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The Sony TA-E1000ESD control amplifier may well represent the beginning of the next step in the audio world's transition from analog to digital signal processing. Essentially, this unit is a preamplifier with a built-in digital signal processor. And that makes it much more than a preamplifier. In functioning as a digital surround sound system, this unit electronically reproduces the early reflected sound as well as reverberations by using its digital signal processor.
You can literally tailor the sound to match that of virtually any listening space, from large, cathedral-like acoustics down to small jazz-club environments. A built-in Dolby Pro-Logic surround decoder also makes use of the digital signal processing ICs to create the specific delay, response, and matrix decoding parameters established by Dolby Labs for Dolby Surround decoding. One of the features that impressed me most about this unit was its digital parametric equalizer. Three individual EQ bands are available. Each can be adjusted to have its center frequency at any point in the audio spectrum. Each band has a maximum boost and cut range of 12 dB (and the three bands can be ganged for up to ±36 dB of variation).
Perhaps best of all, the slope or 'Q' of each band can be adjusted from 0.7 (very broad) to 20 (very sharp or narrow). I found the highest Q setting particularly useful in eliminating resonances caused by structures or furnishings in some listening rooms. The combination of three bands offering such a wide range of adjustment proved more effective than even the most elaborate graphic equalizer. More important, by executing this equalization entirely in the digital domain, even adding the most extreme amount of boost in one or more bands did not increase measured or audible distortion, nor did it introduce extreme phase shifts such as might occur if an analog equalizer were to be used for the same purpose. The third function of this controller that is handled entirely in the digital domain is compression and expansion.
By using the compressor feature in environments where background noise is high, you will hear sounds that might otherwise be masked by noise. There are no less than nine different compression settings available.
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Conversely, using any of the nine expansion settings can restore proper dynamic range to program sources that have been compressed, such as FM radio programs. Expansion also helps to eliminate undesirable noise between musical selections by pushing that residual noise downward below your threshold of audibility. The parametric equalizer, surround sound capability, and dynamics controller have been used by Sony to create and store 10 recommended sound-field programs, identified by such descriptive terms as 'Hall 1,' 'Hall 2,' 'Opera,' 'Church,' 'Jazz Club,' 'Stadium,' 'Live Concert,' 'Theater,' 'Disco,' and 'Dolby Surround.' Each of these environments has been programmed with specific settings of some or most of the adjustable parameters (including the size and wall reflectivity of the simulated room, your own seating position, center and rear channel levels, parametric equalization settings, effects level, early reflection time and level, reverberation time and density, surround-field spread, compression or expansion, and Dolby Surround delay times).
Tables in the instruction manual show Sony's settings and which settings can be altered by the user for each of the 10 preset environments. Users can create 10 additional sound fields and store them in system memory for instant recall. For Dolby Surround mode, only the Dolby-specified delay time (20 mS) is preset, but the user can vary it from 15 to 30 mS. Center- and rear-channel levels can also be adjusted in this mode.
Since the TA-E1000ESD is intended to serve as a preamplifier/control unit for just about any audio/video component system, it also incorporates a conventional analog phono preamplifier section. I was somewhat surprised and disappointed to find that the phono inputs accommodate only moving-magnet cartridges. If you own a moving-coil pickup, you will need to use a pre-preamplifier or a step-up transformer with your phono system. Aside from that fairly obvious omission, the TA-E1000ESD should be able to accommodate even the most elaborate of audio/video systems.
Control Layout At first glance, the control panel of the TA-E1000ESD seems somewhat intimidating. After I had lived with the unit for a day or two, however, I realized that the layout was actually quite simple and logical and that a great deal of thought had gone into solving the problem of how to control such a vast number of adjustments without dozens, if not hundreds, of knobs and buttons. Sony's solution was to have two little rotary knobs control adjustments of just about every kind, depending on which parameters have been brought up on the visual display by means of other pushbuttons. For example, if you are in the 'Parametric EQ' adjustment mode, one of these little rotary knobs adjusts the amount of boost or cut of the particular EQ band while the other alters the band's center frequency. Primary controls on the front panel include 'Power,' display 'Dimmer,' a row of input selector buttons, small buttons for selecting 'Parametric EQ' or 'Dynamics' (compression/expansion) or 'Surround,' buttons for selecting the factory preset or user-set sound fields, a volume control, and a 'Muting' button.
To the right of the display window are the two small multi-function rotary knobs, and nearby are four small pushbuttons: Two for selecting main and subparameters that need adjusting, an 'EQ Band' selector (for choosing which of the three EQ bands you want to adjust), and an 'EQ Slope' button that sequentially alters the Q of the equalization band being adjusted. A headphone jack is situated at the left, beneath the power on/off switch. A hinged panel along the lower edge of the front panel swings down to disclose a row of secondary controls.