Lexicon CP-1 Plus Owners manual

CP-1

Digital Audio

Environment

Processor

Owner's
Manual
CP-1 Plus
(Version 2.0)

Lexicon

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 has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These
limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses
and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to
radio communications. 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 or relocate the receiving antenna.
Increase the separation between the equipment and the receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.

This triangle, which appears on
your component, alerts you to
the presence of uninsulated,
dangerous voltage inside the
enclosure... voltage that may be
sufficient to constitute a risk of
shock.

WARNING:

TO REDUCE THE RISK OF FIRE OR

ELECTRIC SHOCK, DO NOT EXPOSE

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

DO NOT DEFEAT OR REMOVE

GROUND PIN ON THE POWER PLUG.

This triangle, which appears on
your component, alerts you to
important operating and main­tenance instructions in this ac­companying literature.

WARNING:

THE UNIT TO RAIN OR MOISTURE.

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 double­D symbol are trademarks of Dolby Laboratories Licensing Corporation.

"Auto-Azimuth" and the A-Z logo

AUTO AZIMUTH

are trademarks of Lexicon, Inc.

Copyright ©1992 Lexicon. Inc.
All Rights Reserved.
Lexicon Patent: U.S. no. 4, 862, 502; other patents pending.

Lexicon, Inc.• 3 Oak Park • Bedford MA • 01730 USA•Tel: [phone] • Fax: [phone]

Lexicon Part #070-09113

Printed in the United States of America

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.

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.

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.

Power Lines An outside antenna should be located away

Antenna Lead-in
Wire

Ground
Clamp

Antenna Discharge
Unit (NEC Section

Electric
Service
Equipment

NEC — National Electrical Code

810-20)

Grounding Conductors
(NEC Section 810-21)

Ground Clamps

Power Service Grounding
Electrode System
(NEC Art 250, Part H)

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

from power lines.

CP-1 Digital Audio Environment Processor

1 Controls and Indicators

Introduction 1
System Overview 3
The Front Panel 4
The Rear Panel 5
The Remote Control 6

2 Connection and Calibration

Installation 7
Connections to Other Equipment 9
Setting the Main Input

and Output Levels 11

Calibrating the Listener Position 13
3 Speaker Set-Up and Configuration 15
4 Using The Programs

To Load, Modify

and Store Programs 21

The Modes:

Panorama 22
Concert Halls 24
Music Surround 28
Movie Surround 32

To Rename and Store a Register 36
5 Troubleshooting 37
6 Theory and Design 41
7 Specifications 63

Table of Contents

Panorama Ambience

CP-1

Digital Audio

Environment

Processor

Reverb

Surround

Owner's
Manual
CP-1 Plus
(Version 2.0)

Controls

and

CP-1 Digital Audio Environment Processor

All of the operating modes 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. Our auditory sense is quite adept at interpreting clues
about our physical environment. Even with your eyes closed, it is possible
to get a good mental picture of the room or hall you are in by listening to the
ambience, or reflected sound energy, in the room. We are not aware of our
auditory sense in everyday life because it confirms what our eyes identify
as the environment. When we listen to recorded music, however, there are
no visual clues and we rely completely on our sense of hearing. The
introduction of two-speaker stereo systems over thirty years ago brought
dramatic improvement to high fidelity music reproduction. With a care­fully-designed system, and good recording, it became possible to produce
a good sonic picture of the original event. Unfortunately, our listening
rooms do not approximate the acoustics of a good concert hall, an intimate
jazz club, or a magnificent cathedral — our ears tell us where we really are.
The Lexicon CP-1 is designed to overcome this fundamental limitation to
two-speaker reproduction and bring us closer to the ultimate goal of
transporting ourselves to the original musical event.

Indicators

Introduction

1

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 effects, or
by generating a new acoustic environment with the Ambience or Reverb
effects.

When a listener is in the correct spot the Panorama mode 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 Ambience and Reverberation effects in the Concert Hall modes trans­form the listening room into a new acoustic space, letting you choose an
environment which matches your music or your mood. Unlike most
ambience processors, the CP-1 provides full stereo processing, preserving
the critical SI information in the recording and expanding upon it.

Page 1

Lexicon

The Ambience effect generates the side and rear reflection patterns of an
idealized club and concert hall. The larger space adds the true depth and
realism of a concert hall to classical and popular music, while the smaller
space is ideal for jazz and rock. The Reverberation effect 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 such as churches, stadiums and cathedrals.

For films encoded with Dolby Stereo, the CP-1 uses a completely digital
Dolby Pro Logic Surround decoder, with automatic correction of azimuth
and channel-balance errors (the most common problems in currently avail­able films). The CP-1 also provides modes for expanding monaural film
sound tracks (Mono Logic), general TV viewing (TV Matrix) and for playing
music through a Surround speaker set-up (Music Surround).

Page 2

CP-1 Digital Audio Environment Processor

Although the CP-1 performs very complex signal processing, a great deal of
effort has gone into making the technology behind the effects as transparent
as possible to the user. To understand the overall organization of the unit,
it is helpful to define those few terms which are unique to the CP-1.

Mode A mode is a configuration that determines how the CP-1 will
process an input signal. The CP-1 contains four basic modes: Panorama,
Concert Halls, Music Surround and Movie Surround. Each of these
basic modes has a set of variations which are labeled on the remote (1-

12). In this manual, these 12 variations are also referred to as modes.

Effect In the CP-1, an effect is the algorithm which defines a particular
mode. The four effects in the CP-1 are: Panorama, Ambience, Reverb
and Surround.

Parameter Each mode has a set of parameters (controls) that uniquely
characterize it. The settings of the parameters can be changed to create
custom User modes.

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

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

System Overview

Glossary of Terms

Register The CP-1 contains 24 registers, or memory locations, where
modes are stored.

Bank The CP-1's 24 registers are organized into 2 banks, of 12 each.
Presets One bank of 12 registers is loaded with the modes which appear

on the remote. These modes are presets which are permanently initial­ized at the factory. The factory presets cannot be overwritten, but they
can be modified and stored into User registers (or copied into
registers,then modified).

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

Page 3

Controls and
Indicators

The Front Panel

Lexicon

exicon

DIGITAL AUDIO ENVIRONMENT PROCESSOR CP-1

III

SOURCE

SOURCE

PRE POSTTAPE SYSTEM

INPUT LEVEL

TAPEMONITOR

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.

MUTE

P

OD BY

R

L

O

EFFECT

MUTE

S

URROUND

L

O I

POWER

C

G

Page 4

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 effect 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

E

L

S

N

Controls and

Indicators

The Rear Panel

REARSID

L

R

LEVE

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 11.

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 pages 12 and 19.)

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 modes to malfunction.

MAI

Rear and Side
Outputs

Main, Center
and Subwoofer
Outputs

Center/Out
Phantom/In

TAPE

OUT

INPUT

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 5

Controls and

FLR

C

ODDBBY

Y

S

URROUND

C

G

O I

L

L

O

R

P

Indicators

The Remote Control

Lexicon

6

9

MUTE

BANK

PARAM

EFFECTSYSTEM

PANORAMA

123

NORMAL WIDE BINAURAL

CONCERT HALLS

4

CLUB HALL CATHEDRAL

MUSIC SURROUND

7

FULL MUSIC STEREO

MOVIE SURROUND

MONO TV MATRIX

EFFECT BALANCE VOLUME

DOLBY SURROUND

PRO - LOGI

5

8

11 1210

B

Ambience

Page 6

The Modes

Panorama

The PANORAMA modes provide enhanced lateral sound (and hence
greater spaciousness and envelopment) for either music or films. PANO­RAMA 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.

Reverb

The CONCERT HALL modes simulate 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 effect in the
Small Club (4) and Concert Hall (5) modes provides adjustable recircula­tion through the Liveness parameter. The Reverb effect in the Cathedral
mode (6) has fewer specific initial reflections than the smaller spaces but
richer and smoother reverberant decay. Cathedral is especially good for
simulating large, highly reverberant spaces.

CP-1 Digital Audio Environment Processor

Controls and

Indicators

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

The MOVIE SURROUND modes 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. TV MATRIX (11) is designed to expand and enhance a wide
range of television programming. This mode also allows adjustment of
certain parameters for film sound which are not adjustable in mode 12.
Dolby PRO LOGIC (12) provides the same decoding used in Dolby Stereo
theater systems, using up to eight speakers for front, center, side, rear and
subwoofer channels.

The BANK button switches between the 12 factory-presets and 12 user
registers where customized programs may be stored. The number doesn't
change: if you are using Preset 9, BANK switches to User 9 and vice-versa.
Holding BANK for a few seconds puts the CP-1 into Configuration mode,
in which the three Parameter buttons adjust the LCD contrast and select one
of the 12 speaker setups illustrated on page 15.

Surround

Bank

The three PARAMETER buttons allow selection and adjustment of variable
parameters within each mode. 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 21.)

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

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

BALANCE: L and R adjust the left/right balance of all speakers: front, 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.

*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, changing the value rapidly.

Parameter

Effect*

Balance*

Volume*

Page 7

Controls and
Indicators

Lexicon

Mute

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.

Pressing SYSTEM MUTE, then EFFECT MUTE, allows you to hear only the
effect channels of the CP-1. This is particularly useful for making fine
adjustments of parameters.

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 21.)

Page 8

Connection

R

S

R

T

R

S

R

and

CP-1 Digital Audio Environment Processor

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

• 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.

Calibration

Installation

Precautions

2

AUDIO

PREAMP

TAPE

OUT/IN

PROGRAM EQ

or

DYNAMIC RANGE

PROCESSOR

VCR, TV, VIDEO

CONTROL CENTER

CD

VIDEO

DISC

MAIN

OUT

INPUT

AUDIO

OUT

MAIN OU

INPUT

AUDIO OUT

I

II

I

II

CP-1

TAPE

OUT/IN

VCR

or

CASSETTE DECK

CP-1

TAPE

OUT/IN

AUDIO or VIDEO

CASSETTE

RECORDER

CENTE
REA

MAIN
SIDE

SUB
WOOFER

CENTE
REA

MAIN
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

MAIN

POWER AMPS

Connections to
Other Equipment

Connections with an
Audio Preamp

Using the CP-1 as an
Audio Preamp

Page 9

Connection

R

S

R

and
Calibration

Lexicon

Connecting the CP-1

in a Tape Monitor Loop

Note

VCR, TV, VIDEO

CONTROL CENTER

INPUT

AUDIO

OUT

TAPE

OUT

INTEGRATED AMP,

PREAMP or RECEIVER

I

II

CP-1

TAPE

OUT/IN

VCR

or

CASSETTE DECK

TAPE

IN

MAIN

CENTE

REA
SIDE

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. Refer to page 19 for information regarding subwoofer connec­tion.

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 10

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 and its system volume set to -05dB for optimum signal levels.

Turn on the CP-1. For the first two seconds the display should read:
LEXICON CP-1, with a software version number and a copyright notice.
For another two seconds there will be a configuration message, then 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 11

Connection
and
Calibration

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
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) should be with the system volume (as indicated by the front panel
LCD) set to around -10dB. This keeps the processor at its optimum signal
levels while allowing headroom if you really want to crank it up.

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

If you are using only two audio channels, level adjustment is now complete.
If you have additional channels, use the following procedure to set 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 six times or until the
display reads: CALIBRATE. Push PARAM UP to turn on the calibration
signal.

Page 12

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.

CP-1 Digital Audio Environment Processor

PANORAMA works by canceling the sound going from each speaker to the
opposite ear. The strength of the effect 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.

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.

Connection

and

Calibration

Calibrating the
Listener Position

60°

SPEAKER ANGLE is the angle be­tween the main speakers as seen from
the listening position -here it is about
60°.

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: USER 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.

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,

L127. . . Center . . . R127

LISTENER POS allows you to ad­just for an offset listening position.

SILENCE

Move your head from side to side to
find the position where the noise is
full left and the right ear hears near
total silence.

{

NOISE

Page 13

Connection
and
Calibration

NOISE

When calibrating right, if your left
ear is in the silent band, the speaker
angle is correct.

SILENCE

{

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 mode is now calibrated. To store it, see page 36. 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 the CONCERT HALL modes.

If the two silent bands are too close,
lower the Speaker Angle; if they are
too far apart, raise the Speaker Angle.

Page 14

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.

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

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, or a mono amp, it may be
hooked up to either the left or right
rear output, as long as you use the
correct Configuration number.

Page 15

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 SPLIT parameter in Pro
Logic and Stereo Logic 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 16

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 the Panorama mode 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 Panorama or Pro Logic.

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