of the RSX-1057. This setting must be correct for the upconversion and OSD menus to work properly. VIDEO: Specifies whether an NTSC or PAL television monitor is connected to the TV MONITOR outputs of the RSX-1057. This setting must be correct for the upconversion and OSD menus to work properly. VIDEO: Specifies whether an NTSC or PAL television monitor is connected to the TV MONITOR outputs of the RSX-1057. This setting must be correct for the upconversion and OSD menus to work properly. VIDEO: Specifies whether an NTSC or PAL television monitor is connected to the TV MONITOR outputs of the RSX-1057. This setting must be correct for the upconversion and OSD menus to work properly. OSD ON/OFF: Select whether or not sta- tus information (such as the volume setting) is displayed on the TV monitor. OSD ON/OFF: Select whether or not sta- tus information (such as the volume setting) is displayed on the TV monitor. OSD ON/OFF: Select whether or not sta- tus information (such as the volume setting) is displayed on the TV monitor. OSD ON/OFF: Select whether or not sta- tus information (such as the volume setting) is displayed on the TV monitor. PROGRESSIVE: The OSD menus cannot be displayed on the TV monitor when progres- sive scan or 1080i HDTV video signals are being used at the Component Video inputs. This setting enables a feature that allows the display of the main OSD setup menus (but not the information displays such as volume, etc.) on the TV monitor by interrupting the progres- sive scan video signal and restoring it after the OSD menus are cancelled. Choose the video input or combination of video inputs for progressive scan or HDTV video signals (480p, 720p, 1080i). All other video inputs will be assigned as standard interlaced video inputs. Video 4 and 5 cannot be assigned as progressive scan inputs. PROGRESSIVE: The OSD menus cannot be displayed on the TV monitor when progres- sive scan or 1080i HDTV video signals are being used at the Component Video inputs. This setting enables a feature that allows the display of the main OSD setup menus (but not the information displays such as volume, etc.) on the TV monitor by interrupting the progres- sive scan video signal and restoring it after the OSD menus are cancelled. Choose the video input or combination of video inputs for progressive scan or HDTV video signals (480p, 720p, 1080i). All other video inputs will be assigned as standard interlaced video inputs. Video 4 and 5 cannot be assigned as progressive scan inputs. PROGRESSIVE: The OSD menus cannot be displayed on the TV monitor when progres- sive scan or 1080i HDTV video signals are being used at the Component Video inputs. This setting enables a feature that allows the display of the main OSD setup menus (but not the information displays such as volume, etc.) on the TV monitor by interrupting the progres- sive scan video signal and restoring it after the OSD menus are cancelled. Choose the video input or combination of video inputs for progressive scan or HDTV video signals (480p, 720p, 1080i). All other video inputs will be assigned as standard interlaced video inputs. Video 4 and 5 cannot be assigned as progressive scan inputs. PROGRESSIVE: The OSD menus cannot be displayed on the TV monitor when progres- sive scan or 1080i HDTV video signals are being used at the Component Video inputs. This setting enables a feature that allows the display of the main OSD setup menus (but not the information displays such as volume, etc.) on the TV monitor by interrupting the progres- sive scan video signal and restoring it after the OSD menus are cancelled. Choose the video input or combination of video inputs for progressive scan or HDTV video signals (480p, 720p, 1080i). All other video inputs will be assigned as standard interlaced video inputs. Video 4 and 5 cannot be assigned as progressive scan inputs. PROGRESSIVE: The OSD menus cannot be displayed on the TV monitor when progres- sive scan or 1080i HDTV video signals are being used at the Component Video inputs. This setting enables a feature that allows the display of the main OSD setup menus (but not the information displays such as volume, etc.) on the TV monitor by interrupting the progres- sive scan video signal and restoring it after the OSD menus are cancelled. Choose the video input or combination of video inputs for progressive scan or HDTV video signals (480p, 720p, 1080i). All other video inputs will be assigned as standard interlaced video inputs. Video 4 and 5 cannot be assigned as progressive scan inputs. PROGRESSIVE: The OSD menus cannot be displayed on the TV monitor when progres- sive scan or 1080i HDTV video signals are being used at the Component Video inputs. This setting enables a feature that allows the display of the main OSD setup menus (but not the information displays such as volume, etc.) on the TV monitor by interrupting the progres- sive scan video signal and restoring it after the OSD menus are cancelled. Choose the video input or combination of video inputs for progressive scan or HDTV video signals (480p, 720p, 1080i). All other video inputs will be assigned as standard interlaced video inputs. Video 4 and 5 cannot be assigned as progressive scan inputs. NOTE: When a video input or inputs are se- lected for progressive mode, the conversion from Composite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. For example, if Video 1 and Video 2 are selected for pro- gressive scan signals (V1+V2), conversion from Composite or S-Video is only available for Video 3, 4, and 5. NOTE: When a video input or inputs are se- lected for progressive mode, the conversion from Composite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. For example, if Video 1 and Video 2 are selected for pro- gressive scan signals (V1+V2), conversion from Composite or S-Video is only available for Video 3, 4, and 5. NOTE: When a video input or inputs are se- lected for progressive mode, the conversion from Composite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. For example, if Video 1 and Video 2 are selected for pro- gressive scan signals (V1+V2), conversion from Composite or S-Video is only available for Video 3, 4, and 5. NOTE: When a video input or inputs are se- lected for progressive mode, the conversion from Composite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. For example, if Video 1 and Video 2 are selected for pro- gressive scan signals (V1+V2), conversion from Composite or S-Video is only available for Video 3, 4, and 5. NOTE: When a video input or inputs are se- lected for progressive mode, the conversion from Composite or S-Video to Component Video output is not available for those inputs. The conversion from Composite or S-VIDEO to Component Video output is only available for the other video inputs. For example, if Video 1 and Video 2 are selected for pro- gressive scan signals (V1+V2), conversion from Composite or S-Video is only available for Video 3, 4, and 5. Change settings on the OTHER OPTIONS menu by highlighting the desired line using the UP/DOWN buttons and using the +/– but- tons to step through the available settings. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. Change settings on the OTHER OPTIONS menu by highlighting the desired line using the UP/DOWN buttons and using the +/– but- tons to step through the available settings. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. Change settings on the OTHER OPTIONS menu by highlighting the desired line using the UP/DOWN buttons and using the +/– but- tons to step through the available settings. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. Change settings on the OTHER OPTIONS menu by highlighting the desired line using the UP/DOWN buttons and using the +/– but- tons to step through the available settings. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. 45 English Zone 2 Setup ZONE2 SETUP SOURCE:Off VOLUME SETUP:Variable TURN VOLUME:60 ON VOL:Last MAX VOL:Max 12V TRIGGER:Off MAIN MENU TURN ON VOL: Specifies a default volume level to be used each time Zone 2 is acti- vated. You can select LAST to have Zone 2 activate with the last previously used volume setting. Or, you specify a volume from MIN (full mute) to MAX, in 1dB increments. Note that this setting cannot exceed the MAX VOL established in the next line of the menu. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. The ZONE 2 SETUP menu provides settings and configuration options related to the op- eration of Zone 2. This menu is reached by highlighting the ZONE 2 line on the MAIN menu and pressing ENTER. SOURCE: Specifies a source for listening in Zone 2. Options are CD, TUNER, TAPE, VIDEO 1–5, SOURCE, and OFF. Selecting the SOURCE option links the Zone 2 source to the source selected for the main zone so that Zone 2 will hear the same source as the main zone. Selecting the OFF option turns Zone 2 off. VOLUME SETUP: configures the Zone 2 outputs for VARIABLE or FIXED volume lev- els. VARIABLE allows control of the volume settings in Zone 2 from the RSX-1057 front panel or from a remote control/IR repeater in Zone 2. FIXED output disables the Zone 2 volume control. In this mode, the Zone 2 level can be fixed at the level specified on the next line, thus optimizing system perfor- mance when sending a fixed level signal to a preamp or amplifier with its own volume adjustment. VOLUME: In VARIABLE output mode, this line shows the current volume setting for Zone 2. In FIXED output mode, this volume setting establishes a permanent fixed output level for Zone 2. MAX VOL: Specifies the maximum volume level for Zone 2. The volume cannot be ad- justed above this level. Settings range from MIN to MAX, in 1dB increments. 12V TRIGGER: The RSX-1057 has three12V trigger outputs that supply a 12V DC signal to turn on Rotel components and other com- ponents as needed. The 12V Trigger labeled ZONE 2 is assigned to Zone 2 and can send a turn-on signal to remote components when- ever Zone 2 is activated. Select the appro- priate setting from eight options to have the ZONE 2 trigger output send the turn-on sig- nal. The options that will activate the Zone 2 trigger are: zone, 1+zone, 2+zone, and ALL. The options that will disable the Zone 2 trigger are: 1, 2, 1+2, and No. Default Setup DEFAULT SETUP TUNER SETTING:N.America FRONT REDIRECT:Front FACTORY DEFAULT:No USER DEFAULT:No SET MAIN USER MENU DEFAULT:No The DEFAULT SETUP menu provides access to six functions: • Set the tuning function for North Ameri- can or European frequencies. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the TUNER setting: Place the highlight on the TUNER SETTING line using the UP/DOWN buttons and use the +/– but- tons to change the setting to N. AMERICA or EUROPE. Then, move the highlight to the FACTORY DEFAULT line and change the set- ting to YES as described above. The screen will change to a confirmation screen. Press the ENTER button to proceed with resetting the FACTORY DEFAULT settings and changing the TUNER SETTING. To return to the MAIN menu without resetting the FACTORY DEFAULT and TUNER settings, change the entry to NO and press the ENTER button. To change the FRONT REDIRECT set- ting: Place the highlight on the FRONT REDI- RECT line using the UP/DOWN buttons and use the +/– buttons to change the setting to FRONT SP (for powering front speakers), CB SP (for powering center back speakers), or ZONE SP (for powering speakers in zone 2). If you redirect the internal amplifiers, then you will need a separate stereo amplifier to drive your front speakers. To change the FRONT REDIRECT set- ting: Place the highlight on the FRONT REDI- RECT line using the UP/DOWN buttons and use the +/– buttons to change the setting to FRONT SP (for powering front speakers), CB SP (for powering center back speakers), or ZONE SP (for powering speakers in zone 2). If you redirect the internal amplifiers, then you will need a separate stereo amplifier to drive your front speakers. To change the FRONT REDIRECT set- ting: Place the highlight on the FRONT REDI- RECT line using the UP/DOWN buttons and use the +/– buttons to change the setting to FRONT SP (for powering front speakers), CB SP (for powering center back speakers), or ZONE SP (for powering speakers in zone 2). If you redirect the internal amplifiers, then you will need a separate stereo amplifier to drive your front speakers. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. NOTE: Changing the default TUNER SETTING or REDIRECT SETTING can only done at the same time as restoring the FACTORY DEFAULT settings. Therefore, we recommend selecting your default TUNER and REDIRECT settings and resetting to the FACTORY DEFAULT set- tings as the first step in configuring the unit, before you change or memorize any other configuration settings. To restore the FACTORY DEFAULT set- tings: Place the highlight on the FACTORY DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to pro- ceed with resetting the FACTORY DEFAULT settings. The unit will power off and then on, with the factory settings restored. To return to the MAIN menu without resetting the FAC- TORY DEFAULT settings, change the entry to NO and press the ENTER button. To restore the FACTORY DEFAULT set- tings: Place the highlight on the FACTORY DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to pro- ceed with resetting the FACTORY DEFAULT settings. The unit will power off and then on, with the factory settings restored. To return to the MAIN menu without resetting the FAC- TORY DEFAULT settings, change the entry to NO and press the ENTER button. To restore the FACTORY DEFAULT set- tings: Place the highlight on the FACTORY DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to pro- ceed with resetting the FACTORY DEFAULT settings. The unit will power off and then on, with the factory settings restored. To return to the MAIN menu without resetting the FAC- TORY DEFAULT settings, change the entry to NO and press the ENTER button. To restore the FACTORY DEFAULT set- tings: Place the highlight on the FACTORY DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to pro- ceed with resetting the FACTORY DEFAULT settings. The unit will power off and then on, with the factory settings restored. To return to the MAIN menu without resetting the FAC- TORY DEFAULT settings, change the entry to NO and press the ENTER button. Move the highlight to the desired line using the UP/DOWN buttons and use the +/– but- tons to adjust the volume level. To return to the MAIN menu, press the ENTER button. Press the MENU/OSD button on the remote to cancel the display and return to normal operation. • Redirect the front channel amplifiers to power center back speakers or speakers in Zone 2 speakers. • Restore all features and settings to the original FACTORY DEFAULT settings. • Memorize a custom group of settings as a USER DEFAULT. • Activate the memorized USER DEFAULT settings. To restore the FACTORY DEFAULT set- tings: Place the highlight on the FACTORY DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to pro- ceed with resetting the FACTORY DEFAULT settings. The unit will power off and then on, with the factory settings restored. To return to the MAIN menu without resetting the FAC- TORY DEFAULT settings, change the entry to NO and press the ENTER button. To restore the FACTORY DEFAULT set- tings: Place the highlight on the FACTORY DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to pro- ceed with resetting the FACTORY DEFAULT settings. The unit will power off and then on, with the factory settings restored. To return to the MAIN menu without resetting the FAC- TORY DEFAULT settings, change the entry to NO and press the ENTER button. NOTE: Resetting to factory default settings will erase all stored settings including delay settings, speaker settings, balance settings, input settings and more. You will lose ALL system configuration settings. Be certain that you wish to do so before resetting the fac- tory defaults. NOTE: Resetting to factory default settings will erase all stored settings including delay settings, speaker settings, balance settings, input settings and more. You will lose ALL system configuration settings. Be certain that you wish to do so before resetting the fac- tory defaults. NOTE: Resetting to factory default settings will erase all stored settings including delay settings, speaker settings, balance settings, input settings and more. You will lose ALL system configuration settings. Be certain that you wish to do so before resetting the fac- tory defaults.

46 RSX-1057 Surround Sound Receiver

To memorize USER DEFAULT settings: Many of the current configuration settings can be stored as a USER DEFAULT, which can be activated at any time from this menu screen. To save the current settings as a USER DE- FAULT, place the highlight on the SET USER DEFAULT line using the UP/DOWN buttons and use the +/– buttons to change the set- ting to YES. Press the ENTER button to store the new USER DEFAULT settings. To return to the MAIN menu without saving any changes, change all entries on the screen to NO and press the ENTER button. MORE INFORMATION Troubleshooting The unit does not turn on. • Make sure the power cord is plugged into the rear panel and a live AC outlet. • Make sure the rear panel POWER switch is in the ON position. OSD menus are not displayed on TV Monitor. OSD menus are not displayed on TV Monitor. • Go to Setup menus and configure OSD menus to be displayed on the TV moni- tor. • Go to Setup menus and configure OSD menus to be displayed on the TV moni- tor. • In some PAL systems, the menus may not be displayed unless there is an active video signal. • In some PAL systems, the menus may not be displayed unless there is an active video signal. • In some PAL systems, the menus may not be displayed unless there is an active video signal. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. To activate memorized USER DEFAULT settings: After you have stored a USER DE- FAULT configuration file, you can activate those settings at any time by placing the highlight on the USER DEFAULT line using the UP/DOWN buttons. Use the +/– buttons to change the set- ting to YES. Press the ENTER button to proceed with activating the USER DEFAULT settings. To return to the MAIN menu without activating the USER DEFAULT settings, change the entry to NO and press the ENTER button. • Make sure that preamp outputs are con- nected to a power amplifier and that the amplifier is turned on. • Make sure source inputs are connected and configured correctly. No sound from digital sources. • Make sure that digital input connector is assigned to the proper source input and that the source input is configured to use the digital input rather than an analog input. • Check the configuration of the DVD player to ensure that the bitstream and/or DTS digital output is activated. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • HDMI video connections can not display OSD menus on the TV monitor. Use other type of video connection. • HDMI video connections can not display OSD menus on the TV monitor. Use other type of video connection. • HDMI video connections can not display OSD menus on the TV monitor. Use other type of video connection. Video and Audio do not match. Video and Audio do not match. • Check that the proper video source is se- lected for each input. • Check that the proper video source is se- lected for each input. • Check that the group delay (lip-synch) setting is not misadjusted. Clicking or popping sounds when switching inputs. NOTE: If there is insufficient memory to store a USER DEFAULT configuration file, the SET USER DEFAULT option will not be available. No sound from any input. • Make sure that MUTING is off and VOL- UME is turned up. No sound from some speakers. • Check all power amp and speaker con- nections. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • When using progressive scan video sig- nals, make sure that the progressive mode is selected for that video input in the OTH- ER OPTIONS setup menu. This allows the display of the OSD menus on the TV mon- itor by interrupting the progressive scan video signal and restoring it after the OSD menus are cancelled. The temporary in- formation screens (such as volume, etc.) cannot be displayed on the TV monitor when progressive scan signals are used. • The unit uses relay switching to preserve maximum sound quality. The mechanical clicking of the relays is normal. • Check Speaker Configuration settings in the Setup menus. No video output on TV monitor. • Make sure that the TV monitor is connect- ed properly. Component video outputs can send any type of signal to the TV. Composite video connections can only send video from Composite sources and S-Video connections can only send video from S-Video sources. • HDMI connections can only send video signals from HDMI sources. HDMI com- ponents must be Ver. 1.1 compatible. HDMI cables must be 5 meters or less in length. • Make sure the NTSC/PAL switch is set properly. • During switching, it may take a split sec- ond for digital signals to be recognized and properly decoded. Rapid repeated switching between inputs or settings can result in clicks or pops from the speakers as the unit attempts to lock on to the rapidly changing signals. This causes no harm. Controls do not operate. • Make sure that fresh batteries are installed in the remote. • Make sure that the IR sensor on the front panel is not blocked. Aim the remote at the sensor. • Make sure the sensor is not receiving strong IR light (sunlight, halogen lighting, etc.) • Unplug the unit from the AC outlet, wait 30 seconds, and plug it back in to reset. 47 English Specifications AM Tuner Audio Continuous Amplifier Power (five channels driven) 75 watts/ch (20-20k Hz, <0.05% THD, 8 ohms) Continuous Amplifier Power (two channels driven) 100 watts/ch (1kHz, <1.0% THD, 8 ohms, DIN) Total Harmonic Distortion <0.09% Intermodulation Distortion (60 Hz:7 kHz) <0.05% Frequency Response 10 Hz – 120 kHz, ±3dB (analog bypass) 10 Hz – 95 kHz, ±3dB (digital input) Signal to Noise Ratio (IHF A-weighted) 95dB (analog bypass) 92dB (Dolby Digital, dts) 0dBFs Input Sensitivity/Impedance Line Level: 200 mV/100K ohms Preamp Output Level/Output Impedance 1.0 V / 1K ohms Contour (LF/HF) ±6dB at 50 Hz/15 kHz Decodable Digital Input Signals Dolby Digital, Dolby Digital EX, DTS, DTS-ES, DTS 96/24, LPCM (up to 192K), HDCD, MP3, MPEG Multichannel Video Frequency Response 3 Hz – 10 MHz, ± 3dB (Digital Input) 3 Hz – 100 MHz, ± 3dB (Component Video) Signal to Noise Ratio 45dB Input Impedance 75 ohms Output Impedance 75 ohms Output Level 1.0 volt HDMI Input/Output : Version 1.1 FM Tuner Usable Sensitivity 14.2dBf Signal to Noise Ratio (at 65dBf) 70dBf Harmonic Distortion (at 65dBf) 0.03% Stereo Separation (1 kHz) 45dB Output level 1 VAntenna Input 75 ohms unbalanced Sensitivity 500 μV/m Signal to Noise Ratio 40dBf Output level 500 mV Antenna Input Loop Antenna General Power Consumption 450 watts 78 watts (idle) 36 watts (standby) Power Requirements (AC) 120 volts, 60Hz (USA version) 230 volts, 50Hz (CE version) Weight 17.2 Kg/37.8 lb. Dimensions (W x H x D) 432 x 162 x 442 mm 17.01” x 6.38” x 17.40” Front Panel Height (feet removed/for rack mount) 150 mm / 5.91” When sizing openings in custom cabinets, mea- sure the unit to be installed and/or allow at least 1 mm clearance on all sides for unit to unit toler- ances. All specifications are accurate at the time of print- ing. Rotel reserves the right to make improve- ments without notice. Rotel and the Rotel HiFi logo are registered trade- marks of The Rotel Co, Ltd., Tokyo, Japan.

The Rotel Co. Ltd. 10-10 Shinsen-Cho Shibuya-Ku Tokyo 150-0045 Japan Phone: +81 3-5458-5325 Fax: +81 3-5458-5310 Rotel of America 54 Concord Street North Reading, MA 01864-2699 USA Phone: +1 978-664-3820 Fax: +1 978-664-4109 Rotel Europe Dale Road Worthing, West Sussex BN11 2BH England Phone: + 44 (0)1903 221 761 Fax: +44 (0)1903 221525 Rotel Deutschland Kleine Heide 12 D-33790 Halle/Westf. Germany Phone: +49 05201-87170 Fax: +49 05201-73370 rotel.com 082 OM-RSX-1057 033006 English


FREE ENGLISH PDF

OPERATING INSTRUCTIONS

USER GUIDE - USER MANUAL

OWNER GUIDE - OWNER MANUAL

REFERENCE GUIDE - REFERENCE MANUAL

INSTRUCTION GUIDE - INSTRUCTION MANUAL

Leave a Reply