Lexicon CP-1 Plus Owners Manual

8/9/2019 Lexicon CP-1 Plus Owners Manual

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CP-1Digital Audio

EnvironmentProcessorOwner'sManualCP-1 Plus(Version 2.0)


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Lexicon

Lexicon Part #070-09113 Printed in the United States of America

Unpacking and Inspection

Acknowledgements

The CP-1 is manufactured under license from Dolby Laboratories Licensing Corporation. Additionally licensed under one or more of thefollowing patents: U.S. numbers 3,632,886, 3,746,792 and 3,959,590; Canadian numbers 1,004,603 and 1,037,877. "Dolby" and the double-D symbol are trademarks of Dolby Laboratories Licensing Corporation.

Precautions

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. Theselimits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, usesand can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference toradio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does causeinterference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try tocorrect the interference by one or more of the following measures:

Reorient or relocate the receiving antenna.Increase the separation between the equipment and the receiver.Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.Consult the dealer or an experienced radio/TV technician for help.

This triangle, which appears onyour component, alerts you toimportant operating and main-tenance instructions in this ac-companying literature.

UTION

RISK OF ELECTRIC SHOCKDO NOT OPEN

This triangle, which appears onyour component, alerts you tothe presence of uninsulated,dangerous voltage inside theenclosure... voltage that may besufficient to constitute a risk ofshock.

WARNING:

TO REDUCE THE RISK OF FIRE ORELECTRIC SHOCK, DO NOT EXPOSE

THE UNIT TO RAIN OR MOISTURE.

WARNING:DO NOT DEFEAT OR REMOVE

GROUND PIN ON THE POWER PLUG.

After unpacking the CP-1, save all packing materials in case you ever need to ship the unit. Thoroughly inspectthe CP-1 and packing materials for signs of damage. Report any shipment damage to the carrier at once; reportequipment malfunction to your dealer.

"Auto-Azimuth" and the A-Z logo

are trademarks of Lexicon, Inc.

Lexicon, Inc. 3 Oak Park Bedford MA 01730 USATel: 781-280-0300 Fax: 781-280-0490

Copyright 1992 Lexicon. Inc.All Rights Reserved.

Lexicon Patent: U.S. no. 4, 862, 502; other patents pending.

AUTO AZIMUTH


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Safety Suggestions

Read InstructionsRead all safety and operating instruc-tions before operating the unit.

Retain InstructionsKeep the safety and operating instruc-tions for future reference.

Heed WarningsAdhere to all warnings on the unit and in the

operating instructions.

Follow InstructionsFollow operating and use instructions.

HeatKeep the unit away from heat sources such as radia-

tors, heat registers, stoves, etc., including amplifiers whichproduce heat.

VentilationMake sure that the location or position of the unitdoes not interfere with its proper ventilation. For example, the

unit should not be situated on a bed, sofa, rug, or similarsurface that may block the ventilation openings; or, placed in

a cabinet which impedes the flow of air through the ventilationopenings.

Wall or Ceiling MountingDo not mount the unit to a wall orceiling except as recommended by the manufacturer.

Power SourcesConnect the unit only to a power supply ofthe type described in the operating instructions, or as marked

on the unit.

Grounding or Polarization*Take precautions not to defeatthe grounding or polarization of the units power cord.

*Not applicable in Canada.

Power Cord ProtectionRoute power supply cords so that

they are not likely to be walked on or pinched by items placedon or against them, paying particular attention to cords at

plugs, convenience receptacles, and the point at which they

exit from the unit.

Nonuse PeriodsUnplug the power cord of the unit from theoutlet when the unit is to be left unused for a long period of

time.

Water and MoistureDo not use the unit near water for

example, near a sink, in a wet basement, near a swimming

pool, near an open window, etc.

Object and liquid entryDo not allow objects to fall or liquids

to be spilled into the enclosure through openings.

CleaningThe unit should be cleaned only as recommended

by the manufacturer.

ServicingDo not attempt any service beyond that described

in the operating instructions. Refer all other service needs toqualified service personnel.

Damage requiring serviceThe unit should be serviced by

qualified service personnel when:

the power supply cord or the plug has been damaged,

objects have fallen, or liquid has been spilled into theunit,

the unit has been exposed to rain,

the unit does not appear to operate normally or exhibitsa marked change in performance,

the unit has been dropped, or the enclosure damaged.

Outdoor Antenna Grounding If an outside antenna is

connected to the receiver, be sure the antenna system isgrounded so as to provide some protection against voltage

surges and built-up static charges. Section 810 of the Na-tional Electrical Code, ANSI/NFPA No. 70-1984, provides

information with respect to proper grounding of the mast and

supporting structure, grounding of the lead-in wire to an

antenna-discharge unit, size of grounding conductors, loca-tion of antenna-discharge unit, connection to groundingelectrodes, and requirements for the grounding electrode.

See figure below.

Power Lines An outside antenna should be located away

Power Service Grounding

Electrode System

(NEC Art 250, Part H)

Antenna Lead-in

Wire

Antenna DischargeUnit (NEC Section

810-20)

Grounding Conductors

(NEC Section 810-21)

Ground Clamps

NECNational Electrical Code

Electric

Service

Equipment

Ground

Clamp

from power lines.


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Table of Contents

CP-1 Digital Audio Environment Processor

1 Controls and Indicators

Introduction 1System Overview 3The Front Panel 4

The Rear Panel 5The Remote Control 6

2 Connection and Calibration

Installation 7

Connections to Other Equipment 9

Setting the Main Inputand Output Levels 11

Calibrating the Listener Position 13

3 Speaker Set-Up and Configuration 15

4 Using The Programs

To Load, Modify

and Store Programs 21The Modes:

Panorama 22Concert Halls 24Music Surround 28

Movie Surround 32

To Rename and Store a Register 365 Troubleshooting 37

6 Theory and Design 41

7 Specifications 63


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Panorama Ambience

Reverb Surround

CP-1Digital Audio

EnvironmentProcessor

Owner'sManualCP-1 Plus(Version 2.0)


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Page 1


Introduction

Controlsand

Indicators 1All of the operating modes in the Lexicon CP-1 Digital Audio EnvironmentProcessor have a common goal: to draw you, the listener, more deeply intoa musical performance or a film. For music the CP-1 uses unique digitalprocessing to re-create either the original recording space or a new one ofyour choosing. For films it offers an extremely accurate version of Dolby ProLogic Surround decoding and our own decoding for monaural film sound-tracks. The increase in impact of a musical performance or film when heardwith the CP-1 is enormous, especially when widely spaced multiple loud-speakers are provided, but even without additional loudspeakers, signifi-cant gains are made.

To re-create the experience of being at a performance the CP-1 draws onrecent studies of concert-hall acoustics, and applies this research to home

listening rooms. Our auditory sense is quite adept at interpreting cluesabout our physical environment. Even with your eyes closed, it is possibleto get a good mental picture of the room or hall you are in by listening to theambience, or reflected sound energy, in the room. We are not aware of ourauditory sense in everyday life because it confirms what our eyes identifyas the environment. When we listen to recorded music, however, there areno visual clues and we rely completely on our sense of hearing. Theintroduction of two-speaker stereo systems over thirty years ago broughtdramatic improvement to high fidelity music reproduction. With a care-fully-designed system, and good recording, it became possible to producea good sonic picture of the original event. Unfortunately, our listeningrooms do not approximate the acoustics of a good concert hall, an intimate

jazz club, or a magnificent cathedral our ears tell us where we really are.The Lexicon CP-1 is designed to overcome this fundamental limitation totwo-speaker reproduction and bring us closer to the ultimate goal oftransporting ourselves to the original musical event.

The object is to increase the sideways-moving sound in a room, thusincreasing Spatial Impression, or SI. The CP-1 increases SI by either extractingit from the original recording, using the Panorama or Surround effects, orbygeneratinga new acoustic environment with the Ambience or Reverbeffects.

When a listener is in the correct spot the Panorama mode provides an almostideal re-creation of the original recording space. It works by using digital

processing to cancel the crosstalk between the listener's ears, effectivelyspreading the sound from the two front loudspeakers in a wide arc in frontof the listener. With the optional addition of rear speakers, Panorama can bealmost spooky in its realism.

The Ambience and Reverberation effects in the Concert Hall modes trans-form the listening room into a new acoustic space, letting you choose anenvironment which matches your music or your mood. Unlike mostambience processors, the CP-1 provides full stereo processing, preservingthe critical SI information in the recording and expanding upon it.


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Lexicon

The Ambience effect generates the side and rear reflection patterns of anidealized club and concert hall. The larger space adds the true depth and

realism of a concert hall to classical and popular music, while the smallerspace is ideal for jazz and rock. The Reverberation effect is similar, butplaces more emphasis on rich, dense reverberant decay than on earlyreflections. It is especially good for simulating large, highly reverberantspaces such as churches, stadiums and cathedrals.

For films encoded with Dolby Stereo, the CP-1 uses a completely digitalDolby Pro Logic Surround decoder, with automatic correction of azimuthand channel-balance errors (the most common problems in currently avail-able films). The CP-1 also provides modes for expanding monaural filmsound tracks (Mono Logic), general TV viewing (TV Matrix) and for playingmusic through a Surround speaker set-up (Music Surround).


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Although the CP-1 performs very complex signal processing, a great deal ofeffort has gone into making the technology behind the effects as transparent

as possible to the user. To understand the overall organization of the unit,it is helpful to define those few terms which are unique to the CP-1.

Mode A mode is a configuration that determines how the CP-1 willprocess an input signal. The CP-1 contains four basic modes: Panorama,Concert Halls, Music Surround and Movie Surround. Each of thesebasic modes has a set of variations which are labeled on the remote (1-12). In this manual, these 12 variations are also referred to as modes.

EffectIn the CP-1, an effectis the algorithm which defines a particularmode. The four effects in the CP-1 are: Panorama, Ambience, Reverband Surround.

ParameterEach mode has a set of parameters(controls) that uniquelycharacterize it. The settings of the parameters can be changed to createcustom User modes.

Mode Parametervalues are stored/recalled in Presets and User modes.Some examples are: Delay Time, Bass Split, etc.

System parameter values are not associated with a particular mode.System parameters are not stored in User registers or Presets, nor dotheir values change when a new mode is recalled. Examples are: displaycontrast, volume, etc.

RegisterThe CP-1 contains 24 registers, or memory locations, where

modes are stored.

Bank The CP-1's 24 registers are organized into 2 banks, of 12 each.

PresetsOne bank of 12 registers is loaded with the modes which appearon the remote. These modes arepresets which are permanently initial-ized at the factory. The factory presets cannot be overwritten, but theycan be modified and stored into User registers (or copied intoregisters,then modified).

User RegistersThe remaining 12 registers are designated as User registers.These are available for storing your own custom modes. When shipped,the CP-1 has a duplicate of the presets loaded into the User bank. Thesewill be overwritten when you modify them.

System Overview

Glossary of Terms


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Lexicon

The Front Panel

Source The SOURCE buttons select one of two identical stereo pairs of audioinputs. Ordinarily Input I will be connected to the main outputs of your

stereo preamp and the second input will be a spare. In video installations,Input I will be connected to the main audio outputs of your TV receiver,VCR or audio/video control center. Input II can then accept the outputs ofa separate system or the audio outputs of a video disc or CD player.

INPUT LEVEL

SOURCE

SOURCE

TAPEMONITOR

PRE POSTTAPE SYSTEMMUTE

EFFECTMUTE

POWERI II

DIGITAL AUDIO ENVIRONMENT PROCESSOR CP-1xi on

The MONITOR button selects SOURCE I/II or TAPE IN. The Tape inputsare provided to accommodate a recorder if the CP-1 occupies a previouslyused tape monitor loop.

Monitor

Controls andIndicators

O Y SURROU

N

I

L

O

System On/Off.

The unlabeled LED to the left of the System Mute Indicator lights when theCP-1 detects a signal from the remote control. The SYSTEM MUTE LEDindicates that unprocessed audio is no longer passing through to the CP-1'smain outputs. The EFFECT MUTE LED indicates that the CP-1s processedaudio is no longer passing through to its outputs.

IndicatorLights

The alphanumeric display shows both the effect that is running and itsmodifiable parameters. The CP-1 has 24 registers: PRESETs 1-12 areconfigured at the factory; those labeled USER 1-12 are available for storage

of programs customized by the user.

AlphanumericDisplay

The INPUT LEVEL control and its display allow you to match the level ofthe incoming signal to the CP-1s digital encoding circuits. When correctlyset, loud passages will light the entire row of green LEDs without flashingthe red ones.

The PRE and POST Tape switch determines whether CP-1 processing ifapplied before or after tape output. PRE means that the tape deck gets thesignal unaltered (PRE-processing); POST applies CP-1 processing to the

tape output (POST-processing).To record CP-1 processing onto tape theCP-1 must be in the two-speaker mode (Configuration 1) with the POSTbutton engaged.

Tape

Input Level

Power


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The Rear Panel

Rear and SideOutputs

Stereo outputs for rear and side power amplifiers, with level adjustingknobs. The procedure for balancing these outputs (as well as the centerchannel and subwoofer) with the main pair begins on page 11.

Main outputs, with level adjustment. Level-setting of these outputs mustprecede adjustment of the auxiliary channels.

The adjustment of the subwoofer output should be done only after all otherchannels are calibrated. (See pages 12 and 19.)

Main, Centerand SubwooferOutputs

Center channel output with level control and button. Push the button in ifyou have no center channel; leave it out if a center speaker is connected.NOTE: Leaving this button out with no center channel will cause theSurround modes to malfunction.

Center/OutPhantom/In

Inputs and outputs for an additional audio or video tape deck (audioportion only) or to replace the monitor loop occupied by the CP-1.

Tape Out/In

Two sets of main inputs, selected by the SOURCE I/II buttons. Inputs


REAR SIDE

LEVEL

L

R

OUTPUTS

TAPEOUT

INPUTMAI


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Lexicon

The Remote Control

The Modes

The CONCERT HALL modes simulate halls of three different sizes, gener-ating reflections of appropriate directionality, delay and spectral shape and

sending them to the side and rear speakers. The Ambience effect in theSmall Club (4) and Concert Hall (5) modes provides adjustable recircula-tion through the Liveness parameter. The Reverb effect in the Cathedralmode (6) has fewer specific initial reflections than the smaller spaces butricher and smoother reverberant decay. Cathedral is especially good forsimulating large, highly reverberant spaces.

Panorama

The PANORAMA modes provide enhanced lateral sound (and hencegreater spaciousness and envelopment) for either music or films. PANO-RAMA can utilize left and right rear channels but is also effective using onlythe two front loudspeakers. NORMAL(1) and WIDE(2) differ primarily intheir initial Effect Levels. BINAURAL(3) is for playback on loudspeakers ofrecordings made with a dummy head.


MUTE

EFFECT BALANCE VOLUME

BANK

PARAM

1 2 3

CONCERT HALLS

4 5 6

7

MUSIC SURROUND

8 9

MOVIE SURROUND

11 1210

NORMAL WIDE BINAURAL

CLUB HALL CATHEDRAL

FULL MUSIC STEREO

MONO TV MATRIX

EFFECTSYSTEM

B

DOLBY SURROUND

PRO - LOGIC

PANORAMA

O

D BY SURROUN

I

L

O

Ambience Reverb


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Surround


The MUSIC SURROUND modes allow you to play music through a systemof surround speakers. FULL RANGE (7) allows unprocessed music to beplayed over all the speakers for background music, or for maximumacoustical output of the system. MUSIC LOGIC (8) enhances music througha unique ambience extraction method, and can provide spectacular resultswith music that has carefully recorded stereo information. STEREO LOGIC(9) enhances music with surround speakers and also allows the listener toadjust certain parameters for film sound.

The MOVIE SURROUND modes work with film sound tracks to recreatethe theater experience. MONOLOGIC (10) expands the music and effectson monaural films into the additional channels while leaving the dialog inthe front center. TV MATRIX (11) is designed to expand and enhance a widerange of television programming. This mode also allows adjustment of

certain parameters for film sound which are not adjustable in mode 12.Dolby PRO LOGIC (12) provides the same decoding used in Dolby Stereotheater systems, using up to eight speakers for front, center, side, rear andsubwoofer channels.

The BANK button switches between the 12 factory-presets and 12 userregisters where customized programs may be stored. The number doesn'tchange: if you are using Preset 9, BANK switches to User 9 and vice-versa.Holding BANK for a few seconds puts the CP-1 into Configuration mode,in which the three Parameter buttons adjust the LCD contrast and select oneof the 12 speaker setups illustrated on page 15.

The three PARAMETER buttons allow selection and adjustment of variableparameters within each mode. Pushing PARAM displays the current pa-rameter for five seconds; pushing it again before the display changes selectsthe next parameter. Pressing PARAM UP or DOWN will display and adjustthe current parameter, whether or not PARAM has been pushed. A singlepush changes the parameter by one unit; holding the button for more thanone second causes the values to change rapidly in an auto-repeat mode.PARAM can also put the CP-1 into TEST mode. (See page 21.)

EFFECT: UP and DOWN adjust the level of all signals added by the CP-1.

BALANCE: F and B adjust the levels of the rear speakers relative to the

sides and fronts.

BALANCE: L and R adjust the left/right balance of all speakers: front, sidesand rear. It assumes the function of the balance control on your preamp orreceiver.

VOLUME: UP and DOWN adjust the level of all channels simultaneously.

*The first push of either of this pair of buttons displays the current value for five seconds;another push during that time increases or decreases the displayed value. Holding the buttondown for 1 second engages auto-repeat, changing the value rapidly.

Bank

Parameter

Effect*

Balance*

Volume*


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CP-1 Digital Audio Environment Processor2

Connectionand

Calibration

Installation

Make sure the remote control receiver, located on the right side of thefront panel, is unobstructed. The remote control must be in line of sightto this receiver for proper operation. The CP-1 may be placed in a glass-doored cabinet but smoked glass will make the display hard to read.

Select a dry, well-ventilated location out of direct sunlight.

Do not stack the CP-1 directly above heat-producing equipment such aspower amplifiers.

Avoid placing the CP-1 near unshielded TV or FM antennas. The CP-1may interfere with some FM tuners if it is placed immediately above orbelow them.

Install two AAA batteries in the CP-1s remote control.

Precautions

The CP-1 may be installed on a shelf or in a standard 19" equipment rack.(Contact Lexicon or your local dealer for hardware sources.) Connect thepower cord to a wall outlet or to a switched outlet on the back of yourpreamplifier. Observe the following precautions:

Connections toOther Equipment

VCRor

CASSETTE DECK

MAINOUT

TAPEOUT/IN

AUDIO

OUT

I

II

TAPEOUT/IN

REAR

MAIN

SIDE

PROGRAM EQor

DYNAMIC RANGEPROCESSOR

VCR, TV, VIDEOCONTROL CENTER

SIDEAMPS

AUDIOPREAMP

CP-1INPUTS (SPEAKER

EQ)

REARAMPS

MAINPOWER AMPS

CENTERAMP

SUBWOOFERAMP

CENTER

SUB

WOOFER

AUDIO or VIDEOCASSETTERECORDER

MAIN OUT

AUDIO OUT

I

II

TAPEOUT/IN

REAR

MAIN

SIDEVIDEODISC

SIDEAMPS

CD

CP-1INPUTS (SPEAKEREQ)

REARAMPS

MAINPOWER AMPS

CENTERAMP

SUBWOOFERAMP

CENTER

SUBWOOFER

Using the CP-1 as an

Audio Preamp

Connections with anAudio Preamp


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Lexicon

ConnectionandCalibration

VCRor

CASSETTE DECK

AUDIO

OUT

I

II

TAPE

OUT/IN

REAR

MAIN

SIDE

SIDEAMPS

CP-1INPUTSVCR, TV, VIDEO

CONTROL CENTER

REARAMPS

CENTERAMP

SUBWOOFERAMP

CENTER

SUB

WOOFER

INTEGRATED AMP,PREAMP or RECEIVER

TAPE

IN

TAPE

OUT

Connecting the CP-1in a Tape Monitor Loop

Connect the main outputs of your audio preamplifier or the preamplifieroutput of your receiver to Input I on the CP-1.

Inputs I and II are electrically identical and can be used interchangeably.The CP-1 will also act as a line-level preamp with three inputs (including thebuilt-in tape monitor loop) if you wish to connect, for example, the audio

outputs from a TV receiver/monitor, a CD player and a VCR directly to it.

Connect the CP-1s MAIN outputs to your main stereo channels. Connectany additional amplifier/speaker combinations to the remaining outputson the CP-1. Refer to page 19 for information regarding subwoofer connec-tion.

Locate the button below the SUB potentiometer marked CENTER/OUT,PHANTOM/IN. If you have no center front speaker, push it in; if you havea center channel, make sure this button is in the out position.

Audio Inputs

Note

Audio Outputs

If you have a receiver with no external access to the preamplifier outputs (oryou wish to use the tape monitor loop on your preamp), you can use a tapeoutput or external processor loop to the CP-1. However, any change in thereceivers volume control after the system is adjusted will upset the balancebetween the main and auxiliary speakers. If you are using this configura-tion, you should now turn the receivers volume control all the way down.If there was a tape deck previously connected to your receiver's monitorloop, connect it to the CP-1's tape outputs and inputs.

Note

Turn off ALL audio and video components, including individual power

amplifiers. (Unplug any preamps and power amps that dont haveswitches.) Locate the gain trim potentiometers on the CP-1 rear panel; theseare knobs at the top of the panel, marked REAR, SIDE, MAIN, CENTER andSUB. Turn each one all the way down (counterclockwise as viewed fromthe back).


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Page 11


Connectionand

Calibration

Push the INPUT I button on the front panel. Push the MONITOR SOURCEand TAPE PRE buttons. Turn the INPUT LEVEL knob all the way down(counterclockwise).

The CP-1 has its own volume and balance controls, which you will be usingin place of the ones on your existing preamp or receiver. Set the gains in yourmain stereo channels for optimum dynamic range as follows.

For best performance, the CP-1 should always be driven to its full InputLevel and its system volume set to -05dB for optimum signal levels.

Turn on the CP-1. For the first two seconds the display should read:LEXICON CP-1, with a software version number and a copyright notice.

For another two seconds there will be a configuration message, then aprogram name will appear. When the power-up routine is finished, aim theremote control at the unit and push the EFFECT MUTE button (bottom row,right). The message: EFFECTS OUTPUTS OFF will appear in the display forabout 4 seconds and the EFFECT MUTE LED on the front panel will light.

Turn on your preamp, choose a signal source and play some loud music (aheavily compressed FM rock station or heavy-metal CD is ideal). Turn thepreamps volume control up about three quarters of the way. Adjust the CP-1s INPUT LEVEL control until the red level-indicator LEDs at the right ofthe display blink occasionally, then reduce the INPUT LEVEL until only thegreen LEDs are lit.

If there are audible differences between the levels of the source you used forthis calibration procedure and other sources, you may have to readjust theINPUT LEVEL to accommodate them. Where possible, try to use the outputlevel controls on the various sources to equalize levels.

Push and hold the VOLUME DOWN button on the remote control until thebar graph on the display completely disappears and the display readsSYSTEM VOLUME -64 dB. Turn on the main stereo power amplifier, thenhold the VOLUME UP button until the CP-1s volume is at -05 dB. If theback-panel potentiometers are turned all the way down, as they should be,you will not hear any sound yet. If you hear loud sound as the CP-1svolume advances, stop and reset all rear-panel gain potentiometers fully

counterclockwise until they are completely off before proceeding.

With the CP-1s remote volume at -05 dB, slowly advance the rear- panelpotentiometer for the MAIN OUTPUTS until the sound is as loud as youwill normally play the system. Do not touch the gain on your preamp orreceiver after this adjustment. Use only the CP-1 volume control.(Makesure that this level is not high enough to cause speaker distortion oramplifier clipping.)

Front Panel

Adjustments

Setting theMain Input andOutput Levels

Input Levels

Be sure the Input Level is as high aspossible without flashing red.

Set all output levels to zero; set Vol-ume UP almost all the way.


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ConnectionandCalibration

The output level potentiomenters (the small knobs above the output con-nectors on the CP-1 rear panel) allow you to balance the sound levels of allthe channels in your system relative to each other. The most important thingto keep in mind when calibrating the system is to keep these potentiometersset as lowas possible. Your normal listening level (not background muzaklevel) should be with the system volume (as indicated by the front panelLCD) set to around -10dB. This keeps the processor at its optimum signallevels while allowing headroom if you really want to crank it up.

If you have a sound pressure level meter (SPL meter), set the output levelpotentiometer so that, with the calibration signal, the meter reads 75dB C-weighted, when the CP-1 system volume is set at -10dB.

If you are using only two audio channels, level adjustment is now complete.If you have additional channels, use the following procedure to set theirlevels to match the main stereo pair.

Use the VOLUME DOWN button to reduce the CP-1s level to about -20 dB.If the EFFECT MUTE LED is on, push EFFECT MUTE to cancel it. Pushprogram button 12; the display will read: PRESET 12 on the left andSURROUND PRO LOGIC on the right. Push PARAM six times or until thedisplay reads: CALIBRATE. Push PARAM UP to turn on the calibration

signal.

The sound you hear is a band of noise centered around 1 kHz, being sent insequence to: all channels, left side plus left front, center, right side plus rightfront and rear channel(s). If you have a center speaker, the rear-panelCENTER/PHANTOM button should be out. Since all levels are downexcept for MAIN, you will hear only: both fronts, left only, silence, rightonly, silence. If you have no center speaker, the rear-panel button shouldbe in and you will hear: both fronts, left-only, both fronts,right only, silence.

Now turn on the remaining power amplifiers and turn up SIDE, REAR andCENTER gain until the individual loudness of the sounds reaching yourlistening position is the same and the all-channel signal is evenly distributed

from all speakers. The CALIBRATE ON display will remain for as long asyou use this mode. When the front, center, side and rear channels arebalanced, press PARAM DOWN to turn off the calibration signal.

Finally, if you are using a separate low-frequency channel, use music or thetest signal of your choice to adjust the SUB WOOFER gain until the low bassbalances the rest of the spectrum. This completes the initial connections andlevel adjustments of the CP-1.

Main Output

Set Main Output so system is asloud as you are ever going to need it.(Be careful that this level does notcause speaker distortion or amplifierclipping.)

Output Levels

BalancingAdditional Channels

1. Select

Pro Logic

2.Push Param to

CALIBRATE

3.Push UP

for ON


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Page 13


Connectionand

Calibration

PANORAMA works by canceling the sound going from each speaker to theopposite ear. The strength of the effect is highly dependent on the geometryof your front loudspeakers, the room and your listening position. Thecorrect timing of the canceling signal varies with the angle between yourmain speakers. The SPEAKER ANGLE parameter, displayed in degrees,adjusts for wide or narrow speaker spacing. For the two canceling signalsto arrive at both ears at the same time you must be centered preciselybetween the speakers. The Listener Position parameter (LISTENER POS)delays the corrections from either channel and allows adjustment for an off-center listening chair or for asymmetrical speaker placement.

The ideal setup for Panorama is an acoustically dead room, with speakerswell away from the walls, and the listener on the center line between the

speakers. The effect is diminished by reflections from nearby surfaces.Furthermore, if the listener sees the two speakers from different angles theirresponses will differ. The addition of acoustic absorption (soft furniture,carpets and drapes) or diffusion (furniture or books that form irregularsurfaces and break up reflections) and time spent shifting speakers andchair into more precise alignment (use a tape measure rather than relyingon your eyes) will all be rewarded.

Find a mono source, such as an announcer on FM radio or a mono film, andlisten for a tightly focused center image of speech or singing. If the imageis off-center, adjust the CP-1's BALANCE control. (The narrower themonaural image, the better Panorama will work.) Perform the followingsetup from a relaxed, comfortable position in your listening chair with your

head facing the center point between the speakers.

1. Reduce the volume to about -20 dB. If the display reads: USER at the topleft, push Program button 2; if not, push BANK, then button 2 to loadPRESET PANORAMA WIDE. Push PARAM eight times (until thedisplay reads: CALIBRATE OFF). Push PARAM UP to turn on the left-channel calibration signal.

2. The test signal should appear to come from off to your left side, wellbeyond the left speaker, with near-total silence in the right ear. Stillfacing forward, move your head from side to side until the effect isstrongest. If you can find the sweet spotfrom the confines of your chair,go directly to step 4; otherwise perform step 3.

3. Push PARAM once so the display reads: LISTENER POS. Push PARAMUP and DOWN until you hear the strongest effect. Then push PARAMfour times, or until the display reads: CALIBRATE LEFT ONLY.

4. Push PARAM UP until the display reads: CALIBRATE RIGHT ONLY.Again, shift your head from side to side to find the sweet spot, this timelooking for the point where the silence in the leftear is deepest. Comparethe locations of the two sweet spots from steps 2 and 4. If they coincide,

Calibrating theListener Position

60

SPEAKER ANGLE is the angle be-tween the main speakers as seen fromthe listening position -here it is about60.

Move your head from side to side tofind the position where the noise isfull left and the right ear hears neartotal silence.

NOISESILENCE{

L127 . . . Center . . . R127

LISTENER POS allows you to ad-just for an offset listening position.


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SpeakerSet-Up and

Configuration

Configuration

Speaker Configurations

3

Press the PARAM UP or DOWN buttons until the contrast of the display isat a maximum as seen from your listening chair. Then push PARAM toenter the Configuration menu. Consulting the Speaker ConfigurationChart, push PARAM UP or DOWN until the figure and the description inthe display match your room.

Choose the diagram from the Speaker Configuration Chart that corre-sponds to your room and note its number. Press the BANK button and holdit for a few seconds. The display will read: LCD CONTRAST ADJ with abright bar. The CP-1 is now in Configuration mode. Within this mode,operations are carried out using only the three PARAM buttons. Configu-ration mode will be canceled if any other button is pressed or if 10 secondspass without a button push.

Subwoofers are not shown in any of theseconfigurations. Consult the subwooferowner's manual or your dealer for properplacement of subwoofers.

Side and rear speakers may sound better ifmounted above the listener, (See page 16.)

1

Center PhantomButton IN

3


4


2


5

87

10 11 12


9


6

speaker connected tocenter output

speakers connected toMain outputs

speakers connected toSide outputs

speakers connected toRear outputs

Note: If you are using only one rearspeaker, or a mono amp, it may behooked up to either the left or rightrear output, as long as you use thecorrect Configuration number.


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SpeakerSet-Up andConfiguration

Notes on

Amplifiers

How much power do you need? That depends on a number of variables

How efficient are your speakers? How big is the room? How loud do youplay the system? Generally, the demands on the side and rear channels arehigher for film sound than for music. The center channel is actually the mostimportant channel on most film soundtracks. Your center amp/speakercombination should be able to achieve the same sound pressure levels as themain left and right speakers. Increasing the BASS SPLIT parameter in ProLogic and Stereo Logic will help relieve the center channel of the heavy lowfrequency demands, but is not a suitable substitute for a decent amp/speaker combination. The surrounds will not generally require quite asmuch power, but there can be substantial energy requirements duringcrescendos. Consider at least 45-60 watts minimum for your rear channelamplifier.

Notes on SpeakerPlacement

The CP-1s Configuration routine allows a wide range of choices in speakerand room set-ups to maintain optimal performance as your system ex-pands. If you are starting with a conventional two-channel system, in whatorder should you add additional channels? The answer depends onwhether you are primarily interested in audio or video.

Best

The film enthusiast with only two stereo speakers should place themrelatively close on either side of the screen and use the Panorama mode forboth music and films. Beyond this, the very first priority should be a centerchannel above or below the screen for dialog (Configuration 2). Analternative is Configuration 3, in which two front speakers and one rear are

used with either Panorama or Pro Logic.

A dramatic improvement will be noticed when increasing from two or threespeakers to four. These should be arranged as in Configuration 6, but withthe front left and right speakers spread quite wide, perhaps all the wayaround to the sides making a diamond pattern with the listener in thecenter. How widely you space the front channels will depend on howdeeply immersed in the sound track you want to be; the full diamondconfiguration can considerably heighten the sense of emotional involve-ment in many movies. This arrangement has the advantage of usingamplifiers and speakers in pairs.

2 106

Good Better

For Film


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SpeakerSet-Up and

Configuration

If your center channel speaker is smaller than the left and right fronts,

increasing BASS SPLIT will remove low bass from the center and increaseit in the left and right speakers. The center channel is so important in filmsound reproduction that we recommend it be the first addition to a stereosystem.

If the system will have a direct view (as opposed to projection) television,a shielded speaker must be used to prevent interference with the picture.Only onespeaker should be used, as using two speakers to reproduce amono signal may cause loss of intelligiblity through inter-speaker interfer-ence (comb filtering).

The center speaker should be placed as close to the TV as possible, and asclose to the horizontal axis of the main speaker's tweeters as possible. Side

speakers should be at the sides, or a little forward, of the listening position.If the system is for music only (no film), the sides can be as far as 20 degreesbehind the listener. For film use, they should be slightly ahead of thelistener. Place the sides at, or slightly above, ear level. Ceiling placement isnot recommended, as this will reduce the stereo separation and will be quitestrange for film, where Pro Logic sends the same information to the sidesand fronts. The rears should be separated as much as possible and keptaway from the listener. Here, ceiling mounts are acceptable, as is mountinghig (or in) the rear or back side walls.

Since the rear (surround) channel in the Pro Logic mode is monaural, asingle stereo map can be used to power both the center and rear speaker.Consult your dealer.

The best set-up for those who like both music and films is Configuration 10.The addition of side speakers allows all forms of source material to beplayed without compromise.

The button on the back of the CP-1 labeled CENTER OUT/PHANTOMIN is very important in the operation of the Surround modes. Make surethe button is out if you have a center speaker and in if you have none. Withthe button in (Phantom Mode) the center channel is mixed in with the twomain outputs; the side outputs carry the Left and Right signals; the centerchannel is turned off.


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1


Good

9


BestBetter


5

If your main interest is music, you will most likely begin with two high-quality main speakers (Configuration 1). Here the Panorama mode alone

will add substantial enhancement in spatial impression, image size, imagedepth and freedom from coloration of central sources.

The audiophiles first addition should be two side channels (Configuration5) and, after that, two rear channels (Configuration 9). For maximum effectwith the Cathedral mode, two additional speakers can be placed in the frontcorners of the room, driven from the rear amplifiers. The side speakers,however, are the most important.

With Configuration 5, movies can be played with the Pro Logic mode; therear-channel sound will automatically be routed to the side speakers. If youhave six speakers (Configuration 9) an additional stereo amplifier canpower both a center channel and a subwoofer.

The height of the extra speakers will depend on the furnishings in the room.In real halls much of the reflected energy comes from above, and placing theside and rear speakers above the listener can be very effective. They alsowork well on normal speaker stands. Placing the speakers too high in anarrow room may reduce the spaciousness, since this makes the soundcome from the ceiling instead of the side walls.

For Music



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Subwoofer ConnectionsThe Subwoofer Output is a monaural signal created by summing the left,right and center outputs, then filtering out frequencies above 100 Hz at a

rate of 12 dB per octave.

Connecting a subwoofer to the CP-1 rear-panel Subwoofer Output, addsbass energy without removing any from your main speakers. Note, how-ever, that many of the subwoofers curently on the market have their owncrossover (complementary low and high pass filters) and amp built in. Ifyours does, it may be better notto use the CP-1 Subwoofer output (which isalready filtered at 100Hz 12dB/octave). Instead, we recommend using themain outputs as follows.

Connect the CP-1 main (front) left and right outputs to the inputs of thesubwoofer crossover. Then connect the subwoofer's output (high passfiltered version of the input) to the amplifier driving the main speakers. Thishas the advantage of bi-amping the main speakers all the low bass ishandled by the subwoofer and the main speakers only handle mid-bass onup. This usually reasults in a better-sounding main speaker.

If you want to run the main speakers full range, the subwoofer can be wiredin parallel to the main amp using a Y-connector. Alternatively, the CP-1Subwoofer ouput can be used. If there is not enough gain for the subwoofer(because it's being filtered by both the CP-1 and its own crossover), use oneof the methods described above.

Since the center channel will still be running full range, you should use theBASS SPLIT parameter in the Pro Logic and Stereo Logic modes. This

protects the center channel speaker by splitting low frequencies off thecenter channel and feeding them to the left and right front and subwooferoutputs. Remember to turn up this parameter in any User Register youprogram, particularly in Stereo Logic. A little experimentation goes a longway in determining the optimum value for BASS SPLIT. When this parame-ter is set too high, some male vocals will sound chesty; too low and you losebass.

SpeakerSet-Up and

Configuration


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Panorama

heavy, switch to NORMAL and increase the EFFECT LEVEL.The location of the front speakers and the listening position are crucial to

Panoramas effectiveness and for best results your system and the CP-1together should be set up and calibrated according to the procedure on page13. The strength of the Panorama effect drops off as you move away fromthe prime listening position, especially to the sides. Video systems with themain loudspeakers spaced closely on either side of a TV screen will producea greater effect over a somewhat wider area than set-ups with a largeincluded angle between the speakers.

Note

* 0 if no rear speakers are configured

ProgramParameters

Panorama extracts the natural ambience from recorded music and moves it

outward from the speakers, producing greater width and depth of imageand a feeling of enhanced spaciousness. The effect adds no additionalsound but expands the existing stereo image. Panorama also works withDolby Stereo movies, bringing the surround track outward into the room.

Panorama works with just two loudspeakers. If side speakers are present,Panorama disables them and substitutes its own simulation. The frontspeakers are driven entirely from the CP-1s digital circuits. Panorama willalso send a stereo difference signal (left channel minus right or vice-versa)to the rear loudspeakers if you have them. NORMAL (1) will provideenough expansion for most music, while WIDE (2) has a more pronouncedeffect on the image. BINAURAL (3) has special low-frequency compensa-tion and is meant specifically for true binaural recordings made with a

dummy head.

Panorama NORMAL is designed to work with recordings whose bassenergy is evenly distributed across the stereo image. Panorama WIDE isdesigned for recordings with centered bass (almost all pop and rock). Theonly other difference between NORMAL and WIDE is their initial EFFECTLEVEL. If you need more bass from Panorama NORMAL, switch to WIDEand reduce the EFFECT LEVEL. Conversely, if Panorama WIDE is too bass-

The Modes:Panorama

INPUT BALANCE

LISTENER POSSPEAKER ANGLELF WIDTHREAR LEVELREAR ROLLOFFREAR DELAYCALIBRATESET PROGRAM NAMEMEMORIZE PROGRAM

(Centered)

127500

16*2.9 kHz

16 msOFFNANA

Full Left-Full Right

0-25430-90

-25 - +250-32

329 Hz-14.1 kHz0-32 ms

Left, Right, BothNANA

Parameter Initial Value Range


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EFFECT LEVEL sets the amount of crosstalk cancellation, and thus the

apparent front width. It is the most important user adjustment to Panorama,and has been given its own button on the remote. When EFFECT LEVEL isall the way down, Input Balance, LF Width and the rear outputs are stillactive.

INPUT BALANCE compensates for the occasional source with audiblechannel imbalance. It is especially important when using Panorama formovies. If the movie sound tracks are unbalanced, the dialog will wanderaway from the center; adjusting the Input Balance corrects for this.

LISTENER POS and SPEAKER ANGLE are determined using the calibra-tion procedure on page 13. The resulting value for Listener Position should

then be used for the Panorama Effect setting in the Concert Hall modes.

LF WIDTH controls the amount of low-frequency spatial correction that isapplied to the signal. A positive value of LF WIDTH means the difference(left minus right channel) signal has additional energy below 500 Hz, whilethe sum (left plus right) signal has correspondingly less. (Negative settingscan compensate for recordings with too much of this property.) LF WIDTHcan add needed spaciousness and warmth to classical recordings made withcoincident or near-coincident miking. (See Chapter 5: Theory and Design.)

REAR LEVEL adjusts the loudness of the signals sent to the rear channels.

REAR ROLLOFF sets the frequency above which the rear-channel sound isattenuated. It should be high enough to give presence and airiness to therear sound but not so high as to place distracting instrumental overtones orother sounds behind you. The appropriate setting will vary with programmaterial.

REAR DELAY adjusts the amount of time between the appearance of asignal in the front channels and its emergence from the rear. Generally, thecorrect delay is about 16 milliseconds but the setting depends on speakerset-up and source material. In general, the delay should not be so great thatthe rear sound becomes identifiable as a distinct source.

The use of the CALIBRATE mode is described in the setup instructionsbeginning on page 13.

The procedures for naming a new version of the program (SET PROGRAMNAME) and storing it in one of the User registers (MEMORIZE PROGRAM)are described on page 36.

Effect Level

The Programs:Panorama

Input Balance

Listener Position/Speaker Angle

LF Width

Rear Level

Rear Rolloff

Rear Delay

Calibrate

Set Program Name/

Memorize Program


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Concert HallsThe Concert Hall mode contains two effects: Ambience (Club and Hall) andReverb (Cathedral). The Ambience effect generates the appropriate earlyreflections for stereo simulation of rectangular and fan-shaped halls in avariety of sizes, and sends the reflections to the side and rear speakers. TheReverb effect does not simulate the early reflections of specific halls, butemphasizes rich, smooth reverberant decay in small, medium or largespaces. It works well for simulating a space with a long reverberation timesrelative to its size, such as a reverberant chamber, church or the like. Forsystems with only two loudspeakers, the Concert Hall mode also incorpo-rates a version of Panorama that will spread the stereo image and add thereflections it generates to the expanded sound stage.

The initial EFFECT LEVEL is highest for Program 4 and progressively lower

for Programs 5 and 6. It will be easier to hear exactly what the parametersdo if the effect level is temporarily turned all the way up.

Program parameters for Small Club and Concert Hall are identical but varyin the available range of settings to specify room characteristics, as well asin their intial settings. The parameters for Cathedral are significantlydifferent, and are described immediately following this section.

The Modes:Concert Halls

ProgramParameters

Small Club

ROOM SHAPEROOM SIZELIVENESSROLLOFFSPEECH DETECTIONPANORAMA EFFLISTENER POSSPEAKER ANGLESET PROGRAM NAMEMEMORIZE PROGRAM

Rectangle63

5.9 kHzON28*12750NANA

Rectangle, Fan4-6-8-12-16-23

0-6329 Hz-14.1 kHz

On/Off0-32

0-25430-90

NANA


Concert Hall

* 0 if side speakers are configured

ROOM SHAPEROOM SIZELIVENESSROLLOFFSPEECH DETECTIONPANORAMA EFFLISTENER POSSPEAKER ANGLESET PROGRAM NAMEMEMORIZE PROGRAM

Rectangle504

2.9 kHzON28*12750NANA

Rectangle, Fan12-16-23-32-46-500-6

329 Hz-14.1 kHzOn/Off

0-320-254

30-90NANA



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EFFECT LEVEL adjusts the loudness of the side and rear speakers. Whenthere are no side speakers, it adjusts the amount of ambient signal mixedinto the main loudspeakers. EFFECT LEVEL is the most important useradjustment in the Concert Halls modes, and has been given its own buttonon the remote. It should be adjusted as high as possible without making theextra speakers individually audible.

ROOM SHAPE selects one of two basic hall shapes. Refer to Chapter 5:Theory and Design, for a discussion of the properties of the two.

ROOM SIZE allows you to change the room size in fine gradations withinthe overall hall size you have selected. For convenience, the hall size isdenoted by length in meters.

The LIVENESS parameter adjusts the amount of recirculation within theprogram. The higher the value, the more reflective the surfaces of thesimulated space and the longer the sound will take to decay. At very highvalues the decay is audibly less smooth than in the Reverb programs, whichare more effective at simulating very live spaces.

ROLLOFF mimics the high frequency absorption of the air in the hall andits initial value is therefore more pronounced (the rolloff begins at a lowerfrequency) in the larger halls.

The Speech Detection circuit distinguishes monaural speech from other

inputs. Whenever stereo signals are present, the right and left input chan-nels are used independently as inputs to the ambience synthesis. If there isa strong monaural speaking voice present at the same time, this componentof the input is reduced while the stereo component is increased. If the inputsignal is pure monaural speech the input is almost entirely attenuated.

SPEECH DETECTION is a real benefit to some popular music (wherespoken voice, such as rap, occurs along with music), stereo television, andearly stereo movies. Any stereo material which was not carefully mixed forSurround is a good candidate for playing through Ambience with SPEECHDETECTION On.

PANORAMA EFFECT adjusts the strength of the signal used to expand thestereo image outward from the front two speakers. It is only needed whenside speakers are absent.

LISTENER POS compensates for the relative distance of the two mainspeakers from the prime listening area. It should be set for the value arrivedat in the Panorama set-up procedure on page 13.

Effect Level


Room Shape

Room Size

Liveness

Rolloff

Speech Detection

Panorama Effect

Listener Position


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SPEAKER ANGLE compensates for differing distances between your frontspeakers. It affects only the Panorama Effect and is only needed when side

speakers are absent. The Speaker Angle can be set to the value reached inthe setup procedure on page 13, but the program may also work well atlower values.

The image expansion will be strongest at the one location in the room forwhich the program has been calibrated (See page 10). It will diminishsomewhat as you move forward or back from that location and morerapidly as you move from side to side.

The procedures for naming a new version of the program (SET PROGRAMNAME) and storing it in one of the User registers (MEMORIZE PRO-GRAM) are described on page 36.

Speaker Angle

Set Program Name/Memorize Program

Effect Level

Room Size

EFFECT LEVEL adjusts the loudness of the side and rear speakers. Whenthere are no side speakers, it adjusts the amount of ambient signal mixedinto the main loudspeakers. EFFECT LEVEL is the most important useradjustment in the Concert Hall mode, and has been given its own button on

the remote. It should be set as high as possible without making the extraspeakers individually audible.

ROOM SIZE allows you to change the room size in fine gradations. Forconvenience, the hall size is denoted by length in meters.

MID RT (Midrange Reverberation Time) is the time required for midrangesounds to decay 60 dB in level. Your choice the size of the synthesized spacedetermines both the initial value and the available range of MID RT.

Mid RT

ROOM SIZEMID RT

BASS RTPRE-DELAYTREBLESPEECH DETECT

PANORAMA EFFLISTENER POSSPEAKER ANGLESET PROGRAM NAMEMEMORIZE PROGRAM

50dependent on room size

dependent on room size0

2.9 kHzON

0/28*12750NANA

4-6-8-12-16-23-32-46-500.32 - 11.2 sec

(scales w/room size)0.7,1,1.25 xMID RT

0-120ms329 Hz - 14.1 kHz

Off, On

1-320-254

30-90NANA


Cathedral

* 0 if side speakers are configured


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BASS RT, the low-frequency reverb time, depends on the MID RT and isexpressed as a multiplier. BASS RT can be set to be approximately equal toMID RT in smaller spaces, while in larger spaces it is 25% higher (as in mostactual halls with acceptably warm subjective frequency balance).

PRE-DELAY increases the delay between the direct sound and the onset ofreverberation. Some pre-delay is inherent in these modes, and the presetvalue of 0 is usually a good starting point. Increasing the pre-delay willmake the hall sound larger.

TREBLE rolloff is preset to mimic air absorption in actual spaces, beingmore pronounced in the larger ones.

The Speech Detection circuit distinguishes monaural speech from otherinputs. Whenever stereo signals are present, the right and left input chan-nels are used independently as inputs to the ambience synthesis. If there isa strong monaural speaking voice present at the same time, this componentof the input is reduced while the stereo component is increased. If the inputsignal is pure monaural speech the input is almost entirely attenuated.

SPEECH DETECTION is a real benefit to some popular music (wherespoken voice, such as rap, occurs along with music), stereo television, andearly stereo movies. Any stereo material which was not carefully mixed forSurround is a good candidate for playing through Ambience with SPEECH

DETECTION On.

PANORAMA EFFECT adjusts the strength of the signal used to expand thestereo image outward from the front two speakers. Its initial value is zero,unless you have configured the CP-1 for no side loudspeakers.

LISTENER POS compensates for the relative distances of the two speakersfrom the prime listening area. It should be set for the value arrived at in thePanorama set-up procedure on page 13.

SPEAKER ANGLE compensates for varying distance between your frontspeakers. The Speaker Angle can be set to the value reached in the setup

procedure on page 13, but the program may also work well at lower values.

The image expansion is strongest at the one location in the room for whichthe program has been calibrated. ( See page 13.) It will diminish somewhatas you move forward or back from that location, and more rapidly as youmove from side to side.


Bass RT

Pre-Delay

Treble

Speech Detection

Panorama Effect

Listener Position

Speaker Angle



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Music Surround

The Modes:Music Surround

The MUSIC SURROUND mode is designed to make full use of additional

loudspeakers at the center, sides and rear of the room. FULL (Full Range)allows unprocessed music to be played over all the speakers for backgroundmusic, or for maximum acoustical output of the system. MUSIC LOGIC isa 6-channel ambience extraction mode, appropriate for any type of music.It also provides a unique way to listen to films, particularly stereo filmswhich are not Dolby encoded. STEREO LOGIC is meant for playing musicthrough a system whose speakers are laid out primarily for films.

The term Dolby Stereo refers to both movies and equipment used exclusively for theatricalpresentation. When one of these movies is transferred to commercial video media, the specialaudio encoding of the Dolby Motion Picture matrix is retained in the two-channel stereosoundtrack. The resulting video software and the hardware designed to reproduce it use thename Dolby Surround to distinguish it from the theatrical optical format.

Dolby Pro Logic Surround decoding is the licensed consumer version of the professionalDolby Stereo cinema processors, which allows the home viewer to obtain all the spatialeffects of the soundtrack heard in a theatre over a wider range of seating positions thanconventional Dolby Surround playback.

ProgramParameters

CENTER LEVELHIGH PASSSET PROGRAM NAMEMEMORIZE PROGRAM

00 dB80 Hz

NANA

Off, -24dB to +00dBBypass, 45-226 Hz

NANA


Full Range

EFFECT LEVEL controls the loudness of the center, side and rear outputs.

CENTER LEVEL attenuates the level of the center channel as much as 10dB.The proper setting for this control will vary depending on the recording andyour taste. There is no "correct" setting.

HIGH PASS removes low frequencies from the center, side and rearoutputs. This is particularly useful if you will be using the Full Range modeat high volume levels where the low frequencies might damage the smallerspeakers.


Effect Level

Center Level

High Pass



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Music Logic


EFFECT LEVEL controls the loudness of the center, side and rear outputs.

SIDE EFFECT controls the volume level of the side speakers. Since MusicLogic is a dynamic ambience extraction mode, the effect of the side speakerswill depend on the recording. Although the default value is 0, the correctsetting will vary with each recording, your room, and your personal taste.

SIDE ROLLOFF sets the frequency above which the side channel sound isattenuated. REAR ROLLOFF sets the frequency above which the rearchannel sound is attenuated. These controls should be high enough to givepresence and airiness to the side and rear sound, but not so high as to enableyou to localize distracting instrumental overtones or other sounds from the

sides or rear. The appropriate setting will vary with program material.

The AUTO AZIMUTH/BAL (short for Auto Azimuth Error Correction/Automatic Input Balance) parameter should be set to ON for films, OFF formusic. When it is on, special patented algorithms continually monitor theinput signal and adjust both the relative level and time offset of the twochannels to keep the dialog properly centered and special effects properlylocalized. This automatic feature is why the CP-1 does not have or need aninput balance control for Dolby Surround decoding.

REAR DELAY Since the rear channel in Music contains extracted ambientinformation, it typically does not need as much delay as the film surround

modes. This delay can be adjusted between 0-30 milliseconds. It should notbe set so high as to create a distinct echo in the rear.


Effect Level

Side Effect

Side Rolloff and Rear Rolloff

Auto Azimuth/Balance

Set Program Name/

Memorize Program

Rear Delay

SIDE EFFECTSIDE ROLLOFFREAR ROLLOFFAUTO AZIMUTH/BALANCEREAR DELAYSET PROGRAM NAMEMEMORIZE PROGRAM

162.3 kHz2.3 kHz

OFF8msNANA

0-16329 Hz - 14.1 kHz

329 Hz - 14.1 kHz, AutoOff, On0-30 ms

NANA



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Stereo Logic

FRONT EFFECTFILM EQREAR EFFECTREAR ROLLOFFBASS SPLITAUTO AZIMUTH/BALREAR DELAYREAR NOISE CHIPSIDE SPEAKERSSET PROGRAM NAMEMEMORIZE PROGRAM

8OFF8*

14.1 kHz77 HzOFF8 msOFFONNANA

0-16Off, On

0-16329 Hz-14.1 kHz, Auto

Bypass, 10-170 HzOff, On0-32 msOff, OnOff, On

NANA



The essence of the Dolby PRO LOGIC circuit is that dialog, music and soundeffects are dynamically directed to the output channels, a process calledsteering. The FRONT EFFECT and REAR EFFECT parameters in StereoLogic allow you to adjust the amount of this steering. Both are preset fortheir maximum values in PRO LOGIC. In STEREO LOGIC, FRONTEFFECT has a default value of 8, which is equivalent to 6 dB of steering; atthis level, central (monaural) sources are reduced in level by 6 dB in the mainstereo speakers. With FRONT and REAR EFFECT both set to 0, STEREOLOGIC becomes the equivalent of a simple non-steered Dolby Surrounddecoder. If you have no rear speakers, REAR EFFECT should be set to 0. TheCP-1 will set this parameter automatically when you specify a speaker

configuration with no rear channels. (See page 15.)

FILM EQ equalizes the left, center and right channel outputs to match theoverall frequency balance of the original recording. Without this equaliza-tion, many films, and some television programs, will sound too bright andbecome fatiguing to listen to.

Front Effect/Rear Effect

Film EQ

REAR ROLLOFF controls the treble attenuation and should be adjusted onmusic for maximum airiness and spatial realism without causing specificinstruments to seem to come from behind you. Stereo Logics REARROLLOFF parameter contains an AUTOMATIC mode. In this mode the

Rear Rolloff

+15.0

+10.0

+05.0

+00.0

-05.0

-10.0

-15.0

(dB)

(Hz)

500 1k 2k 5k 10k 20k


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rear channels are rolled off above 7 kHz until the logic circuits steer a soundeffect to the rear speakers, whereupon the bandwidth opens up to beyond

15 kHz. This will enhance the realism of some effects that move from frontto rear or vice-versa.

BASS SPLIT takes the low bass from the center, where it is in many film andmusic mixes, and distributes it instead to the left and right front-channelsand the subwoofer. This is valuable because in many video installations thecenter speaker is smaller than the two main stereo speakers and is, therefore,less capable of handling the lowest frequencies.

The AUTO AZIMUTH/BAL parameter should be set to ON for films, OFFfor music. When it is on, special digital circuits continually monitor the

dialog and adjust both the relative level and time offset of the two channelsto keep the dialog properly centered. This automatic feature is why the CP-1 does not have or need a front-panel input balance control for DolbySurround decoding.

REAR DELAY in Stereo Logic is adjustable. Generally, the correct delay isabout 20 milliseconds but the setting depends on speaker set-up and sourcematerial. In general, the delay should not be so great that the rear soundbecomes identifiable as a distinct source.

Dolby Surround decoding specifications call for a special form of Dolby B-type noise reduction. Because Stereo Logic is also meant for music, the rear-channel sound has more flexibility, including REAR NOISE CHIP, a pa-rameter that allows you to turn this Dolby NR circuit off.

The SIDE SPEAKERS control turns the side speaker output on or off,widening, or reducing the apparent stereo spread.


Auto Azimuth/

Balance

Rear Delay

Rear Noise Chip

Side Speakers


Bass Split

+3.000

0.0

-3.000

-6.000

-9.000

-12.00

-15.00

-18.00

-21.00

-24.00

10 100 1k 10k

(Hz)

(dB)

BASS SPLIT rolls off frequencies at 6dBper octave. The values given are at the -3dB point of attenuation from the centerspeaker.


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The Modes:Movie Surround

Movie Surround The Movie Surround programs are designed for film sound tracks and theymake full use of additional loudspeakers at the center, sides and rear of theroom. MONO LOGIC takes a monaural soundtrack and sends music andsound effects to the sides and rear through a room simulator program, whilekeeping dialog in the center. TV MATRIX provides surround effects fortelevision viewing of monaural, stereo and stereo-synthsized programs.PRO LOGIC is Lexicons all-digital implementation of the Dolby Pro LogicSurround decoding process.

ProgramParameters

Mono Logic

The setting of EFFECT LEVEL is very important in Mono Logic. If thiscontrol is set too high, the sound will be too reverberant; too low a settingwill result in an insufficient amount of the effect. Thiscontrol adjusts theloudness of the side and rear outputs as well as the amount of ambient signalmixed into the front speakers.

ACADEMY FILTER is provided to recreate the proper tonal balance ofolder monaural films, which were recorded with a much narrower andduller frequency response than current films.

MAIN LEVEL controls the level of the mono signal which is reproduced bythe main speakers. When there is a center speaker configured, many filmsmay sound better when this control is set between 6-12. This will spread thefilm sound out around the screen and can be more pelasant than restrictingthe dialog and much of the other film sound to the center speaker.

TREBLE regulates the treble cut in the side and rear channels. The optimalsetting for this parameter will vary widely with the age, quality andcondition of the source material.


Academy Filter

Main Level

Treble


Effect Level

ON6

2.3 kHzNANA

Off,On0-15

329 Hz - 14.1 kHzNANA


ACADEMY FILTERMAIN LEVELTREBLESET PROGRAM NAMEMEMORIZE PROGRAM


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TV Matrix

FRONT EFFECTFILM EQREAR EFFECTREAR ROLLOFFBASS SPLITAUTO AZIMUTH/BALREAR DELAYREAR NOISE CHIPSIDE SPEAKERSSET PROGRAM NAMEMEMORIZE PROGRAM

12OFF

8*Automatic

77 HzON8 msOFFONNANA

0-16Off, On

0-16329 Hz-14.1 kHz, Auto

Bypass, 10-170 HzOff, On0-32 msOff, OnOff, On

NANA



The essence of the Dolby PRO LOGIC circuit is that dialog, music and soundeffects are dynamically directed to the output channels, a process calledsteering. The FRONT EFFECT and REAR EFFECT parameters in TV Matrixallow you to adjust the amount of this steering. Both are preset for theirmaximum values in PRO LOGIC. In TV Matrix, FRONT EFFECT has adefault value of 12, which is equivalent to 6 dB of steering; at this level,central (monaural) sources are reduced in level by 6 dB in the main stereospeakers. With FRONT and REAR EFFECT both set to 0, TV Matrixbecomes the equivalent of a simple non-steered Dolby Surround decoder.If you have no rear speakers, REAR EFFECT should be set to 0. In thepresets, this parameter is set automatically when you specify a speaker

configuration with no rear channels. (See page 15.)

FILM EQ equalizes the left, center and right channel outputs to match theoverall frequency balance of the original recording. Without this equaliza-tion, many films, and some television programs, will sound too bright andbecome fatiguing to listen to. This EQ is a gentle shelving filter.

REAR ROLLOFF sets the cutoff frequency of a low pass filter in the rearchannel . Frequencies above this setting are attenuated. This control shouldbe set high enough to give presence and airiness to the rear sound, but notso high as to place distracting instrumental overtones or other soundsbehind you. The appropriate setting will vary with program material.

BASS SPLIT takes the low bass from the center, where it is in many film andmusic mixes, and distributes it instead to the left and right front-channelsand the subwoofer. Bass Splitting is valuable because in many videoinstallations the center speaker is smaller than the two main stereo speakersand less capable of handling the lowest frequencies. By directing the lowfrequencies to the main speakers, there is less risk of damage to a smallcenter speaker and no loss of bass information since it will be reproducedby the main speakers. Refer to the graph on page 31.

Front Effect/

Rear Effect

Rear Rolloff

Bass Split

Film EQ


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The AUTO AZIMUTH/BAL (short for Auto Azimuth Error Correction/Automatic Input Balance) parameter should be set to ON for films, OFF for

music. When it is on, special patented algorithms continually monitor theinput signal and adjust both the relative level and time offset of the twochannels to keep the dialog properly centered and special effects properlylocalized. This automatic feature is why the CP-1 does not have or need aninput balance control for Dolby Surround decoding.

REAR DELAY in TV Matrix is adjustable. Generally, the correct delay isabout 20 milliseconds but the setting depends on speaker set-up and sourcematerial. In general, the delay should not be so great that the rear soundbecomes identifiable as a distinct source.


Rear Delay


40

35

30

25

20

15

10

5

00 5 10 15 20 25 30 35 40Distance (in feet) From Front Speakers

Distance(infeet)FromR

earSpeak

ers

Preferable Acceptable

15ms

15ms

15ms

20ms

25ms

30ms

30ms

30ms

Dolby Surround decoding specifications call for a special form of Dolby B-type noise reduction for the rear (surround) channel. Since Dolby Surroundencoded material should generally be listened to in the ProLogic mode, thisparameter is normally OFF. It can, however, be turned ON if you wish toexperiment with this.

The SIDE SPEAKERS control turns the side speaker output on or off,widening or reducing the apparent stereo spread.


Side Speakers

Set Program Name/

Memorize Program

Rear Noise Chip

Rear Delay Settings


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FILM EQAUTO AZIMUTH/BALBASS SPLITREAR DELAYSIDE SPEAKERSCALIBRATESET PROGRAM NAMEMEMORIZE PROGRAM

Off, OnOff, On

Bypass, 10-170 Hz16-32 msOff, OnOff, On

NANA


ONON

77 Hz20 msONOFFNANA

Pro Logic

Film EQFILM EQ equalizes the left, center and right channel outputs to match theoverall frequency balance of the original recording. Without this equaliza-

tion, many films, and some television programs, will sound too bright andbecome fatiguing to listen to.

The AUTO AZIMUTH/BAL parameter should be set to ON for films, OFFfor music. When it is on, special digital circuits continually monitor thedialog and adjust both the relative level and time offset of the two channelsto keep the dialog properly centered. This automatic feature is why the CP-1 does not have or need a front-panel input balance control for DolbySurround decoding.

BASS SPLIT takes the low bass from the center, where it is in many film and

music mixes, and distributes it instead to the left and right front-channelsand the subwoofer. This is valuable because in many video installations thecenter speaker is smaller than the two main stereo speakers and is, therefore,less capable of handling the lowest frequencies. Refer to the graph on page31.

REAR DELAY in Pro Logic is adjustable. Generally, the correct delay isabout 20 milliseconds but the setting depends on speaker set-up and sourcematerial. In general, the delay should not be so great that the rear soundbecomes identifiable as a distinct source.

The SIDE SPEAKERS control turns the side speaker output on or off,

widening or reducing the apparent stereo spread.

The CALIBRATE mode in Stereo Logic and Pro Logic is for setting up andchecking the levels of the channels in multi-speaker systems. Its use iscovered in the section on Balancing Additional Channels on page 12.



Bass Split

Side Speakers

Set Program Name/

Memorize Program

Rear Delay

Calibrate


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Using thePrograms

To Rename and

Store a Register

Restoring OriginalSettings

See also TEST MODE, page 21.

USER banks store automatically.

1. Push PARAM toMEMORIZE PROGRAM

2. Push any program # to STORE

2. Push program

# to select

a position

1.Push Param to

SET PROGRAM

NAME

3.Push UP/DOWN

to select a

character

The previous sections describe the CP-1s four basic modes and all of theirvariable parameters. Any changes in the parameters of a program in theUSER bank will be automatically recorded and stored for future use. TheCP-1 also allows you to store a new version of any PRESET or USERprogram in any USER register.

As you cycle through the parameters in any program with the PARAM keyyou will come to two labeled: SET PROGRAM NAME and MEMORIZEPROGRAM. To rename your new program, press the PARAM key until thedisplay reads: SET PROGRAM NAME. At this point a cursor (the underlinecharacter) appears in the bottom row of the LCD display. Each of the 12

program keys will now move the cursor to one of twelve available spaces inthe display, while the PARAM UP and DOWN keys cycle through theavailable list of characters, beginning with the one currently occupying thespace.

With the upper half of the display reading: SET PROGRAM NAME, push1 on the remote (also marked PANORAMA NORMAL). The cursor willmove to the leftmost column of the program name. Now push PARAM UPor DOWN until the character you want appears in the space. (Holdingeither button for one second activates an auto-repeat mode to speed youthrough the list.) All letters are available, in upper or lower case, as are digits0-9, a blank space and an assortment of other characters. When the firstspace in the display is correct, press button 2, set the second character andrepeat until the new name is complete.

As with all the other parameters, a new name composed while a USERprogram is running becomes a permanent part of the CP-1s memory as itis being written. If you began with a PRESET, storing a register takes twomore steps: Press PARAM until the display reads MEMORIZE PROGRAM,then press any of the 12 program keys to store all current settings in thecorresponding USER register. This operation will also switch the CP-1 tothe selected location in the USER bank, causing further pushes of theprogram keys to load USER programs instead of PRESETs. (Press BANKagain to return to the factory presets.)

When a PRESET is running and parameters have been changed, you canrestore the original settings simply by pushing the button for the displayedprogram number again. To experiment with a USER program withoutchanging it requires that you set aside one register for experiments. If, forexample, this scratch registeris number 12, call up the program you wantto start with, cycle through its parameters until you come to MEMORIZEPROGRAM and press button 12. This will make a duplicate of the originalprogram in USER register 12, and switch the CP-1 to USER 12. Theparameters of the duplicate can now be modified at will and the new versionstored in any USER register.

Naming a Register

Storing a Register


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CP-1 Digital Audio Environment Processor5Troubleshooting

TroubleshootingIf you encounter a problem, please review the items in the following

checklist. Also be sure to thoroughly check all other connected componentssuch as speakers, receiver/amplifier/preamp, VCR, TV, CD player, etc.

Problem Possible Cause and Solution

Make sure INPUT LEVEL on the CP-1 front panel is turned up. Checkrear panel connections and make sure signal is going into the CP-1.Check SOURCE and MONITOR switches and try toggling them inand out.

Make sure that the correct input is selected and that only one inputbutton is depressed.

Check the batteries and make sure that they are inserted correctlywith proper polarity. Make sure that the infrared receiver on the CP-1 front panel above the POWER switch is not obstructed. If the remotecontrol unit is still not functioning, RESTORE DEFAULTS as de-scribed below.

Check input and output connections. They may be reversed relativeto the IN and OUT jacks of your receiver/amplifier/preamp or othersource.

Power turn-on with large power amps may cause power sags that willconfuse the CP-1. To prevent this, plug the CP-1 into an AC outlet ona different branch circuit, or turn on one amplifier at a time.

First verify that signal is coming into the CP-1 by observing the InputLevel meters. Increase VOLUME using the Remote Control andcheck the Front/Back and Left/Right balances.

Make sure that the rear panel Output Level controls are turned up.

Check the CP-1 mute controls to make sure they are not engaged.

Check all other equipment settings and connections and verify thatthe amplifier(s) being fed by the CP-1 are operational.

Adjust the contrast (relative brightness) of the display using theprocedure described on the Quick Reference Guide, and on Page 15of the Owner's Manual. If the display is showing strange characters,RESTORE DEFAULTS as described at the end of this section.

If the LCD is blank and the green IR detect is lit, there has been a powerproblem. Turn the CP-1 off for a few seconds, then restart it.

Input level meters not functioning

Only one input level meter functional

Remote control not working

No audio

Erratic behavior

No output

Display irregularities


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CP-1 Digital Audio Environment ProcessorTroubleshooting

Problem Possible Cause and Solution

Severe power surges or sags can confuse the CP-1 memory. To correct,or if you simply want to start over, restore the factory defaults with theprocedure described at the end of this section.

Check the front panel buttons and make sure that one (and only one)button out of each of the three pairs is depressed. Pressing twobuttons together, or having neither button pressed, can cause chan-nels to drop out.

If severe power surges or sags cause problems with CP-1 memory

storage, or you simply want to start with a clean slate in the Userregisters, you can restore factory presets into the User registers withthe following procedure. This will erase any programs you havestored in the User register, so you may want to note any settingsyou wish to re-use before proceeding.

Turn CP-1 power OFF. While pressing PARAM on the RemoteControl, turn power ON. (Make sure your hand does not block theinfrared receiver on the CP-1 front panel.) Continue holding downPARAM until the display reads:

** TEST MODE **PRM Key To Exit

Release PARAM and press EFFECT MUTE to clear and reload Userregisters, and to restore all factory settings of Volume, Balance,Contrast, Configuration, etc. The display will read:

RESTORE DEFAULTSPRM Key To Exit

Press PARAM to restore normal operation. (Remember to check theLCD contrast and Configuration settings, since they will have beenreset to factory defaults.)

If you cannot solve functional problems through these procedures,consult your dealer or Lexicon/Customer Service Department. DO

NOT, UNDER ANY CIRCUMSTANCES, OPEN THE UNIT. DO-ING SO WILL VOID YOUR WARRANTY, AND MODIFICA-TIONS MAY RENDER THE UNIT UNSERVICEABLE.

Erratic recall of programs

Channel(s) not working

Restoring defaults


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Troubleshooting


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Lateral Sound

For decades the study of concert-hall acoustics relied on certain basicmeasurements to characterize halls, the main one being the time it takes asound to drop in level (decay) by 60 decibels. This is called the reverberationtime or RT

60and is approximately the same as the time it takes a hand clap

to subside to inaudibility. The RT60

is measured as a function of frequency,usually in bands one octave wide, over the range of audible frequencies. Theresulting curve forms a frequency contour for the hall.

While it was found that most good halls have comparable RT60

curves,

different halls with similar RT60measurements can sound very differentfrom each other and listener reactions to them can vary widely. Clearly,other important factors in the sound field were not being measured.Through the work of many people (including

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