Lexicon CP-1 User Manual
CP-1
Digital Audio
Environment
Processor
Panorama Ambience
Reverb Surround
Owner's
Manual
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 installation. 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 computer 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.
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.
3 Oak Park
© 1991, 2000
All Rights Reserved
Patents are pending on the CP-1
Bedford, MA 01730 USA
Tel: 781-280-0300
Fax: 781-280-0490
email info@lexicon.com
06/00 | Lexicon Part No. 070-06619 | Rev 3.0
www.lexicon.com
Safety Suggestions
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
a cabinet 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.
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 National 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, location of antenna-discharge unit, connection to grounding
electrodes, and requirements for the grounding electrode.
See figure below.
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 Unplug 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.
Power Lines An outside antenna should be located away
from power lines.
CP-1 Digital Audio Environment Processor
1 Controls and Indicators
Introduction 1
The Front Panel 2
The Rear Panel 3
The Remote Control 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
Table of Contents
Controls
1
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
Logic Surround decoding and our own decoding for monaural film soundtracks. The increase in impact of a musical performance or film when heard
with the CP-1 is enormous, especially when widely spaced multiple loudspeakers are provided, but even without additional loudspeakers significant 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, effectively 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 sideways sound 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).
and
CP-1 Digital Audio Environment Processor
Indicators
Introduction
Page 1
Controls and
Indicators
The Front Panel
Lexicon
exicon
I II
SOURCE
DIGITAL AUDIO ENVIRONMENT PROCESSOR CP-1
SOURCE
PRE POSTTAPE SYSTEM
INPUT LEVEL
TAPEMONITOR
Source
The SOURCE buttons select one of two identical stereo pairs of audio
MUTE
TITLE: dlby lgo 2
CREATOR: Adobe Illustrator(TM) 1.1
CR DATE: 6/20/88 3:52 PM
EFFECT
MUTE
POWER
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.
Page 2
Input Level
Alphanumeric
Display
Indicator
Lights
Power
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.
The alphanumeric display shows both the program that is running and its
modifiable parameters. The CP-1 has 24 registers: PRESETs 1-12 are
configured at the factory; those labeled USER 1-12 are available for storage
of programs customized by the user.
The unlabeled LED to the left of the System Mute Indicator lights when the
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.
System On/Off.
CP-1 Digital Audio Environment Processor
I
II
Controls and
Indicators
The Rear Panel
REAR SIDE
L
R
LEVEL
OUTPUTS
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.
MAIN CENTER SUB
L
R
SUB WOOFER
CENTER/OUT
PHANTOM/IN
Rear and Side
Outputs
Main, Center
and Subwoofer
Outputs
Center/Out
Phantom/In
TAPE
TAPE
OUT
L
R
INPUTS
IN
L
R
Inputs and outputs for an additional audio or video tape deck (audio
Tape Out/In
portion only) or to replace the monitor loop occupied by the CP-1.
Two sets of main inputs, selected by the SOURCE I/II buttons.
Inputs
Page 3
Controls and
Indicators
The Remote Control
Lexicon
PANORAMA
1 2 3
NORMAL WIDE BINAURAL
TITLE: dlby lgo 2
CREATOR: Adobe Illustrator(TM) 1.1
CR DATE: 6/20/88 3:52 PM
AMBIENCE
4
SMALL
7
SMALL MEDIUM LARGE
SURROUND
MONO STEREO
EFFECT BALANCE VOLUME
DOLBY SURROUND
PRO - LOGIC
5
MEDIUM LARGE
REVERB
8
11 1210
F
B
6
9
R
L
MUTE
BANK
PARAM
EFFECTSYSTEM
Page 4
The Programs
Panorama
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 primarily in their initial Effect Levels. BINAURAL(3) is for playback on loudspeakers of recordings made with a dummy head.
Ambience
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.
Reverb
The REVERB programs, like AMBIENCE, simulate rooms of three sizes
with the aid of side and rear channels. These programs have fewer specific
initial reflections than AMBIENCE but richer and smoother reverberant
decay. REVERB is especially good for simulating large, highly reverberant
spaces.
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 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.)
Surround
Bank
Parameter
EFFECT: UP and DOWN adjust the level of all signals added by the CP-1.
BALANCE: F and B adjust the levels of the rear speakers relative to the
sides and fronts.
BALANCE: L and R adjust the left/right balance of all speakers: front, 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.)
*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.
Effect*
Balance*
Volume*
Mute
Page 5
Controls and
Indicators
Lexicon
Page 6
2
Connection
and
Calibration
Installation
• Make sure the remote control receiver, located on the right side of the
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 glassdoored cabinet but smoked glass will make the display hard to read.
• Select a dry, well-ventilated location out of direct sunlight.
• Do not stack the CP-1 directly above heat-producing equipment such as
power amplifiers.
• 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.
• Install two AAA batteries in the CP-1’s remote control.
Precautions
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:
Connections to
Other Equipment
I
II
REAR
DYNAMIC RANGE
PROCESSOR
CP-1
INPUTS
CENTER
MAIN OUT
I
II
REAR
MAIN
CP-1
INPUTS
CENTER
CP-1 Digital Audio Environment Processor
AUDIO
PREAMP
TAPE
OUT/IN
PROGRAM EQ
or
VCR, TV, VIDEO
CONTROL CENTER
CD
VIDEO
DISC
MAIN
OUT
AUDIO
OUT
AUDIO OUT
TAPE
OUT/IN
VCR
or
CASSETTE DECK
TAPE
OUT/IN
AUDIO or VIDEO
CASSETTE
RECORDER
MAIN
SIDE
SUB
WOOFER
SIDE
SUB
WOOFER
CENTER
AMP
REAR
AMPS
(SPEAKER
EQ)
SIDE
AMPS
SUBWOOFER
AMP
CENTER
AMP
REAR
AMPS
(SPEAKER
EQ)
SIDE
AMPS
SUBWOOFER
AMP
MAIN
POWER AMPS
Connections with an
Audio Preamp
MAIN
POWER AMPS
Using the CP-1 as an
Audio Preamp
Page 7
Connection
I
II
REAR
MAIN
SIDE
CP-1
INPUTS
CENTER
and
Calibration
Lexicon
Connecting the CP-1
in a Tape Monitor Loop
Note
VCR, TV, VIDEO
CONTROL CENTER
AUDIO
OUT
TAPE
OUT
INTEGRATED AMP,
PREAMP or RECEIVER
TAPE
OUT/IN
VCR
or
CASSETTE DECK
TAPE
IN
SUB
WOOFER
CENTER
AMP
REAR
AMPS
SIDE
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 configuration, 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.
Audio Inputs
Note
Audio Outputs
Turn off ALL audio and video components, including 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).
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 CP1’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.
Front Panel
Adjustments
Setting the
Main Input and
Output Levels
Input Levels
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.
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.)
Be sure the Input Level is as high as
possible without flashing red.
Set all output levels to zero; set Volume UP almost all the way.
Page 9
Connection
Main Output
and
Calibration
Output Levels
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
clipping.)
Balancing
Additional Channels
1. Select
Pro Logic
2.Push Param to
CALIBRATE
3.Push UP
for ON
Lexicon
The output level potentiomenters (the small knobs above the output connectors 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.
Adjust other output levels until all
directions are equally loud.
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 side 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
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. The SPEAKER ANGLE parameter, displayed in degrees, 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 offcenter listening chair or for asymmetrical speaker placement.
Connection
and
Calibration
Calibration of the
Panorama Program
60°
60°
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 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 leftchannel 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.
SPEAKER ANGLE is the angle between 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.
SILENCE
NOISE
Move your head from side to side to
find the position where the noise is
full left, and the right ear hears nothing.
}
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,
Page 11
Connection
and
Calibration
SILENCE
NOISE
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.
Lexicon
go on to step 6; otherwise, perform step 5.
5. Push PARAM twice so the display reads: SPEAKER ANGLE. If the sweet
spot from step 2 (LEFT ONLY) is to the left of the sweet spot from step
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
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.
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,
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
Speaker
Set-Up and
CP-1 Digital Audio Environment Processor
Choose the diagram from the Speaker Configuration Chart that corresponds 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. Configuration mode will be canceled if any other button is pressed or if 10 seconds
pass without a button push.
Center Phantom
Button IN
1
2
Center Phantom
Button IN
3
Configuration
3
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.)
Center Phantom
Button IN
4
7
Center Phantom
Button IN
5
8
10 11 12
6
Center Phantom
Button IN
9
Center Phantom
Button IN
speaker connected to
center output
speakers connected to
Main outputs
speakers connected to
Side outputs
speakers connected to
Rear outputs
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.
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
Amplifiers
Notes on Speaker
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 expands. If you are starting with a conventional two-channel system, in what
order should you add additional channels? The answer depends on
whether you are primarily interested in audio or video.
Page 14
2
Good
6
Better
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 involvement in many movies. This arrangement has the advantage of using
amplifiers and speakers in pairs.
10
Best
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