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3Com CP-1 Two-Way Radio User Manual

1. Source The SOURCE buttons select one of two identical stereo pairs of audio inputs 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 of a separate system or the audio outputs of a video disc or CD player Monitor The MONITOR button selects SOURCE I II or TAPE IN The Tape inputs are provided to accommodate a recorder if the CP 1 occupies a previously used tape monitor loop Tape The PRE and POST Tape switch determines whether CP 1 processing if applied before or after tape output PRE means that the tape deck gets the signal unaltered PRE processing POST applies CP 1 processing to the tape output POST processing To record CP 1 processing onto tape the CP 1 must be in the two speaker mode Configuration 1 with the POST button engaged Input Level The INPUT LEVEL control and its display allow you to match the level of the incoming signal to the CP 1 s digital encoding circuits When correctly set loud passages will light the entire row of green LEDs without flashing the red ones Alphanumeric The alphanumeric display shows both the program that is running and its Display modifiable parameters The CP 1 has 24 registers PRESETs 1 12 are configured at the factory those labeled USER 1 12 are ava
2. 2 Push a program to load 3 Changes to PARAM EFFECT LEVEL and F B BALANCE store automatically in USER Bank rs a RD rN EFFECT BALANCE VOLUME v v 4 v 4 To store changes for a PRESET Bank program see page 27 Test Mode koen a A SYSTEM EFFECT MUTE Page 19 The Programs Panorama Lexicon Panorama Panorama extracts the natural ambience from recorded music and moves it outward from the speakers producing greater width and depth of image and a feeling of enhanced spaciousness The program adds no additional sound but expands the existing stereo image Panorama also works with Dolby Stereo movies bringing the surround track outward into the room Panorama works with just two loudspeakers If side speakers present Panorama disables them and substitutes its own simulation The front speakers are driven entirely from the CP 1 s digital circuits Panorama will also send a stereo difference signal left channel minus right or vice versa to the rear loudspeakers if you have them NORMAL 1 will provide enough expansion for most music while WIDE 2 has a more pronounced effect 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 bass energy is evenly distr
3. The CP 1 has its own volume and balance controls which you will be using in place of the ones on your existing preamp or receiver Set the gains in your main stereo channels for optimum dynamic range as follows For best performance the CP 1 should always be driven to its full Input Level 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 a program name will appear When the power up routine is finished aim the remote control at the unit and push the EFFECT MUTE button bottom row right The message EFFECTS OUTPUTS OFF will appear in the display for about 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 a heavily compressed FM rock station or heavy metal CD is ideal Turn the preamp s volume control up about three quarters of the way Adjust the CP 1 s INPUT LEVEL control until the red level indicator LEDs at the right of the display blink occasionally then reduce the INPUT LEVEL until only the green LEDs are lit If there are audible differences between the levels of the source you used for this calibration procedure and other sources you may have to readjust the INPUT LEVEL to accommodate them Where possible try to use the output level controls on the various sources to equalize levels
4. Push and hold the VOLUME DOWN button on the remote control until the bar graph on the display completely disappears and the display reads SYSTEM VOLUME 64 dB Turn on the main stereo power amplifier then hold the VOLUME UP button until the CP 1 s volume is at 05 dB If the back 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 1 s volume advances stop and reset all rear panel gain potentiometers fully counterclockwise until they are completely off before proceeding With the CP 1 s remote volume at 05 dB slowly advance the rear panel potentiometer for the MAIN OUTPUTS until the sound is as loud as you will normally play the system Do not touch the gain on your preamp or receiver after this adjustment Use only the CP 1 volume control Make sure that this level is not high enough to cause speaker distortion or amplifier clipping Front Panel Adjustments Setting the Main Input and Output Levels Input Levels QOQO000000000000000 A QOQO0000000000000000 A Be sure the Input Level is as high as possible without flashing red Set all output levels to zero set Vol ume UP almost all the way Page 9 Connection and Calibration Lexicon Output Levels Main Output Set Main Output so system is as loud as you are ever going to need it Be careful that this level does not cause speaker distortion or amplifier
5. sponds to your room and note its number Press the BANK button and hold it for a few seconds The display will read LCD CONTRAST ADJ with a bright 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 seconds pass without a button push Center Phantom Button IN Center Phantom Button IN Sd Center Phantom Button IN gt GP Center sens Button IN Q 3 Center Phantom Button IN x ETAETA i K Center Phantom Button IN gt Press the PARAM UP or DOWN buttons until the contrast of the display is at a maximum as seen from your listening chair Then push PARAM to enter the Configuration menu Consulting the Speaker Configuration Chart push PARAM UP or DOWN until the figure and the description in the display match your room Configuration Speaker Configurations Subwoofers are not shown in any of these configurations Consult the subwoofer owner s manual or your dealer for proper placement of subwoofers remembering that corners are almost always best Side and rear speakers may sound better if mounted above the listener See Page 15 speaker connected to center output ZN PD 1 O speakers connected to Main outputs speakers connected to Side outputs speak
6. Generally the correct delay is about 16 milliseconds but the setting depends on speaker set up and source material In general the delay should not be so great that the rear sound becomes identifiable as a distinct source REAR ROLLOFF sets the frequency above which the rear channel sound is attenuated It should be high enough to give presence and airiness to the rear sound but not so high as to place distracting instrumental overtones or other sounds behind you The appropriate setting will vary with program material The use of the CALIBRATE mode is described in the setup instructions beginning on page 11 The procedures for naming anew version of the program SET PROGRAM NAME and storing it in one of the User registers MEMORIZE PROGRAM are described on page 29 Effect Level Input Balance Listener Position Speaker Angle LF Width Rear Level Rear Delay Rear Rolloff Calibrate Set Program Name Memorize Program Page 21 The Programs Ambience Lexicon Ambience Program Parameters Parameter Ambience generates the appropriate early reflections for stereo simulation of one of six different halls one rectangular hall and one fan shaped hall in small medium and large sizes and sends the reflections to the side and rear speakers For systems with only two loudspeakers Ambience also incorporates a version of Panorama that will spread the stereo image and add the reflections it generate
7. If you have six speakers Configuration 9 an additional stereo amplifier can power 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 the side and rear speakers above the listener can be very effective They also work well on normal speaker stands Placing the speakers too high in a narrow room may reduce the spaciousness since this makes the sound come from the ceiling instead of the side walls Page l6 CP 1 Digital Audio Environment Processor Speaker Set Up and Configuration The 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 adds bass energy without removing any from your main speakers Note how ever that many of the subwoofers curently on the market have their own crossover complementary low and high pass filters and amp built in Often it is better not to use the CP 1 Subwoofer output which is already filtered at 100Hz 12dB octave Instead we recommend using the main outputs as follows Connect the CP 1 main front and left and right outputs to the inputs of the subwoofer crossover Then connect the subwoofer output high pass fil tered version of the input to the amplifier driving the main s
8. The SPEAKER ANGLE parameter displayed in de grees adjusts for wide or narrow speaker spacing For the two canceling signals to arrive at both ears at the same time you must be centered precisely between 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 speakers well 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 their responses will differ The addition of acoustic absorption soft furniture carpets and drapes or diffusion furniture or books that form irregular surfaces and break up reflections and time spent shifting speakers and chair into more precise alignment use a tape measure rather than relying on your eyes will all be rewarded Find a mono source such as an announcer on FM radio or a mono film and listen for a tightly focused center image of speech or singing If the image is off center adjust the CP 1 s BALANCE control The narrower the monaural image the better Panorama will work Perform the following setup from a relaxed comfortable position in your listening chair with your head facing the center point between the speakers 1 Reduce the volume
9. clipping Balancing Additional Channels 1 Select Pro Logic 2 Push Param to CALIBRATE LD q A A m m Adjust other output levels until all directions are equally loud 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 all the channels in your system relative to each other The most important thing to keep in mind when calibrating the system is to keep these potentiometers set as low as possible Your normal listening level not background muzak level shouldbe with the system volume as indicated by the front panel LCD set to around 06dB This keeps the processor at its optimum signal levels while allowing headroom if you really want to crank it up If you are using only two audio channels level adjustment is now complete If you have additional channels use the following procedure to set their levels to match the main stereo pair Use the VOLUME DOWN button to reduce the CP 1 s level to about 20 dB If the EFFECT MUTE LED is on push EFFECT MUTE to cancel it Push program button 12 the display will read PRESET 12 on the left and SURROUND PRO LOGIC on the right Push PARAM four times or until the display 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 in sequence to all channels left side plus left front center right s
10. separated from the original sound The confusing frontal reflections can be absorbed leaving the essential lat eral ones This is better but not ideal With the CP 1 confusing short re flections can be absorbed the CP 1 will supply the essential lateral sound which can simulate a much larger space The more absorbent the playback room the better it will sound and the closer it will sound to a real hall or larger environment Page 37 Theory and Design Lexicon The Panorama Program Loudspeakers placed on either side of the listening position are the most effective and foolproof way to produce added Spatial Impression Since it is not always possible to have side loudspeakers the CP 1 uses crosstalk elimination to simulate them when they can t physically be there In Panorama the front speakers are driven entirely by the front digital outputs of the CP 1 Panorama disables any side speakers present and simulates them electronically Versions of the Atal Schroeder Damaske Mellert technique mentioned earlier have appeared in several consumer signal processors under various trade names as well as in a line of loudspeakers that achieved a similar effect acoustically These have all been what we call first order devices To see what this means imagine there is a sound coming from the left channel only This sound will travel to the left ear of the listener then diffract around the listener s
11. Ambience ROLLOFF mimics the absorption of the air in the hall and its initial value is therefore more pronounced the rolloff begins at a lower frequency the larger the space PANORAMA EFFECT adjusts the strength of the signal used to expand the stereo image outward from the front two speakers It is only needed when side speakers are absent LISTENER POS compensates for the relative distance of the two main speakers from the prime listening area It should be set for the value arrived at in the Panorama set up procedure on page 11 SPEAKER ANGLE compensates for differing distances between your front speakers 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 in the setup procedure on page 11 but the program may also work well at lower values The image expansion will be strongest at the one location in the room for which the program has been calibrated See page 10 It will diminish somewhat as you move forward or back from that location and more rapidly as you move from side to side 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 is a strong monaural speaking voice present at the same time this component of the input is reduced while the stereo component is increased If the
12. LEVEL is temporarily turned all the way up Initial Value small 0 46 sec 0 32 2 8 sec medium 0 92 sec 0 64 5 6 sec large 2 16 sec 1 28 11 2 sec BASS RT small x1 MID RT 0 7 xMID RT medium 1 25xMID RT 1 xMID RT large 1 25xMID RT 1 25xMID RT TREBLE PANORAMA EFF s m 1 5 9 4 2 3 6 kHz 329 Hz 14 1 kHz 0 28 1 32 Effect Level 0 if side speakers are specified EFFECT LEVEL adjusts the loudness of the side and rear speakers When there are no side speakers it adjusts the amount of ambient signal mixed into the main loudspeakers EFFECT LEVEL is the most important user adjustment in AMBIENCE and REVERB and has been given its own button on the remote It should be set as high as possible without making the extra speakers individually audible Page 24 The Programs r Reverb S j CP 1 Digital Audio Environment Processor MID RT Midrange Reverberation Time is the time required for midrange Mid RT sounds to decay 60 dB in level Your choice of small medium or large synthesized space determines both the initial value and the available range of MID RT BASS RT the low frequency reverb time depends on the MID RT andis Bass RT expressed as a multiplier BASS RT is equal to MID RT in Program 7 while in the medium and large versions of the program it is 25 higher as is the case in most actual halls with acceptably warm subjective frequency bal ance TREBLE rolloff as in the Ambience progra
13. PARAM UP or DOWN will display and adjust the current parameter whether or not PARAM has been pushed A single push changes the parameter by one unit holding the button for more than one second causes the values to change rapidly in an auto repeat mode PARAM can also put the CP 1 into TEST mode See page 19 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 Land R adjust the left right balance of all speakers front sides and rear It assumes the function of the balance control on your preamp or receiver VOLUME UP and DOWN adjust the level of all channels simultaneously It assumes the function of the volume control on your preamp or receiver SYSTEM MUTE turns off all outputs and lights both SYSTEM and EFFECT MUTE LEDs Pushing EFFECT MUTE while in system mute mode turns the effects alone back on EFFECT MUTE alternately turns off and on all signals added by the CP 1 Use it to compare the sound with and without CP 1 processing In TEST mode EFFECT MUTE clears all user memories See page 19 Surround Bank Parameter Effect Balance Volume Mute 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 button down for 1 second engages auto repeat Page 5 Control
14. PRM Key To Exit Release PARAM and press EFFECT MUTE to clear and reload User registers and to restore all factory settings of Volume Balance Contrast Configuration etc The display will read RESTORE DEFAULTS Press PARAM to restore normal operation Remember to check the LCD contrast and Configuration settings since they will have been reset to factory defaults If you cannot solve functional problems through these proce dures consult your dealer or Lexicon Customer Service Depart ment DO NOT UNDER ANY CIRCUMSTANCES OPEN THE UNIT DOING SO WILL VOID YOUR WARRANTY AND MODIFICATIONS MAY RENDER THE UNIT UNSERVICE ABLE Page 33 Troubleshooting Lexicon Page 34 CP 1 Digital Audio Environment Processor Theory and Design Concert Hall Acoustics For decades the study of concert hall acoustics relied on certain basic measurements to characterize halls the main one being the time it takes a sound to drop in level decay by 60 decibels This is called the reverberation time or RT and is approximately the same as the time it takes a hand clap to subside to inaudibility The RT is measured as a function of frequency usually in bands one octave wide over the range of audible frequencies The resulting curve forms a frequency contour for the hall While it was found that most good halls have comparable RT curves different halls with similar RT measurements can sound very different from each ot
15. Reverb and Ambience The recording engineer has probably put as much reverberation in the record ing as the music can withstand Adding more through speakers located in front of the listener is generally not a good idea since these effects combine with the sound from the front speakers making the music muddy Delay and reverb in the rear can occasionally be helpful but the ear is not particularly good at distinguishing between front and rear sounds and as with Ambience it is at the sides that Reverb is most needed If you have no side loudspeakers both Ambience and Reverb contain versions of the Panorama program that will simulate them within a narrow area between the speakers Choosing one of the speaker configurations with no side speakers see page 13 will automatically turn the Panorama Effect on and mix the side outputs into the main outputs If you have a set up with six or more loudspeakers you may want to try setting the configu ration for no side speakers This will still turn on Panorama and mix the The Reverb Y Reverb is very good for simulating a large reverberant space Page 43 Theory and Design Lexicon The Surround sides to the front while leaving the side outputs on Programs The Surround programs Mono Logic Stereo Logic and Pro Logic are specifically designed for film sound or for systems set up primarily for Mono Logic enhanced film viewing Mono Logic is a stereo conversion
16. antenna discharge unit connection to grounding electrodes and requirements for the grounding electrode ae Antenna Lead In Wire Antenna Discharge Unit NEC Section 81020 Gounding Conductors NEC Section 810 21 Ground Clamps Power Service Grounding Ekctrode System NEC National Electrical Code NEC Art250 Part H Power Lines An outside antenna should be located away from power lines CP 1 Digital Audio Environment Processor Table of Contents 1 Controls and Indicators Introduction 1 The Front Panel 2 The Rear Panel 3 The Remote Conirol 4 2 Connection and Calibration Installation 7 Connections to Other Equipment 7 Setting the Main Input and Output Levels 9 Calibration of the Panorama Program 11 3 Speaker Set Up and Configuration 13 4 Using The Programs To Load Modify and Store Programs 19 The Programs Panorama 21 Ambience 22 Reverb 24 Surround 26 To Rename and Store a Register 29 5 Troubleshooting 31 6 Theory and Design 35 7 Specifications 53 CP 1 Digital Audio Environment Processor Controls and Indicators All of the programs in the Lexicon CP 1 Digital Audio Environment Processor have a common goal to draw you the listener more deeply into a musical performance or a film For music the CP 1 uses unique digital processing to re create either the original recording space or a new one of your choosing For films it offers an extremely accurate version of Dolby Pro
17. behind you Stereo Logic s REAR ROLLOFF parameter contains an AUTOMATIC mode In this mode the rear channels are rolled off above 7 kHz until the logic circuits steer a sound effect to the rear speakers whereupon the bandwidth opens up to beyond 15 kHz This will enhance the realism of some effects that move from front to rear or vice versa Page 27 The Programs Surround Lexicon Program Parameters cont d Auto Azimuth Balance Bass Blend Front Effect Rear Effect Rear Noise Chip Calibrate Set Program Name Memorize Program The AUTO AZIMUTH BAL parameter should be set to ON for films OFF for music When it is on special digital circuits continually monitor the dialog and adjust both the relative level and time offset of the two channels to 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 Dolby Surround decoding BASS BLEND 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 channel speakers Its initial value is 0 in the Stereo Logic program and 6 in Pro Logic This is valuable because in many video installations the center speaker is smaller than the two main stereo speakers and is therefore less capable of handling the lowest frequencies The essence of the Dolby PRO LOGIC circuit is that dialog music and sound effects are d
18. calibration mode is in LEFT ONLY there is still cancellation signal coming out of the right speaker This is a psychoacoustic phenomenon and LEFT ONLY means the calibra tion signal should appear to come only from the left usually to the left of the speaker The CP 1 does generate minimal amounts of RF energy and is in compliance with FCC rules If some interfering noise is noted move AM loop and FM T type antennas away from the CP 1 and reorient them as necessary Use shielded cable for FM and antenna feeds 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 the procedure described at the end of this section Page 32 CP 1 Digital Audio Environment Processor Troubleshooting Problem Possible Cause and Solution Restoring defaults 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 User registers you can restore factory presets into the User registers with the following procedure This will erase any programs you have stored in the User register so you may want to note any settings you wish to re use before proceeding Turn CP 1 power OFF While pressing PARAM on the Remote Control turn power ON Make sure your hand does not block the infrared receiver on the CP 1 front panel Continue holding down PARAM until the display reads TEST MODE
19. can use some of the digital memory to delay all the output channels by 20 milliseconds about the same as the acoustic delay you get in the front row of a theater The surround channel is delayed by an additional 16 to 32 milliseconds This delay allows plenty of time for the CP 1 to determine the direction of sounds and adjust the matrix before the sounds are sent to the amplifiers This substantially improves dialog and effects cancellation as is immediately apparent from the spread of ambient material or music even in the presence of dialog The CP 1 can also sense and continuously correct both balance and azimuth errors in the incoming material All the time the film is playing the CP 1 is checking balance and azimuth keeping the dialog perfectly centered The Pro Logic decoders remove dialog from the left and right channels while maintaining stereo as much as possible Pro Logic requires phase accuracy Common azimuth errors cause ghost dialog in all channels unless the azi muth error is corrected Page 47 Theory and Design Lexicon result is superior steering An added benefit is that the CP 1 is the only Pro Logic decoder which needs no front panel input balance control the user need not bother with this adjustment You can check the quality of the balance and azimuth in a tape or disc if you wish by turning the Auto Azimuth Balance parameter off and observing any changes in the location of dialog an
20. head and be heard by the right ear If we take the left channel sound delay it just the right amount invert it in phase and feed it to the right speaker it will arrive at the right ear just in time to cancel the crosstalk from Speaker Speaker First order Level Level Correction Tas Imagine a click in the left speaker t Sound from speaker L travels to the S left ear and also to the right ear a time A t later If we supply a negative delayed sig nal to the right speaker this crosstalk can be canceled the left speaker The main problem with a first order device is that the subtracting signal is also heard by the opposite ear In our example the canceling signal from the right loudspeaker will diffract around the head to the left ear interfering with the left speaker sound and producing a comb filter which colors the sound in an obvious and unpleasant way Furthermore the listener s head is not well represented by a simple delay line Both the delay and the amplitude of the opposite ear sound vary in complicated ways with fre Page 38 Theory and Design CP 1 Digital Audio Environment Processor quency Lexicon s implementation called the Panorama program was designed using measured data on sound diffraction around the head to shape the frequency spectrum of the canceling signal This signal is then itself canceled by a second signal and so on so that both the crosstalk and the Speake
21. input signal is pure monaural speech the input is almost entirely attenuated SPEECH DETECTION is a real benefit to some popular music where spoken voice such as rap occurs along with music stereo television and early stereo movies Any stereo material which was not carefully mixed for Surround is a good candidate for playing through Ambience with SPEECH DETECTION On The procedures for naming a new version of the program SET PROGRAM NAME and storing it in one of the User registers MEMORIZE PROGRAM are described on page 29 Rolloff Panorama Effect Listener Position Speaker Angle Speech Detection Set Program Name Memorize Program Page 23 r The Programs S Reverb Lexicon Reverb Program Parameters Parameter The Reverberation program differs from Ambience in that it does not simulate the early reflections of specific halls but emphasizes rich smooth reverberant decay in small medium or large spaces It works well for simulating a space with a long reverberation times relative to its size such as a reverberant chamber church or the like For systems with only two loudspeakers Reverb also incorporates a version of Panorama that will spread the stereo image and add the reflections it generates to the expanded sound stage The initial EFFECT LEVEL is highest for Program 7 and progressively lower for Programs 8 and 9 It will be easier to hear exactly what the parameters do if the EFFECT
22. lateral energy for obvious architectural reasons such as a long narrow shape with high ceilings Fan shaped halls although they have better sight lines are more adaptible to multiple uses and hold a greater number of seats for their total volume than a shoe box hall tend to have fewer attractive sideways reflections and more of the unpleasant monau ral overhead and rear wall kind These differences can be overcome by design A notable example is the Boston Symphony s fan shaped Tangle wood music shed Tanglewood sounds good because the reflectors above and in front of the orchestra known as clouds have angled sides that reflect energy sideways onto the audience instead of just downward Lateral Sound in your Listening Environment In an ordinary listening room conventional stereo set ups with loudspeak ers separated by 60 degrees or less do not excite enough SI to sound pleasant without some help from the room A similar speaker arrangement in the artificial environment of an anechoic chamber is exceedingly detailed and precise but unpleasant Some lateral reflections are needed to make the sound musical Ordinary two speaker stereo works as well as it does because sideways moving reflections can be excited at low frequencies by two loudspeakers if they are placed asymmetrically in the room or if they are driven with out of phase low frequency information gt Out of phase bass is intentionally provided in the best stereo recor
23. program for monaural film sound tracks A quick look through any video rental selection will prove the usefulness of such a program the vast majority of titles are mono The problem of mono to stereo conversion is an old one One time honored solution is to break the incoming signal into frequency bands sending some to one channel and the rest to the other When the filters are complementary when the sum of the two output channels equals the original input channel this solution can give stereo spread without ruining the tonal balance When the filters are non complementary they can produce an unpleasant fake stereo effect Some effort has been made to design filter pairs for film sound which leave voice frequencies unchanged while spreading out the music More recent designs have gone in another direction using digital or analog delay lines to produce a comb filter effect So far these attempts have not been very successful The principal element of film sound is dialog and the principal rule in reproducing it is to assure that it appears exclusively in the center channel Broadcasters who have an interest in converting mixtures of dialog and music to synthesized stereo have built circuits designed to turn off the stereo synthesizer when voice appears Unfortunately the switch from mono to stereo is often abrupt and the chances of dropping into mono by mistake during music are high One basic problem with films especially modern ones i
24. spatial impression is supplied by the acoustics of the theater itself augmented by surround speakers placed all around the audience The surround speakers are driven in parallel from the surround channel output of the decoder The CP 1 can be used to create a similar set up in the home by connecting the side speakers to the rear amplifiers However our experiments indicate that most people find this far from optimal The use of auto azimuth auto balance and digital steering make the CP 1 superior to any other surround decoder including the professional decoder for theaters This allows us to remove the dialog completely and feed the left and right signals not the surround to the side speakers When side speakers are present this is a marvelous solution See speaker configurations 10 and 11 page 13 Much the same effect as separate side loudspeakers can be provided by simply placing the main loudspeakers near the sides of the listeners and using the center loudspeaker to fill in the middle of the front image Page 50 Theory and Design CP 1 Digital Audio Environment Processor References 1 Schroeder M R Gottlob D and Siebrasse K F Comparative Study of European Concert Halls Correlation of Subjective Preference with Geo metric and Acoustic Parameters J Acoust Soc Am vol 56 pp 1195 1204 1974 2 Barron M and A H Marshall Spatial Impression Due to Early Lateral Reflections in Concert Halls The
25. the sound These changes will be lost when you turn the CP 1 off or change programs unless you explicitly store the changes See page 27 Changes made in the value of parameters within a User program however are stored with that program immediately and automatically This includes settings of EFFECT LEVEL and FRONT REAR BALANCE but not of the LEFT RIGHT BALANCE or VOLUME controls You do not have to perform any specific storage routine to create a new variation in a User register it happens whenever you change a parameter When the CP 1 leaves the factory each User register contains a duplicate of the Preset program of the same number If you maintain this arrangement the labels on the remote will continue to describe the contents of both registers You can however store a version of any program in any of the User registers The CP 1 s User registers can be cleared and reloaded with duplicates of the factory Preset programs at any time Press and hold the PARAM key while you turn the CP 1 on continue to hold down PARAM for 5 seconds This puts the unit into TEST mode Push EFFECT MUTE to clear and reload the User registers and to restore all initial settings of Volume Balance Contrast Configuration etc The display will read RESTORE DEFAULTS Push PARAM again to begin normal operation To Load Modify and Store Programs To load a program 1 Push BANK to select USER or PRESET BANK PARAM
26. to about 20 dB If the display reads PRESET at the top left push Program button 2 if not push BANK then button 2 to load PRESET PANORAMA WIDE Push PARAM eight times until the display 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 well beyond the left speaker with near total silence in the right ear Still facing forward move your head from side to side until the effect is strongest If you can find the sweet spot from 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 PARAM UP and DOWN until you hear the strongest effect Then push PARAM four 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 time looking for the point where the silence in the left ear is deepest Compare the locations of the two sweet spots from steps 2 and 4 If they coincide Calibration of the Panorama Program 60 SPEAKER ANGLE is the angle be tween the main speakers as seen from the listening position here it is about 60 Select Panorama Push PARAM to display CALIBRATE then push Param UP to ON LEFT ONLY 9 SILENCE Move your head from side to side to find the position where the noise is full left a
27. Derivation of a Physical Measure J Sound Vibration vol 77 pp 211 232 1981 3 Griesinger D Spaciousness and Localization in Listening Rooms and Their Effects on the Recording Technique J of the Audio Eng Soc vol 34 no 4 pp 255 268 1986 4 Griesinger D New Perspectives on Coincident and Semi Coincident Microphone Arrays J of the Audio Eng Soc 82nd Convention Lon don 1987 Preprint 2464 H 4 5 Damaske and Mellert Ein Verfahren zur richtungstreuen Schallab bildung des oberen Halbraumes ber zwei Lautsprecher Acustica vol 22 pp 153 162 1969 70 6 Bishnu S Atal and Manfred R Schroeder Apparent Sound Source Translator U S Patent Disclosure Patent No 3 236 949 Feb 22 1966 7 Borish J An Auditorium Simulator for Domestic Use J of the Audio Eng Soc 33 5 p 330 1985 8 Blumlein A D British Patent 394 325 14 June 1933 reprinted inJ of the Audio Eng Soc Vol 6 pp 91 98 130 April 1958 9 Schroeder M R Progress in Architectural Acoustics and Artificial Reverberation Concert Hall Acoustics and Number Theory J of the Audio Eng Soc 32 4 pp 194 203 1984 10 Blauert J and Lindemann W Auditory Spaciousness Some further psychoacoustic analyses J Acoustical Soc Am 80 2 August 1986 11 Griesinger D Theory and Design of a Consumer Environment Proc essor presented at the Los Angeles AES Convention Nov 1988 preprint
28. ECT LEVEL a few dB With EFFECT LEVEL all the way down the center only will play Program Parameters Mono Logic Parameter Initial Value TREBLE SET PROGRAM NAME MEMORIZE PROGRAM Treble TREBLE is the only adjustable parameter in MONO LOGIC It regulates the treble cut in the side and rear channels The optimal setting for this parameter will vary widely with the age quality and condition of the source material Page 26 The Programs Surround CP 1 Digital Audio Environment Processor Stereo Logic Parameter Initial Value FRONT EFFECT REAR EFFECT 8 0 16 REAR ROLLOFF 14 1 kHz 329 Hz 14 1 kHz Automatic BASS BLEND 0 0 16 AUTO AZIMUTH BAL OFF Off On REAR DELAY 8 ms 0 32 ms REAR NOISE CHIP OFF Off On ee ee 0 if no rear speakers specified Pro Logic Parameter Initial Value REAR DELAY 16 32 ms AUTO AZIMUTH BAL On Off On BASS BLEND 6 0 16 CALIBRATE Off Off On SET PROGRAM NAME NA NA MEMORIZE PROGRAM NA NA REAR DELAY in both STEREO LOGIC and PRO LOGIC is adjustable Rear Delay Generally the correct delay is about 20 milliseconds but the setting depends on speaker set up and source material In general the delay should not be so great that the rear sound becomes identifiable as a distinct source REAR ROLLOFF controls the treble attenuation and should be adjusted on Rear Rolloff music for maximum airiness and spatial realism without causing specific instruments to seem to come from
29. Logic Surround decoding and our own decoding for monaural film sound tracks The increase in impact of a musical performance or film when heard with 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 on recent studies of concert hall acoustics and applies this research to home listening rooms The object is to increase the sideways moving sound in a room thus increasing Spatial Impression or SI The CP 1 increases SI by either extracting it from the original recording using the Panorama or Surround programs or by generating a new acoustic environment with Ambience or Reverb When a listener is in the correct spot the Panorama program provides an almost ideal re creation of the original recording space It works by using digital processing to cancel the crosstalk between the listener s ears effec tively spreading the sound from the two front loudspeakers in a wide arc in front of the listener With the optional addition of rear speakers Panorama can be almost spooky in its realism The CP 1 Reverb and Ambience programs provide signals for driving widely spaced side and rear loudspeakers directly exciting sideways sound and heightening the listener impact over a large listening area When there are no side speakers Panorama is used to increase the side ways so
30. Panorama Ambience 0 AE Surround CP 1 Digital Audio Environment Processor Owners Manual lexicon H A Harman International Company Unpacking and Inspection After unpacking the CP 1 save all packing materials in case you ever need to ship the unit Thoroughly inspect the CP 1 and packing materials for signs of damage Report any shipment damage to the carrier at once report equipment malfunction to your dealer Precautions This equipment generates and uses radio frequency energy and if not installed and used properly that is in strict accordance with the manufacturer s instructions may cause interference to radio and television reception It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J or Part 15 of FCC Rules which are designated to provide reasonable protection against such interference in a residential installa tion However 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 the user is encouraged to try to correct the interference by one or more of the following measures Reorient the receiving antenna Relocate the computer with respect to the receiver Move the computer away from the receiver Plug the computer into a different outlet so that the comp
31. SIDE SUB WOOFER ml Connections to CENTER AMP Other Equipment REAR AMPS SPEAKER EQ MAIN POWER AMPS SIDE AMPS SUBWOOFER AMP Connections with an Audio Preamp CENTER AMP REAR AMPS SPEAKER EQ SIDE AMPS SUBWOOFER AMP MAIN POWER AMPS Using the CP 1 as an Audio Preamp Page 7 Connection and Calibration Lexicon Connecting the CP 1 in a Tape Monitor Loop Note Audio Inputs Note Audio Outputs TAPE TAPE INTEGRATED AMP OUT PREAMP or RECEIVER __ CENTER AMP CENTEF REAR INPUTS Pirie VCR TV VIDEO aupio SIDE _ _ _ _ gt _ CONTROL CENTER OUT SUB E TAPE OUT IN AMPS SUBWOOFER AMP If you have a receiver with no external access to the preamplifier outputs or you wish to use the tape monitor loop on your preamp you can use a tape output or external processor loop to the CP 1 However any change in the receiver s volume control after the system is adjusted will upset the balance between the main and auxiliary speakers If you are using this configura tion you should now turn the receiver s volume control all the way down If there was a tape deck previously connected to your receiver s monitor loop connect it to the CP 1 s tape outputs and inputs or CASSETTE DECK Turn off ALL audio and video components inc
32. additional channels The answer depends on whether you are primarily interested in audio or video 6 10 NZ Ma1 Aq Better Best The film enthusiast with only two stereo speakers should place them relatively close on either side of the screen and use Panorama for both music and films Beyond this the very first priority should be a center channel above or below the screen for dialog Configuration 2 An alternative is Configuration 3 in which two front speakers and one rear are used with either the Panorama or Pro Logic programs A dramatic improvement will be noticed when increasing from two or three speakers to four These should be arranged as in Configuration 6 but with the front left and right speakers spread quite wide perhaps all the way around to the sides making a diamond pattern with the listener in the center How widely you space the front channels will depend on how deeply immersed in the sound track you want to be the full diamond configuration can considerably heighten the sense of emotional involve ment in many movies This arrangement has the advantage of using amplifiers and speakers in pairs Page 14 Speaker Set Up and Configuration CP 1 Digital Audio Environment Processor If your center channel speaker is smaller than the left and right fronts increasing BASS BLEND will remove low bass from the center and increase it in the left and right speakers The center channel is so important that if it is
33. annels This signal contains the dialog However the left and right signals still contain dialog too so the dialog is spread out among the three front speakers Similarly the Dolby Surround decoder takes all out of phase signals and sends them to the surround speakers while leaving the original out of phase components in the left and right front speakers The basic Dolby Surround decoder has high channel separation between left and right decoded audio and between center and surround The separation between left or right and center or between left or right and surround however is only a few dB The simple Dolby Surround decoder does pretty well with music although sometimes the center channel is too loud but because any sound will be reproduced in at least three loud speakers effects are smeared and often unconvincing Pro Logic Decoding A Pro Logic decoder like the professional Dolby Stereo cinema processor both enhances the dialog in the center and removes it from the left and right while maintaining as much stereo separation as possible This is a form of directional steering Properly done steering prevents the dialog from appearing in the other channels and enhances its plausibility The situation is similar with music and sound effects For example if the sound was intended to be in the left the decoder will remove it from the center and surround channels If it was intended to be halfway between left and center the Pr
34. at until the new name is complete As with all the other parameters a new name composed while a USER program is running becomes a permanent part of the CP 1 s memory as it is being written If you began with a PRESET program storing a register takes two more steps Press PARAM until the display reads MEMORIZE PROGRAM then press any of the 12 program keys to store all current settings in the corresponding USER register This operation will also switch the CP 1 to the selected location in the USER bank causing further pushes of the program keys to load USER programs instead of PRESETs Press BANK again to return to the factory presets When a PRESET program is running and parameters have been changed you can restore the original settings simply by pushing the button for the displayed program number again To experiment with a USER program without changing it requires that you set aside one register for experiments If for example this scratch register is number 12 call up the program you want to start with cycle through its parameters until you come to MEMO RIZE PROGRAM and press button 12 This will make a duplicate of the original program in USER register 12 and switch the CP 1 to USER 12 The parameters of the duplicate can now be modified at will and the new version stored in any USER register To Rename and Store a Register USER banks store automatically Naming a Register 1 Push Param to SET PROGRAM NAME 2 Pus
35. available Page 51 Theory and Design Lexicon Page 52 CP 1 Digital Audio Environment Processor Specifications Frequency Response THD Minimum Input Level Maximum Output Level Input Impedance Output Impedance Signal to Noise Ratio Voltage Dimensions Weight Optional Equipment 10 Hz 100 kHz 1 3dB 10 Hz 16 kHz 1 3dB Unprocessed channels Processed channels Ref 1 kHz Front Less than 05 1 kHz max level Sides Less than 05 1 kHz max level Center Less than 05 1 kHz max level Rears Less than 05 1 kHz max level Subwoofer Less than 05 10 100 Hz max level 300 mVRMS 3 5 VRMS 50 k ohms 500 ohms 85dB min A weighted Ref 1 kHz max level 120V 60 Hz 100V 50 60 Hz 220V 50 Hz 240V 50 Hz 17 W x 12 5 D x 2 5 H 11 Ibs Rack mount adapter Lexicon Part 021 06639 Specifications subject to change without notice Patents are pending on the CP 1 Page 53 lexicon H A Harman International Company 3 Oak Park Bedford MA 01730 USA Telephone 781 280 0300 FAX 781 280 0490 www lexicon com 06 00 Lexicon Part 070 06619 Rev 3 0 Printed in the United States of America
36. cause power sags that will confuse the CP 1 To prevent this plug the CP 1 into an AC outlet on a different branch circuit or turn on one amplifier at a time No output First verify that signal is coming into the CP 1 by observing the Input Level meters Increase VOLUME using the Remote Control and check 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 that the amplifier s being fed by the CP 1 are operational Display irregularities Adjust the contrast relative brightness of the display using the procedure described on the Quick Reference Guide and on Page 13 of the Owner s Manual If the display is showing strange characters RESTORE DEFAULTS as describet the end of this section Center channel only plays Check to see if your HiFi VCR has dropped out of tracking readjust Your VCR Stereo Mono L R switch may be in the wrong posi tion set it to stereo Page 31 Troubleshooting Lexicon Problem Possible Cause and Solution Muffled sound in L amp R channels Center channel sound muffled Hum Balance control doesn t work in Pro Logic or Stereo Logic Panorama Calibrate isn t working Interference with AM FM TV or Cable TV Erratic recall of programs When no center channel is used the rear panel phantom butto
37. d effects In addition because the side and rear cancellation of dialog is unusually good even with poor material you can use Stereo Logic to set the rear channel filtering higher than is recommended in the Pro Logic specifica tions This added surround brilliance makes some effects such as falling rain all around you or objects zooming from rear to front much more convincing This feature should be used with caution however since in this mode the decoder is different from the one on which the film was mixed Stereo Logic The Stereo Logic program is primarily designed for the playback of music through film sound systems Its basic structure is similar to Pro Logic but it contains more variable parameters In the Preset version of Stereo Logic these parameters are set for music but they can be changed to produce a versatile program for film sound as well The range of the Rear Delay parameter is 0 32 ms as opposed to 16 32 ms in Pro Logic for use with music programs in which you may want to hear the front and rear outputs of the program simultaneously Music does not necessarily contain a crucial centrally located element analogous to the dialog in films So the Preset version of Stereo Logic has no automatic adjustment for interchannel time delay and balance that is the Auto Azimuth Balance parameter is off The Front Effect parameter which controls the steering among the front three channels is preset half way up meaning that c
38. dings Another reason is that most listening rooms have reflective surfaces to the sides of the listener A popular listening room treatment puts absorptive material at the front of the room leaving the walls by the listener reflective This improves the clarity by removing the front reflections while retaining those from the side This also explains the appeal of loudspeakers that produce lots of sideways reflected energy Unfortunately in most two speaker set ups the mid and high frequency lateral sound is reduced unless the speakers are unusually widely placed The listener can hear a little of the original hall stretched between the stereo loudspeakers but never really becomes a part of it What is worse the lateral sound that exists in most playback rooms has so little delay that the ear can not separate it from the direct sound The reflections generate some SI but they also cause coloration and muddiness Small rooms usually sound better if these reflections are broken up with wall hangings furni ture or bookcases or absorbed with curtains or sound absorbent panels When this is done the room becomes quieter and clearer but not in any way like the original hall The Lexicon CP 1 resolves this deficiency by supplying appropriate signals to loudspeakers at the sides of the listener or by modifying signals to the main loudspeakers to fool the ear into thinking there are loudspeakers at the Page 36 CP 1 Digital Audio Environm
39. direction around the listener and it is the During the early days of film ste reo dialog was sometimes mixed by panning the monaural dia log track to come from the same part of the screen as the image of the actor Subjective reactions to this technique were varied and techni cal problems with some magnetic sound tracks helped to discourage the practice so modern movies are seldom mixed with panned dialog In a home system with a good Pro Logic decoder however the effect can work quite well recent releases with panned dialog include Yel low Submarine and Superman T In most films though all dialog comes from the center channel Films originally have four channels one for dialog and three for music and effects To make a Dolby Stereo film these are combined to two job of the decoderto duplicate as closely as possible the film mixer s Page 45 Theory and Design Lexicon With conventional surround any sound comes from at least three direc tions Simple logic decoders turn down the left and right speakers during dialog This seriously affects music and ef fects placements Dolby Surround Decoding When the movie is shown the two Dolby Stereo tracks must be decoded and separated into the original four The Dolby Surround decoder does this in a rather rudimentary way it supplies a signal to the center channel which is just the sum of the two input ch
40. e 29 Page 25 The Programs Surround l Lexicon Surround The SURROUND programs are designed for film sound tracks and they make full use of additional loudspeakers at the center sides and rear of the room MONO LOGIC takes a monaural soundtrack and sends music and sound effects to the sides and rear through a room simulator program while keeping dialog in the center STEREO LOGIC is meant for playing music through a system whose speakers are laid out primarily for films PRO LOGIC is Lexicon s all digital implementation of the Dolby Pro Logic Surround decoding process The term Dolby Stereo refers to both movies and equipment used exclusively for theatrical presentation When one of these movies is transferred to commercial video media the special audio encoding of the Dolby Motion Picture matrix is retained in the two channel stereo soundtrack The resulting video software and the hardware designed to reproduce it use the name Dolby Surround to distinguish it from the theatrical optical format Dolby Pro Logic Surround decoding is the licensed consumer version of the professional Dolby Stereo cinema processors which allows the home viewer to obtain all the spatial effects of the soundtrack heard in a theatre over a wider range of seating positions than conventional Dolby Surround playback Effect Level EFFECT LEVEL conrols the level of all channels except the center The center will appear stronger if you turn down EFF
41. ent Processor Theory and Design sides Both methods depend on having the added sound come from a different direction than the original music and each method has some advantages With either method of generating SI there is an additional choice the CP 1 allows the user to make the sideways energy cues of the original recording can be extracted by the CP 1 or a different hall sound can be generated and supplied from the correct directions Ambience Extraction The Panorama and Surround programs in the CP 1 extract the original acoustic cues from the recording and present them to the listener from the correct directions We call this ambience extraction The three Panorama programs can even do this with only two loudspeakers Panorama uses crosstalk elimination to fool the ear into thinking there is a continuous band of loudspeakers extending all the way to the sides of the listener and also supplies a delayed and filtered L R signal to rear speakers On a good recording this successfully recreates the original recording space although the ideal listening area may be small The Surround programs Stereo Logic and Pro logic also work by ambience extraction They divide the front energy among three or more loudspeakers and supply a delayed and filtered difference signal to rear loudspeakers Because a center speaker is provided the left and right speakers can be placed far enough to the sides of the listener to directly excite significa
42. entrally located sounds are diminished by 6 dB in the side speakers and vice versa The setting for Dolby Stereo films is 16 up all the way The Rear Effect parameter controls the steering of effects music and ambient sounds to the rear speakers Its preset value is determined by the speaker configuration specified by the user See page 13 The preset value is zero if there are no rear speakers in your system and 8 of a possible 16 when there are rear speakers When the Rear Effect is set to zero all rear Page 48 Theory and Design CP 1 Digital Audio Environment Processor sounds appear in the front left and right speakers and the side left and right speakers if present The Rear Noise Chip parameter is preset to OFF meaning that the high frequency sound in the rear channels is set solely by the Rear Rolloff parameter The Rear Noise Chip should be ON for Dolby Surround programs Rear Rolloff is preset to 14 1 kHz its highest constant value An Automatic mode expands to accommodate signals steered to the rear then shuts down to 7 kHz for lower percussion leakage when there are no signals there This is a useful feature for films The Stereo Logic Program can provide an unusual and revealing way to listen to music With a multi speaker surround system the program puts you in the middle of the music so that interior elements formerly buried in the mix become audible Try setting Front Effect and Rear Effect all the
43. erly no single speaker will be audible by itself There are two basic hall shapes in Ambience Rectangular and Fan Ina listening room with sufficient acoustical absorption using source material without too much reverberation of its own the two shapes are clearly distinguishable For most classical recordings the rectangular hall sounds somewhat better because of its stronger side reflections In our fan shaped hall unlike actual physical designs you can increase the proportion of side to rear sounds by increasing the Effect Level and shifting the F B Balance controls toward the front When this is done another different but also pleasant sound results Although the Ambience program can provide some recirculation adjust able with the Liveness parameter for long decay times it is better to use Reverb The Large Hall ambiences are not intended to be used on material which is more appropriate to a smaller ambience such as a small hall or a club Highly percussive material is almost always better in the Small program which is quite successful in livening and expanding popular Page 42 CP 1 Digital Audio Environment Processor Theory and Design music If you have no side loudspeakers both Ambience and Reverb contain versions of the Panorama program that will simulate them within a narrow area between the speakers Choosing one of the speaker configurations with no side speakers see page 13 will automatically turn the Pan
44. ers connected to Rear outputs Note If you are using only one rear speaker it may be hooked up to either the left or right rear output as long as you use the correct Configuration number Page 13 Speaker Set Up and Configuration Lexicon Notes on Speaker Good Notes on Amplifiers Placement For Film 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 you play the system Generally the demands on the side and rear channels are higher for film sound than for music The center channel is actually the most important channel on most film soundtracks Your center amp speaker combination should be able to achieve the same sound pressure levels as the main left and right speakers Increasing the Bass Blend parameter in the Pro Logic and Stereo Logic modes will help relieve the center channel of the heavy low frequency demands but is not a suitable substitute for a decent amp speaker combination The surrounds will not generally require quite as much power but there can be substantial energy requirements during crescendos Consider at least 45 60 watts minimum for your rear channel amplifier The CP 1 s Configuration routine allows a wide range of choices in speaker and room set ups to maintain optimal performance as your system ex pands If you are starting with a conventional two channel system in what order should you add
45. grams The previous sections describe the CP 1 s four basic programs and all of their variable parameters Any changes in the parameters of a program in the USER bank will be automatically recorded and stored for future use The CP 1 also allows you to store a new version of any PRESET or USER program in any USER register As you cycle through the parameters in any program with the PARAM key you will come to two labeled SET PROGRAM NAME and MEMORIZE PROGRAM To rename your new program press the PARAM key until the display reads SET PROGRAM NAME At this point a cursor the underline character 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 in the display while the PARAM UP and DOWN keys cycle through the available list of characters beginning with the one currently occupying the space With the upper half of the display reading SET PROGRAM NAME push 1 on the remote also marked PANORAMA NORMAL The cursor will move to the leftmost column of the program name Now push PARAM UP or DOWN until the character you want appears in the space Holding either button for one second activates an auto repeat mode to speed you through the list All letters are available in upper or lower case as are digits 0 9 a blank space and an assortment of other characters When the first space in the display is correct press button 2 set the second character and repe
46. h program 3 Push UP DOWN to select a character Storing a Register 1 Push PARAM to MEMORIZE PROGRAM 2 Push any program to STORE Restoring Original Settings See also TEST MODE page 17 Page 29 Using the Programs Lexicon Page 30 Troubleshooting CP 1 Digital Audio Environment Processor Troubleshooting If you encounter a problem please review the items in the following checklist Also be sure to thoroughly check all other connected components such as speakers receiver amplifier preamp VCR TV CD player etc Problem Possible Cause and Solution Input level meters not functioning Make sure INPUT LEVEL on the CP 1 front panel is turned up Check the connections on the rear and make sure signal is going into the CP 1 Check SOURCE and MONITOR switches and try toggling them in and out Make sure that the correct input is selected and that only one input button is depressed Remote control not working Check the batteries and make sure that they are inserted correctly with proper polarity Make sure that the infrared receiver on the CP 1 front panel above the POWER switch is not obstructed If the remote control unit is still not functioning RESTORE DEFAULTS as described below No audio Check input and output connections They may be reversed relative to the IN and OUT jacks of your receiver amplifier preamp or other source Erratic behavior Power turn on with large power amps may
47. her 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 Manfred Schroeder A H Marshall Michael Barron and others some of these factors were identified In an effort to answer the question of why some halls sound so much better than others Schroeder devised a method for comparing them without transporting his subjects from hall to hall Using a dummy head with microphone diaphragms in place of ear drums Schroeder made binaural recordings in many halls These recordings played back through ear phones gave excellent reproduction of spatial qualities Unfortunately the stereo image tended to appear entirely inside the head spoiling the accu racy of such recordings as a test of concert halls To overcome this problem Schroeder played his recordings through a pair of loudspeakers in an anechoic chamber using a special electro acoustic technique developed by Atal Schroeder Damaske and Mellert to elimi nate crosstalk between the listener s ears Normally each speaker is heard by both ears but Schroeder s system canceled the sound reaching the right ear from the left speaker and vice versa Provided that the listener held his head in exactly the right spot the sound had all the excellent localization properties of earphones but was properly located outside the listener s head This technique allowed the first direct c
48. ibuted across the stereo image Panorama WIDE is designed for recordings with centered bass almost all pop and rock The only other difference between these two programs is their initial EFFECT LEVEL If you need more bass from Panorama NORMAL switch to WIDE and reduce the EFFECT LEVEL Conversely if Panorama WIDE is too bass heavy switch to NORMAL and increase the EFFECT LEVEL Note The location of the front speakers and the listening position are crucial to Panorama s effectiveness and for best results your system and the CP 1 together should be set up and calibrated according to the procedure on page 10 The strength of the Panorama effect drops off as you move away from the prime listening position especially to the sides Video systems with the main loudspeakers spaced closely on either side of a TV screen will produce a diminished effect over a somewhat wider area than set ups with a large included angle between the speakers Program Parameters Parameter Initial Value INPUT BALANCE Centered Full Left Full Right LISTENER POS 127 0 254 SPEAKER ANGLE 49 degrees 29 90 degrees LF WIDTH 0 25 25 REAR LEVEL 16 0 32 REAR ROLLOFF 2 9 kHz 329 Hz 14 1 kHz REAR DELAY 16 ms 0 32 ms CALIBRATE OFF Left Right Both SET PROGRAM NAME NA NA MEMORIZE PROGRAM NA NA 0 in BINAURAL or if no rear speakers specified Page 20 CP 1 Digital Audio Environment Processor The Programs Panorama EFFECT LEVEL sets the amoun
49. ide plus right front and rear channel s If you have a center speaker the rear panel CENTER PHANTOM button should be out Since all levels are down except for MAIN you will hear only both fronts left only silence right only silence If you have no center speaker the rear panel button should be 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 and CENTER gain until the individual loudness of the sounds reaching your listening position is the same and the all channel signal is evenly distributed from all speakers The CALIBRATE ON display will remain for as long as you use this mode When the front center side and rear channels are balanced press PARAM DOWN to turn off the calibration signal Finally if you are using a separate low frequency channel use music or the test signal of your choice to adjust the SUB WOOFER gain until the low bass balances the rest of the spectrum This completes the initial connections and level adjustments of the CP 1 Page 10 CP 1 Digital Audio Environment Processor Connection and Calibration PANORAMA works by canceling the sound going from each speaker to the opposite ear The effectiveness of the program is highly dependent on the geometry of your front loudspeakers the room and your listening position The correct timing of the canceling signal varies with the angle between your main speakers
50. ilable for storage of programs customized by the user Indicator The unlabeled LED to the left of the System Mute Indicator lights when the Lights CP 1 detects a signal from the remote control The SYSTEM MUTE LED indicates that unprocessed audio is no longer passing through to the CP 1 s main outputs The EFFECT MUTE LED indicates that the CP 1 s processed audio is no longer passing through to its outputs Power System On Off Page 2 CP 1 Digital Audio Environment Processor Controls and Indicators The Rear Panel ve REAR SIDE OUTPUTS P MAIN CENTER SUB marl OOOO PHANTOM IN TAE TARE gaur 0000 SUB WOOFER Stereo outputs for rear and side power amplifiers with level adjusting knobs The procedure for balancing these outputs as well as the center channel and subwoofer with the main pair begins on page 9 Main outputs with level adjustment Level setting of these outputs must precede adjustment of the auxiliary channels The adjustment of the subwoofer output should be done only after all other channels are calibrated See page 11 Center channel output with level control and button Push the button in if you have no center channel leave it out if a center speaker is connected NOTE Leaving this button out with no center channel will cause the Surround programs to malfunction Inputs and outputs for an additional audio or video tape deck audio po
51. initial reflections than AMBIENCE but richer and smoother reverberant decay REVERB is especially good for simulating large highly reverberant spaces Page 4 CP 1 Digital Audio Environment Processor Controls and Indicators The SURROUND programs work with film sound tracks to recreate the theater experience MONOLOGIC 10 expands the music and effects on monaural films into the additional channels while leaving the dialog in the front center STEREO LOGIC 11 enhances music with surround speakers and also allows the listener to adjust certain parameters for film sound that are fixed in Program 12 PRO LOGIC 12 provides the same decoding used in Dolby Stereo theater systems using up to eight speakers for front center side rear and subwoofer channels The BANK button switches between the 12 factory preset programs and 12 user registers where customized programs may be stored The program number doesn t change if you are using Preset program 9 BANK switches to User program 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 one of the 12 speaker setups illustrated on page 13 The three PARAMETER buttons allow selection and adjustment of variable parameters within each program Pushing PARAM displays the current parameter for five seconds pushing it again before the display changes selects the next parameter Pressing
52. isteners sides there is a tremendous change in the impact of the film The sound stage becomes much wider than the screen so wide in fact that the listener is literally drawn into the action This effect should not be surprising lateral sound is known to grab our attention in a way that front Page 49 Theory and Design Lexicon sound does not Occasional extra wide sound effects can seem peculiar at first for being so much wider than the screen but when the mix is good the emotional impact of the wide sound can be very great The disparity between the size of the video screen and the size of the sound is usually easy to accept and the added impact is hard to give up once you have heard it A few theaters are beginning to wake up to the power of this effect It is being used presently and has been used in the past Some theaters such as Imax and Omnimax use it routinely with multi track masters and older tech niques such as Todd AO had wonderful multichannel soundsystems The major reason standard theaters do not use this is the poor accuracy of previous surround decoders when used with commercially available stereo prints Azimuth errors on both optical and magnetic masters are common and in theaters there can often be considerable dialog leakage into the left and right channels To increase the seating area with acceptable dialog theaters place the left and right speakers within the confines of the screen The needed
53. luding individual power amplifiers Unplug any preamps and power amps that don t have switches Locate the gain trim potentiometers on the CP 1 rear panel these are knobs at the top of the panel marked REAR SIDE MAIN CENTER and SUB Turn each one all the way down counterclockwise as viewed from the back Connect the main outputs of your audio preamplifier or the preamplifier output 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 the built 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 1 s MAIN outputs to your main stereo channels Connect any additional amplifier speaker combinations to the remaining outputs on the CP 1 SIDE to the side amplifiers REAR to the rears CENTER to the center channel amplifier and SUB WOOFER to the subwoofer amp Locate the button below the SUB potentiometer marked CENTER OUT PHANTOM IN If you have no center front speaker push it in if you have a center channel make sure this button is in the out position Page 8 CP 1 Digital Audio Environment Processor Connection and Calibration Push the INPUT I button on the front panel Push the MONITOR SOURCE and TAPE PRE buttons Turn the INPUT LEVEL knob all the way down counterclockwise
54. ms is preset to mimic air Treble absorption in actual spaces being more pronounced in the larger ones PANORAMA EFFECT adjusts the strength of the signal used to expand the Panorama Effect stereo 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 speakers Listener Position from the prime listening area It should be set for the value arrived at in the Panorama set up procedure on page 11 SPEAKER ANGLE compensates for varying distance between your front Speaker Angle speakers The Speaker Angle can be set to the value reached in the setup procedure on page 11 but the program may also work well at lower values The image expansion is strongest at the one location in the room for which the program has been calibrated See page 11 It will diminish somewhat as you move forward or back from that location and more rapidly as you move from side to side PRE DELAY increases the delay between the direct sound and the onset of Pre Delay reverberation Some pre delay is inherent in the programs and the preset value of 0 is usually a good starting point Increasing the pre delay will make the hall sound larger The procedures for naming a new version of the program SET PROGRAM _ Set Program Name NAME and storing it in one of the User registers MEMORIZE PROGRAM Memorize Program are described on pag
55. n must be pushed IN The center channel amp may be connected to the subwoofer jack on the CP 1 rear panel Reconnect to Center Output jack Finding and eliminating audio hum in a complex installation can be a very frustrating task Often the easiest way to identify the culprit is to systematically eliminate devices from the audio chain If Cable TV is connected to any equipment in the system start by unplugging the Cable completely preferably right at the wall jack If this eliminates or greatly reduces the hum it s worth a call to your Cable company A quick fix assuming your cable is round 75Q wire is to attach a 75 300Q transformer to the end then attach a 300 75Q transformer to that so that the end is back to a round 75Q wire There are commercially available antenna lead isola tors which may provide additional insulation from electrical surges If there is no center channel in the system the center channel output is routed to both the left and right main outputs This means the left speaker reproduces not only the left channel information but also the center channel information If you set the balance all the way over to the right the left channel information will be attenuated but the center channel wll still be present at the left speaker In other words it s supposed to work that way Panorama is an interaural crosstalk cancellation program that produces an anti phase cancellation signal to the opposite speaker When the
56. n plus or minus about 20 degrees Beyond this critical angle the spatial impression is greatly reduced The sides are the most important additional speakers much more so than the rears Keep in mind that although you can use the left and right main speakers to simulate a phantom center speaker you cannot produce SI with one speaker in the front and one at the rear You can perform this experiment for yourself with the CP 1 using the Ambience program Try the side speakers both in their usual positions and in the front corners If your listening room has enough absorption to damp its side wall reflections the side location will provide much more spatial impression and will sound substantially better Speakers in the front are useful if you want the best possible sound from Ambience you may want to try an additional pair in the front corners wired in parallel with the rear This additional pair as well as the rear speakers may sound best if placed above the listener The effectiveness of the CP 1 s Ambience simulation is heavily dependent on the source material and the playback room If the playback room is large and reverberant its reflections may dominate those generated by the program Carpet drapes and furniture can all be used to break up or absorb undesirable reflections making it easier to hear the processor s output The balance between the side rear and front speakers is also very important If the channels are set up prop
57. nd the right ear hears noth ing Page 11 Connection and Calibration Lexicon go on to step 6 otherwise perform step 5 5 Push PARAM twice so the display reads SPEAKER ANGLE If the sweet o spot from step 2 LEFT ONLY is to the left of the sweet spot from step SILENCE Y 4 Right ONLY push PARAM UP once If the the step 2 sweet spot is to the right of the step 4 sweet spot push PARAM DOWN Push PARAM gt to return to CALIBRATE RIGHT ONLY and go back to step 2 6 Adjust your chair so the single sweet spot is in the center or use PARAM to get to LISTENER POS and adjust this parameter to move the sweet spot to where you want it Use PARAM to step to CALIBRATE and push PARAM DOWN until the calibration signal goes off Push PARAM UP again for RIGHT ONLY If your left ear is in the silent band the speaker angle is correct Repeat for the right side The Panorama Program is now calibrated To store it see page 27 Use PARAM to display the final values of LISTENER POS and SPEAKER ANGLE Note these values and use them for all forms of Panorama a 1d including the Panorama subsections of AMBIENCE and REVERB If the two silent bands are too close raise SPEAKER ANGLE if too far apart lower SPEAKER ANGLE To store see page 29 Page 12 CP 1 Digital Audio Environment Processor Set Up and Configuration Speaker Choose the diagram from the Speaker Configuration Chart that corre
58. ndling of low frequency signals Normal is designed for record ings whose bass energy is evenly distributed across the stereo stage Wide is designed for recordings with centered bass The only other difference between these two programs is in their initial Effect Level If you need more bass from Panorama Normal use Wide and reduce the Effect Level Conversely if Panorama Wide is too bass heavy use Normal and increase the Effect Level The Low Frequency Width control provides another important adjustment to the bass in Panorama This control is a simple implementation of a Spatial Equalizer a function which Alan Blumlein referred to as a shuffler One of the ways ordinary stereo excites SI is through the out of phase low frequency energy in the recording The Low Frequency Width control allows the amount of out of phase bass in a recording to be adjusted Even when the Effect level of the Panorama control is all the way down the Low Frequency Width control is active allowing the user to experiment with this property of sound Recording engineers have only recently become aware of Spatial Equaliza tion 4 and many older recordings are greatly improved by increasing the low frequency width a little When the rest of the Panorama program is not used by turning down the Effect control just turning LF Width up a bit can make ordinary recordings quite spacious The user should exercise caution however since some recordings such as those
59. nnel balance varies during playback The manual balancing procedure does nothing to correct azimuth errors During the preparation of the master for a video tape or disc misalignment of the playback heads or skewing of the film produce small time differences between the two channels Azimuth is poorly controlled in both profes sional video recorders and optical film chains In the final product which has been through many generations it can easily be wrong by 50 microsec onds or more and may vary as the tape or disk is played At middle and high frequencies it doesn t take much misalignment to generate large inter channel differences in phase which are just what the decoder uses to do its steering Other Dolby Pro Logic decoders try to deal with this problem by reducing the treble in the surround so the out of phase sibilants in the film do not splatter annoyingly from the rear This does not however reduce the sibilants in the side speakers Some non Pro Logic decoders reduce these side channel sibilants by narrowing the spread of the front channels in the presence of dialog this compromise is unnecessary in the CP 1 The CP 1 Decoder The CP 1 decoder is unusual in a number of ways First of all it is entirely digital Most surround decoders advertise that they are digital because there is a digital delay line for the surround channel but the matrix and the logic decoding are done in analog Because the CP 1 is all digital we
60. not possible to have an extra center speaker it is frequently better to plug the center output of the CP 1 into the audio input of your video monitor and use its built in speaker if it has one than it is to run the dialog through the main loudspeakers 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 one speaker should be used as using two speakers to reproduce a mono 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 as close 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 degrees behind the listener For film use they should be slightly ahead of the listener Place the sides at or slightly above ear level Ceiling placement is not recommended as this will reduce the stereo separation and will be quite strange for film where Pro Logic sends the same information to the sides and fronts The rears should be separated as much as possible and kept away from the listener Here ceiling mounts are acceptable as is mounting hig or in the rear or back side walls The best set up for those who like both music and films is Configuration 10 The addition
61. ns Read Instructions Read all safety and operating instruc tions before operating the unit Retain Instructions Keep the safety and operating instruc tions for future reference Heed Warnings Adhere to all warnings on the unit and in the operating instructions Follow Instructions Follow operating and use instructions Heat Keep the unit away from heat sources such as radia tors heat registers stoves etc including amplifiers which produce heat Ventilation Make sure that the location or position of the unit does not interfere with its proper ventilation For example the unit should not be situated on a bed sofa rug or similar surface that may block the ventilation openings or placed in acabinet which impedes the flow of air through the ventilation openings Wall or Ceiling Mounting Do not mount the unit to a wall or ceiling except as recommended by the manufacturer Power Sources Connect the unit only to a power supply of the type described in the operating instructions or as marked on the unit Grounding or Polarization Take precautions not to defeat the grounding or polarization of the unit s power cord Not applicable in Canada Power Cord Protection Route power supply cords so that they are not likely to be walked on or pinched by items placed on or against them paying particular attention to cords at plugs convenience receptacles and the point at which they exit from the unit Nonuse Periods Unpl
62. nt SI and the resulting image is wide but seamless This set up can sound similar to Panorama and it works over a large listening area Stereo Logic and Pro Logic also provide steering Steering works by enhancing the directionality of the loudest sound in a mix it steers the sound out of loudspeakers where it is not needed and into the ones closest to its direction in the image In popular music the loudest sound is usually the vocals which will be preferentially steered toward the center loud speaker Some steering is frequently beneficial to music recordings played with a surround speaker arrangement and it is essential for films Ambience Generation The Reverb and Ambience programs in the CP 1 synthesize the side and rear sound of several different acoustic spaces Rather than extracting the acoustic cues of the original hall from the recording they generate a new environment effectively enlarging and improving the acoustics of your listening room In these programs the original stereo channels are pre sented unaltered to the main loudspeakers and new signals are generated for the side and rear loudspeakers Both Ambience and Reverb can be configured to use a version of Panorama to generate the correct side sound even when side loudspeakers are absent In this mode the side signals are first passed through Panorama before being mixed into the main loudspeakers so the resulting hall sound is perceived as coming from the side and is well
63. o Logic decoder presents it equally to the left and center speakers and removes it from the right and surround channels The Pro Logic decoder can give good stereo spread and precise control over front to back perspective But the real strength of Pro Logic decoding emerges when music and dialog occur at the same time When dialog is present the center channel information must be removed from the left and right channels without reducing the spread or loudness of the music Pro Logic decoders sense both the direction of the loudest sound and the difference in level between it and any ambient information They then use this information to direct the steering The accuracy with which this is done Page 46 CP 1 Digital Audio Environment Processor Theory and Design is even more important in a home decoder than in a professional model because the small size of the playback room makes decoding errors more audible than they are in a theater The level detection must be very fast and the matrix must adapt very quickly or there will be a time lag between the audibility of a sound and its correct steering Since phase relationships determine how the sound is steered Pro Logic decoding puts unusual demands on the accuracy of the phase and balance of the input channels Other Pro Logic decoders have a front panel control for adjusting input balance and for best results a user should carefully adjust this for each program But what if the cha
64. of side speakers allows all forms of source material to be palyed without compromise The button on the back of the CP 1 labeled CENTER OUT PHANTOM IN is very important in the operation of the Surround programs Make sure the button is out if you have a center speaker and in if you have none With the button in Phantom Mode the center channel is mixed in with the two main outputs the side outputs carry the Left and Right signals the center channel is turned off Page 15 Speaker Set Up and Configuration Lexicon For Music ZN ZN Center Phantom Button IN Center Phantom 4 Button IN P Center Phantom 4 Button IN Better If your main interest is music you will most likely begin with two high quality main speakers Configuration 1 Here the Panorama program alone will add substantial enhancement in spatial impression image size image depth and freedom from coloration of central sources The audiophile s first addition should be two side channels Configuration 5 and after that two rear channels Configuration 9 For maximum effect with the Reverberation programs two additional speakers can be placed in the front corners 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 program the rear channel sound will automatically be routed to the side speakers
65. omparisons of specific halls From these studies it was found that the best halls were all characterized by having large differences in the sound between the two ears in the dummy head Very simply the best halls gave the most stereo Michael Barron defined this characteristic in halls as Spatial Impression SI and found that it was created by sideways moving reflected sound Only reflections which move from side to side produce SI because only they give rise to sound differences between the two ears Reflections from the front ceiling floor or back wall add loudness and muddiness to the sound but it is the lateral reflections that draw the listener into the music Lateral Sound s Halls with similar RT sound very different The best have large amounts of sideways moving re flected sound Page 35 Theory and Design Lexicon Side sound must be within this angle 4 Sound from the side is vital to lis tener comfort and involvement It must really be from the side In an anechoic chamber this side ways sound is missing and music sounds unpleasant o gt In an ordinary room the room sup plies these directions and the sound is cramped but tolerable The overall impression however may be muddy due to unwanted frontal reflections Understanding the importance of lateral reflections enabled more accurate evaluation of architectural acoustics The best halls were usually found to have high
66. on Telarc use microphone techniques which already contain sufficient out of phase low frequency energy The crosstalk cancellation in Panorama increases the low frequency width as well as the high frequency width of a recording Recordings in which the engineer deliberately added large amounts of low frequency width will sound too wide and phasey when played with either Panorama Normal or Panorama Wide Negative values of the Low Frequency Width parameter can bring the low frequencies back in line with the higher frequencies and make the playback with Panorama more effective The Binaural setting of Page 40 CP 1 Digital Audio Environment Processor Theory and Design Panorama greatly increases low frequency width and should only be used with true binaural recordings which have very little out of phase low frequency energy A few compatible binaural recordings are becoming available in which the low frequency width has been increased to match the requirements of loudspeaker playback These recordings may sound best when played with the Normal setting Panorama is capable of simulating side loudspeakers effectively but cannot mimic sound sources to the rear of the listener So we have added a simple delayed Left minus Right signal which can be sent to rear loudspeakers The delay is adjustable as is the treble rolloff For a listener in the ideal position Panorama with one or two rear speakers gives a nearly ideal re creati
67. on of the original recording area Panorama is also used as an element in the Ambience and Reverberation programs where it can synthesize side loudspeakers which are not present in the installation In this mode the stereo inputs to the CP 1 are fed directly to the front loudspeakers with the digital outputs of the CP 1 mixed in according to the setting of the Effect Level control The Ambience or Reverb side outputs are sent through Panorama before being mixed into the front loudspeakers so the added sound spreads beyond them and does not interfere with the original material When side speakers are present the Panorama Effect parameter is automatically turned down and no mixing occurs into the front speakers While the Panorama program recreates the space that already exists in the recording the Ambience program actually generates the side and rear reflection patterns of a number of ideal concert halls The reflections were determined by computer ray tracing using architectural data augmented by Lexicon s 15 years of experience with digital concert hall simulation The Ambience simulation is done in stereo Instead of feeding combined left and right channels to the processor the CP 1 has two input points corre sponding to instruments placed on the left or right side of the stage From these the computer calculates the loudness and delay of the reflections for the side and rear loudspeakers Ambience generates primarily the strong reflec
68. one row on the remote control Pushing one of the buttons numbered 1 through 12 during normal opera tion will load that program Whenever the CP 1 is turned on it will load the program that was running when it was turned off Each program has a number of parameters that you can vary with the three PARAMETER keys The parameters for each program are listed in the section on individual programs The PARAM key displays the current parameter and its value for about five seconds If PARAM is pushed during this period it will select the next parameter Pushing the PARAM UP or DOWN keys at any time will display and change the parameter s value in the direction you have selected The CP 1 contains a total of 24 program registers organized into two banks of 12 each Each of the 12 program buttons therefore will load one of the factory presets or one of the 12 user registers depending on which bank is currently in use The factory preset programs are denoted by PRESET in the upper left of the display with the program number beneath The program title appears in the right half of the display with the basic program name above and the variation below The BANK button switches between whichever of the 12 PRESET variations is running and the corresponding USER register or vice versa For example if you are running USER 7 pressing BANK will switch to PRESET 7 While running a Preset program you can change any of its parameters to see how they affect
69. orama Effect on and mix the side outputs into the main outputs If you have a set up with six or more loudspeakers you may want to try setting the configu ration for no side speakers This will still turn on Panorama and mix the sides to the front while leaving the side outputs on While the Ambience program simulates the early reflections of real halls Reverberation is more concerned with what happens to the sound after the first hundred milliseconds or so The first reflections are not intended to simulate any particular hall and no real shape will be audible The Reverb program produces a rapidly increasing echo density that smooths out impulsive sounds The decay in this program is unusually smooth and natural and can create the effect of a church or a very reverber ant hall The early sideways reflections which produce the most SI are weaker than they are in the Ambience program In Reverb as in Ambience the stereo input is fed directly to the front loudspeakers Some of the side energy can also be fed to the front speakers side and rear outputs are generated from the stereo input For the largest possible effect from the Reverb programs consider placing speakers in the front corners of the room and driving them in parallel with the rear speakers Note however that this configuration does not compen sate for the absence of side speakers which continue to be the most important Direction is critical to maintaining clarity in
70. oving the speakers away from the walls can be helpful as can adding absorption as provided by carpets curtains and or sound absorbent panels to reduce the reflectivity ofthefloor wals andeeHing Page 39 Theory and Design Lexicon Panorama can be used with music films or from within the Reverb and Ambience programs to simulate side speakers if the listener is inside the effective area between loudspeakers When the front speakers are close together the Panorama Effect is less precise but more dramatic and it works over a larger area In a well damped room with loudspeakers mounted on stands away from the walls the Panorama effect can be very exciting giving the closest possible approximation to the actual hall used for the recording With true binaural recordings made with a modern dummy head with accurate external ears and proper equalization the playback can be uncannily realistic And unlike previous versions of this technique the Panorama program adds virtually no coloration to the original signal Panorama is used in two ways in the CP 1 First there are the three Panorama programs designed to reproduce as closely as possible the sound actually recorded by the engineer If the recording has good natural ambience Panorama will spread that ambience around the listener giving a true impression of the original hall The Normal and Wide versions of the Panorama program differ primarily in their ha
71. peakers This has the advantage of bi amping the main speakers all the low bass is handled by the subwoofer and the main speakers only handle mid bass on up This usually reasults in a better sounding main speaker If you want to run the main speakers full range the subwoofer can be wired in parallel to the main amp using a Y connector Alternatively the CP 1 Subwoofer ouput can of course be used If there is not enough gain for the subwoofer because it s being filtered by both the CP 1 and its own cross over use one of the methods described above Since the center channel will still be runing full range you should use the Bass Blend parameter in the Pro Logic and Stereo Logic modes This protects the center channel speaker by splitting low frequencies off the center channel and feeding them to the left and right front outputs Remember to turn up this parameter in any User Register you program particularly in Stereo Logic A little experimentation goes a long way in determining the optimum value for Bass Blend Around 6 is usually best When this parameter is set too high some male vocals will sound chesty too low and you lose bass Subwoofer Connections Page 17 Speaker Set Up and Configuration Lexicon Page 18 CP 1 Digital Audio Environment Processor Using the Programs The CP 1 contains four basic programs Panorama Ambience Reverb and Surround Each program has three variations which occupy
72. r Input Higher order Speaker Level Signal Correction Level First order L F4 K R Higher order u First order correction travels to left ear where it will be heard unless canceled by an additional correction When these higher order corrections are supplied accurate cancellation is possible signal that is canceling it are eliminated This works extremely well when the room is well damped and the listener s head is correctly positioned The first order devices described earlier required the listener to sit on the center line between the loudspeakers and to arrange the angle between the speakers to correspond to the pro grammed delay Although the CP 1 provides adjustments to compensate for off center listening and for varying speaker angles maintaining a consistent listening position is still important and becomes more so with increasing frequency With wide speaker angles a movement of as little as 1 inch can make a perceptible difference Fortunately the effect is usually fairly good everywhere within a zone about one foot wide To achieve the fullest Panorama effect your main loudspeakers should have good imaging The smaller speakers that tend to be used with video systems may have an inherent advantage here but the most important requirement is that the two speakers have identical frequency response and symmetrical dispersion Itis not necessary or desirable to turn your listening room into an anechoic chamber but m
73. rded exclusively in the right channel will be ignored The CP 1 is one of a few consumer products to offer full Pro Logic Dolby Surround decoding and it is the only one that operates entirely in the digital domain This has important advantages but to understand them we must first take a brief look at how a film soundtrack is put together A Dolby Stereo film sound track has four basic components Left and right channels a center front channel and a surround channel The first three are fed to speakers arrayed behind the movie screen while the surround sound goes to speakers on the side and rear walls of the theater The four channels are recorded on separate magnetic tracks and are combined by the Dolby Stereo matrix encoder into two stereo channels during the final mixing process The original left and right channels go directly onto the left and right channels of the Dolby Stereo mix The center channel is fed equally to both channels in phase and the surround track is fed equally to both channels but 180 degrees out of phase The center channel carries the dialog music is normally mixed so that it appears to come from the front with reverberation or ambience coming from the surrounds For special effects music can be encoded to come from all around the listener or even from behind In any case with music and ambient effects there is always substantial spread across the front of the loudspeaker array Sound effects can come from any
74. rtion only or to replace the monitor loop occupied by the CP 1 Two sets of main inputs selected by the SOURCE I II buttons Rear and Side Outputs Main Center and Subwoofer Outputs Center Out Phantom In Tape Out In Inputs Page 3 Controls and Indicators Lexicon The Remote Control The Programs Panorama Ambience Reverb PANORAMA NORMAL WIDE BINAURAL AMBIENCE 4 SMALL MEDIUM LARGE REVERB P L_J7L_JeL_ s SMALL MEDIUM LARGE SURROUND SYSTEM EFFECT MUTE The PANORAMA programs provide enhanced lateral sound and hence greater spaciousness and envelopment for either music or films This program can utilize left and right rear channels but is also effective using only the two front loudspeakers NORMAL 1 and WIDE 2 differ primar ily in their initial Effect Levels BINAURAL 3 is for playback on loudspeak ers of recordings made with a dummy head The AMBIENCE programs simulate concert halls of three different sizes generating reflections of appropriate directionality delay and spectral shape and sending them to the side and rear speakers The Ambience programs provide adjustable recirculation through the Liveness parameter but for long reverberation times use REVERB Both AMBIENCE and REVERB are true stereo simulators The REVERB programs like AMBIENCE simulate rooms of three sizes with the aid of side and rear channels These programs have fewer specific
75. s and Indicators ee exiCon Page 6 CP 1 Digital Audio Environment Processor Connection and Calibration Installation The CP 1 may be installed on a shelf or in a standard 19 equipment rack using the optional rack mounting hardware Lexicon part 021 06639 Connect the power cord to a wall outlet or to a switched outlet on the back of your preamplifier Observe the following precautions e Make sure the remote control receiver located on the right side of the Precautions front panel is unobstructed The remote control must be in line of sight to 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 e Select a dry well ventilated location out of direct sunlight e Donot stack the CP 1 directly above heat producing equipment such as power amplifiers e Avoid placing the CP 1 near unshielded TV or FM antennas The CP 1 may interfere with some FM tuners if it is placed immediately above or below them e Install two AAA batteries in the CP 1 s remote control AUDIO PREAMP MAIN OUT TAPE OUT IN PROGRAM EQ or DYNAMIC RANGE PROCESSOR VCR TV VIDEO CONTROL CENTER TAPE OUT IN AUDIO OUT MAIN OUT l NPUTS Il VIDEO DISC AUDIO OUT VCR or CASSETTE DECK AUDIO or VIDEO CASSETTE RECORDER TAPE OUT IN CENTEF CENTEF REAR MAIN
76. s that music or background effects which should be spread out into the side speakers frequently appear at a low level beneath the dialog The Mono Logic program electronically identifies certain properties of film speech and removes it from the stereo synthesis This allows music and effects in the dialog to be spread out while leaving the dialog centered The remaining music and effects are directed to the input of a room simulation program that creates a space the size of a large room or small theater The Page 44 CP 1 Digital Audio Environment Processor Theory and Design room simulator has outputs for left right side and rear surround speakers The monaural input sound from the film is unchanged in the center speaker so that all the dialog and music that the director expected to come from the screen still does with no modification or reverb Partly because of the acoustical character of the room synthesizer the result is often so successful that switching from a monaural input with Mono Logic to a stereo input with Pro Logic may make a surprisingly small difference The most critical adjustment in Mono Logic is the Effect Level Ideally the film s music and effects should appear to come from the front but with the added sense of a large space surrounding you The side and rear speakers should not be individually audible Mono Logic works with the left input channel only If it is used with a stereo mrphogi erial reco
77. s 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 parameters do if the effect level is temporarily turned all the way up Initial Value Range ROOM SHAPE Rectangle Rectangle Fan LIVENESS 4 0 6 ROLLOFF s m 1 5 9 3 6 2 9 kHz 329 Hz 14 1 kHz PANORAMA EFF 28 0 32 SET PROGRAM NAME NA MEMORIZE PROGRAM NA NA Effect Level Room Shape Liveness 0 if side speakers are specified EFFECT LEVEL adjusts the loudness of the side and rear speakers When there are no side speakers it adjusts the amount of ambient signal mixed into the main loudspeakers EFFECT LEVEL is the most important user adjustment in AMBIENCE and REVERB and has been given its own button on the remote It should be adjusted as high as possible without making the extra 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 The LIVENESS parameter adjusts the amount of recirculation within the program The higher the value the more reflective the surfaces of the simulated space and the longer the sound will take to decay At very high values the decay is audibly less smooth than in the Reverb programs which are more effective at simulating very live spaces Page 22 CP 1 Digital Audio Environment Processor The Programs
78. t 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 is all the way down Input Balance LF Width and the rear outputs are still active INPUT BALANCE compensates for the occasional source with audible channel imbalance It is especially important when using Panorama for movies If the movie sound tracks are unbalanced the dialog will wander away from the center adjusting the Input Balance corrects for this LISTENER POS and SPEAKER ANGLE are determined using the calibra tion procedure on page 10 The resulting value for Listener Position should then be used for the Panorama sections of Ambience and Reverb LF WIDTH controls the amount of low frequency spatial correction that is applied to the signal A positive value of LF WIDTH means the difference left minus right channel signal has additional energy below 500 Hz while the sum left plus right signal has correspondingly less Negative settings can compensate for recordings with too much of this property LF WIDTH can add needed spaciousness and warmth to classical recordings made with coincident or near coincident miking See Chapter 5 Theory and Design REAR LEVEL adjusts the loudness of the signals sent to the rear channels REAR DELAY adjusts the amount of time between the appearance of a signal in the front channels and its emergence from the rear
79. tions which appear early in the reverberation process in the first few hundred milliseconds Although some reverberant decay can be added with the Liveness parameter the early reflections constitute the primary audible effect giving you the impression of the hall surrounding you while the music is playing As in actual concert halls the most important contribution to spatial realism will g A Q Speaker alignment is important A 6 difference in the distance to the rear wall can greatly change the ef fective area unless compensated for by the LISTENER POS parameter The Ambience Program Page 41 Theory and Design Lexicon S EOI The best way to generate spatial im pression SI is with appropriate sig nals from loudspeakers at the side Reverb Ambience and the Surround programs can all be used to generate these signals Placement of side loudspeakers is critical Placement B sounds much better than A especially when the room is well damped be the sound that comes from the sides Early research with quadraphonics involved extensive experimentation with speaker placement and confirmed that additional speakers beside the listener sounded better than the conventional approach of putting pairs of speakers in front and behind Our research into speaker placement with Ambience confirmed the previous results of others The side speakers should be directly to the side of the main listening positio
80. ug the power cord of the unit from the outlet when the unit is to be left unused for a long period of time Water and Moisture Do 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 entry Do not allow objects to fall or liquids to be spilled into the enclosure through openings Cleaning The unit should be cleaned only as recommended by the manufacturer Servicing Do not attempt any service beyond that described in the operating instructions Refer all other service needs to qualified service personnel Damage requiring service The 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 the unit the unit has been exposed to rain the unit does not appear to operate normally or exhibits a 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 is grounded 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
81. und from the main speakers The Ambience and Reverberation programs transform the listening room into a new acoustic space letting you choose an environment which matches your music or your mood Unlike some previous hall simulators the CP 1 provides full stereo processing The Ambience program generates the side and rear reflection patterns of idealized rooms and concert halls The larger spaces add the true depth and realism of a concert hall to classical and popular music while the smaller spaces are ideal for jazz and rock The Reverberation program is similar but places more emphasis on rich dense reverberant decay than on early reflections It is especially good for simulating large highly reverberant spaces For films encoded with Dolby Stereo Lexicon has incorporated into the CP 1 the first completely digital Dolby Pro Logic Surround decoder and the only one with automatic correction of azimuth and channel balance errors the most common problems in currently available films The CP 1 also provides a program for playing music through a Surround speaker set up Stereo Logic and a program for expanding monaural film sound tracks Mono Logic Introduction Page 1 Controls and Indicators Lexicon The Front Panel lexicon DIGITAL AUDIO ENVIRONMENT PROCESSOR a m I SOURCE TAPE PRE POST SYSTEM EFFECT POWER MUTE MUTE C INPUT LEVEL C MONITOR
82. uter and receiver are on different branch circuits If necessary the user should consult the dealer or an experienced radio television technician for additional suggestions The user may find the following booklet prepared by the Federal Communications Commission helpful How to Identify and Resolve Radio TV Interference Problems The booklet is available from the U S Government Printing Office Washington DC 20402 Stock No 004 000 00345 4 This braregle which appears en your Compaen Fis tangle whith appears an your camaonest alerts you ba the presente of uninselated A CAUTION alerts you to bnpartant apersting ard dangereus wattage inside the enclosure mainie wetrections in this waltage that may ba paftickest te BPSK OF ELECTRIC SHOCK aceomiparyisg iberabore cortibube a ries af ork Be HOT OFEM Acknowledgements The CP 1 is manufactured under license from Dolby Laboratories Licensing Corporation Additionally licensed under one or more of the following 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 exicon H A Harman International Company 3 Oak Park 1991 2000 Bedford MA 01730 USA All Rights Reserved Tel 781 280 0300 Patents are pending on the CP 1 Fax 781 280 0490 email info lexicon com 06 00 Lexicon Part No 070 06619 Rev 3 0 www lexicon com Safety Suggestio
83. way up then mute the center channel by pushing System Mute to turn main and effects signals off then Effects Mute to turn everything but the center back on This allows you to hear all of the mix except for strongly centered Speaker Set Ups for Pro Logic material such as vocals separated and spread throughout the room This method also provides an interesting look into the details of film sound mixes The requirements for film sound are quite different from those for the playback of music The most important track in any film is the dialog When the two stereo channels are played back through two speakers with no decoder dialog will appear to come more or less from the center but only for those listeners on the center line of the main stereo pair The most important job for a Pro Logic decoder is canceling the dialog from left and right loudspeakers To be able to hear this you have to set up a center speaker We strongly recommend that a center channel speaker be used with any surround decoder the difference it can make to the subjective quality of a film is enormous Assuming some form of center speaker has been provided the next most important point is providing enough spatial impression Once again the best way to do this is with loudspeakers at the sides of the listeners When we tried this with the CP 1 we made an interesting discovery When the Left and Right loudspeakers are spread wide enough to fall within 20 degrees of the l
84. ynamically directed to the output channels a process called steering The FRONT EFFECT and REAR EFFECT parameters in Stereo Logic allow you to adjust the amount of this steering Both are preset for their maximum values in PRO LOGIC In STEREO LOGIC FRONT EFFECT has a default value of 8 which is equivalent to 6 dB of steering at this level central monaural sources are reduced in level by 6 dB in the main stereo speakers With FRONT and REAR EFFECT both set to 0 STEREO LOGIC becomes the equivalent of a simple non steered Dolby Surround decoder If you have no rear speakers REAR EFFECT should be set to 0 The CP 1 will set this parameter automatically when you specify a speaker configuration with no rear channels See page 13 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 parameter that allows you to turn this Dolby NR circuit off The CALIBRATE mode in Stereo Logic and Pro Logic is for setting up and checking the levels of the channels in multi speaker systems Its use is covered in the section on Balancing Additional Channels on page 10 The procedures for naming a new version of the program SET PROGRAM NAME and storing it in one of the User registers MEMORIZE PROGRAM are described on page 29 Page 28 CP 1 Digital Audio Environment Processor Using the Pro

3Com CP-1 Two-Way Radio User Manual

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