Yamaha RX-SL100RDS User Manual

What really creates the rich, full tones of a live instrument 
are the multiple reflections from the walls of the room. In 
addition to making the sound “live”, these reflections 
enable us to tell where the player is situated, and the size 
and shape of the room in which we are sitting.

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For details on how to change parameter settings, see page 39.

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In any environment, in addition to the direct sound coming 
straight to our ears from the player’s instrument, there are 
two distinct types of sound reflections that combine to 
make up the sound field:

Reflected sounds reach our ears extremely rapidly (50 ms 
– 100 ms after the direct sound), after reflecting from one 
surface only — for example, from the ceiling or a wall. 
Early reflections actually add clarity to the direct sound.

These are caused by reflections from more than one 
surface — walls, ceiling, the back of the room — so 
numerous that they merge together to form a continuous 
sonic “afterglow”. They are non-directional, and lessen 
the clarity of the direct sound.

Direct sound, early reflections and subsequent 
reverberation taken together help us to determine the 
subjective size and shape of the room, and it is this 
information that the digital sound field processor 
reproduces in order to create sound fields.

If you could create the appropriate early reflections and 
subsequent reverberations in your listening room, you 
would be able to create your own listening environment. 
The acoustics in your room could be changed to those of a 
concert hall, a dance floor, or virtually any size room at 
all. This ability to create sound fields at will is exactly 
what YAMAHA has done with the digital sound field 
processor.

You can adjust the values of certain digital sound field 
parameters so the sound fields are recreated accurately in 
your listening room. Not all of the following parameters 
are found in every program.

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01EN.00_RX-SL100RDS.book  Page 49  Thursday, November 27, 2003  12:42 PM