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Table of Contents
Related Manuals for Lexicon CP-1 PLUS V2.0
Summary of Contents for Lexicon CP-1 PLUS V2.0
- Page 1 CP-1 Digital Audio Environment Processor Owner's Manual CP-1 Plus (Version 2.0)
- Page 2 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: 781-280-0300 • Fax: 781-280-0490 Printed in the United States of America Lexicon Part #070-09113...
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Page 3: Safety Suggestions
Safety Suggestions Read Instructions Read all safety and operating instruc- qualified service personnel when: tions before operating the unit. the power supply cord or the plug has been damaged, objects have fallen, or liquid has been spilled into the Retain Instructions Keep the safety and operating instruc- unit, tions for future reference. -
Page 4: Table Of Contents
CP-1 Digital Audio Environment Processor Table of Contents Controls and Indicators Introduction System Overview The Front Panel The Rear Panel The Remote Control Connection and Calibration Installation Connections to Other Equipment Setting the Main Input and Output Levels Calibrating the Listener Position Speaker Set-Up and Configuration Using The Programs To Load, Modify... - Page 5 Panorama Ambience Reverb Surround CP-1 Digital Audio Environment Processor Owner's Manual CP-1 Plus (Version 2.0)
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Page 6: Controls And Indicators
CP-1 Digital Audio Environment Processor Introduction 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. - Page 7 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.
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Page 8: System Overview
CP-1 Digital Audio Environment Processor System Overview 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. -
Page 9: The Front Panel
Controls and Indicators Lexicon The Front Panel exicon DIGITAL AUDIO ENVIRONMENT PROCESSOR C P - 1 SOURCE TAPE POST SYSTEM EFFECT POWER MUTE MUTE INPUT LEVEL BY S URROU N D SOURCE MONITOR TAPE Source The SOURCE buttons select one of two identical stereo pairs of audio inputs. -
Page 10: The Rear Panel
Controls and Indicators CP-1 Digital Audio Environment Processor The Rear Panel LEVEL TAPE REAR SIDE MAIN INPUTS OUTPUTS Stereo outputs for rear and side power amplifiers, with level adjusting Rear and Side knobs. The procedure for balancing these outputs (as well as the center Outputs channel and subwoofer) with the main pair begins on page 11. -
Page 11: The Remote Control
Controls and Indicators Lexicon The Remote Control PANORAMA BANK NORMAL WIDE BINAURAL CONCERT HALLS PARAM CLUB HALL CATHEDRAL MUSIC SURROUND FULL MUSIC STEREO MOVIE SURROUND MONO TV MATRIX EFFECT BALANCE VOLUME SYSTEM EFFECT DOLBY SURROUND MUTE B B Y Y S URROU N D... - Page 12 Controls and Indicators CP-1 Digital Audio Environment Processor Surround 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.
- Page 13 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.
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Page 14: Connection And Calibration
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. - Page 15 Connection Calibration Lexicon TAPE INTEGRATED AMP, TAPE PREAMP or RECEIVER CENTER MAIN CENTER REAR REAR CP-1 INPUTS AMPS VCR, TV, VIDEO SIDE AUDIO CONTROL CENTER WOOFER SIDE TAPE AMPS OUT/IN Connecting the CP-1 SUBWOOFER in a Tape Monitor Loop CASSETTE DECK...
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Page 16: Setting The Main Input And Output Levels
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. -
Page 17: Output Levels
Connection Calibration Lexicon Output Levels 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... -
Page 18: Calibrating The Listener Position
Connection Calibration CP-1 Digital Audio Environment Processor Calibrating the Listener Position 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. - Page 19 Connection Calibration 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...
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Page 20: Speaker Set-Up And Configuration
Speaker Set-Up and Configuration CP-1 Digital Audio Environment Processor Configuration Choose the diagram from the Speaker Configuration Chart that corre- 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. - Page 21 Speaker Set-Up and Configuration Lexicon Notes on 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 Amplifiers play the system? Generally, the demands on the side and rear channels are higher for film sound than for music.
- Page 22 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 SPLIT will remove low bass from the center and increase it in the left and right speakers. The center channel is so important in film sound reproduction that we recommend it be the first addition to a stereo system.
- Page 23 Speaker Set-Up and Configuration Lexicon For Music Center Phantom Center Phantom Center Phantom Button IN Button IN Button IN Good Better Best If your main interest is music, you will most likely begin with two high- quality main speakers (Configuration 1). Here the Panorama mode alone will add substantial enhancement in spatial impression, image size, image depth and freedom from coloration of central sources.
- Page 24 Speaker Set-Up and Configuration CP-1 Digital Audio Environment Processor The Subwoofer Output is a monaural signal created by summing the left, Subwoofer Connections 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.
- Page 25 Speaker Set-Up and Configuration Lexicon Page 20...
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Page 26: Using The Programs
Using the Programs CP-1 Digital Audio Environment Processor To Load, Modify and The CP-1 contains four basic modes: Panorama, Concert Hall, Music Surround and Movie Surround. Each mode has three variations which Store Programs occupy one row on the remote control. Pushing one of the buttons numbered 1 through 12 during normal opera- To load a program: tion will load that variation. -
Page 27: The Modes: Panorama
The Modes: 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 effect 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. - Page 28 The Programs: Panorama CP-1 Digital Audio Environment Processor EFFECT LEVEL sets the amount of crosstalk cancellation, and thus the Effect Level 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.
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Page 29: Concert Halls
The Modes: Concert Halls Lexicon Concert Halls The Concert Hall mode contains two effects: Ambience (Club and Hall) and Reverb (Cathedral). The Ambience effect generates the appropriate early reflections for stereo simulation of rectangular and fan-shaped halls in a variety of sizes, and sends the reflections to the side and rear speakers. The... - Page 30 The Modes: Concert Halls CP-1 Digital Audio Environment Processor EFFECT LEVEL adjusts the loudness of the side and rear speakers. When Effect Level 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 the Concert Halls modes, and has been given its own button on the remote.
- Page 31 The Modes: Concert Halls Lexicon Speaker Angle 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 13, but the program may also work well at lower values.
- Page 32 The Modes: Concert Halls CP-1 Digital Audio Environment Processor Bass RT BASS RT, the low-frequency reverb time, depends on the MID RT and is expressed as a multiplier. BASS RT can be set to be approximately equal to MID RT in smaller spaces, while in larger spaces it is 25% higher (as in most actual halls with acceptably warm subjective frequency balance).
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Page 33: Music Surround
The Modes: Music Surround Lexicon Music Surround The MUSIC SURROUND mode is designed to make full use of additional loudspeakers at the center, sides and rear of the room. FULL (Full Range) allows unprocessed music to be played over all the speakers for background music, or for maximum acoustical output of the system. - Page 34 The Modes: Music Surround CP-1 Digital Audio Environment Processor Music Logic Parameter Initial Value Range SIDE EFFECT 0-16 SIDE ROLLOFF 2.3 kHz 329 Hz - 14.1 kHz REAR ROLLOFF 2.3 kHz 329 Hz - 14.1 kHz, Auto AUTO AZIMUTH/BALANCE Off, On REAR DELAY 0-30 ms SET PROGRAM NAME...
- Page 35 The Modes: Music Surround Lexicon Stereo Logic Parameter Initial Value Range FRONT EFFECT 0-16 FILM EQ Off, On REAR EFFECT 0-16 REAR ROLLOFF 14.1 kHz 329 Hz-14.1 kHz, Auto BASS SPLIT 77 Hz Bypass, 10-170 Hz AUTO AZIMUTH/BAL Off, On...
- Page 36 The Modes: Music Surround CP-1 Digital Audio Environment Processor 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.
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Page 37: Movie Surround
TV MATRIX provides surround effects for television viewing of monaural, stereo and stereo-synthsized programs. PRO LOGIC is Lexicon’s all-digital implementation of the Dolby Pro Logic Surround decoding process. Program... - Page 38 The Modes: Movie Surround CP-1 Digital Audio Environment Processor TV Matrix Parameter Initial Value Range FRONT EFFECT 0-16 FILM EQ Off, On REAR EFFECT 0-16 REAR ROLLOFF Automatic 329 Hz-14.1 kHz, Auto BASS SPLIT 77 Hz Bypass, 10-170 Hz AUTO AZIMUTH/BAL Off, On REAR DELAY 8 ms...
- Page 39 The Modes: Movie Surround Lexicon Auto Azimuth/ The AUTO AZIMUTH/BAL (short for Auto Azimuth Error Correction/ Balance Automatic Input Balance) parameter should be set to ON for films, OFF for music. When it is on, special patented algorithms continually monitor the...
- Page 40 The Modes: Movie Surround CP-1 Digital Audio Environment Processor Pro Logic Parameter Initial Value Range FILM EQ Off, On AUTO AZIMUTH/BAL Off, On BASS SPLIT Bypass, 10-170 Hz 77 Hz REAR DELAY 16-32 ms 20 ms SIDE SPEAKERS Off, On CALIBRATE Off, On SET PROGRAM NAME...
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Page 41: To Rename And Store A Register
Using the Programs Lexicon To Rename and Store a Register The previous sections describe the CP-1’s four basic modes 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 USER banks store automatically. -
Page 42: Troubleshooting
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. - Page 43 Troubleshooting Lexicon Problem Possible Cause and Solution Check to see if your HiFi VCR has dropped out of tracking — Center channel only plays readjust. Your VCR Stereo/Mono/L-R switch may be in the wrong position — set it to stereo.
- Page 44 LCD contrast and Configuration settings, since they will have been reset to factory defaults.) If you cannot solve functional problems through these procedures, consult your dealer or Lexicon/Customer Service Department. DO NOT, UNDER ANY CIRCUMSTANCES, OPEN THE UNIT. DO- ING SO WILL VOID YOUR WARRANTY, AND MODIFICA- TIONS MAY RENDER THE UNIT UNSERVICEABLE.
- Page 45 Troubleshooting Lexicon Page 40...
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Page 46: Theory And Design
Theory Design CP-1 Digital Audio Environment Processor Lateral Sound 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. - Page 47 The Lexicon CP-1 resolves this deficiency by supplying appropriate signals is cramped, but tolerable. The overall to loudspeakers at the sides of the listener or by modifying signals to the...
- Page 48 Theory Design CP-1 Digital Audio Environment Processor 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.
- Page 49 Theory Design Lexicon The Panorama Loudspeakers placed on either side of the listening position are the most Effect 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.
- Page 50 Design CP-1 Digital Audio Environment Processor Lexicon’s implementation, called Panorama, 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 signal that is canceling it are eliminated.
- Page 51 Theory Design Lexicon 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.
- Page 52 (Small Club determined by computer ray-tracing using architectural data, augmented and Concert by Lexicon’s 15 years of experience with digital concert-hall simulation. Hall Presets) 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.
- Page 53 Theory Design Lexicon 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...
- Page 54 Theory Design CP-1 Digital Audio Environment Processor If you have no side loudspeakers, the Concert Hall modes 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 15) will automatically turn the Panorama Effect on and mix the side outputs into the main outputs.
- Page 55 Theory Design Lexicon The Surround The requirements for processing sound for film viewing are quite different than those for music listening. Music demands re-creation of the original Effect performance venue, or the evocation of an appropriate setting, as well as the creation of a believable soundstage.
- Page 56 Theory Design CP-1 Digital Audio Environment Processor Music Logic Conventional stereo generally relies on the acoustics of the playback room to regenerate the important side, or lateral, energy which is present in nearly all music performance spaces. Speakers which are arranged for film view- ing, however, often have the front loudspeakers too close together for optimal reproduction of the spaciousness of the original soundfield.
- Page 57 Theory Design Lexicon In Music Logic (as in the Concert Halls mode), the front left and right outputs are attenuated by the volume and balance controls, but are other- wise unaltered by the processor. This absence of main front steering is ideal for playing stereo music, where the original stereo signals are reproduced from the front speakers with absolutely no alterations.
- Page 58 Theory Design CP-1 Digital Audio Environment Processor 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.
- Page 59 Theory Design Lexicon 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.
- Page 60 Theory Design CP-1 Digital Audio Environment Processor Pro Logic The CP-1 is one of a few consumer products to offer full Pro Logic Dolby Surround decoding, and to operate 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.
- Page 61 Theory Design Lexicon 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.
- Page 62 Theory Design CP-1 Digital Audio Environment Processor 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, the Dolby Surround decoding is entirely digital.
- Page 63 Theory Design Lexicon Speaker Set-Ups for Pro Logic 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.
- Page 64 Theory Design CP-1 Digital Audio Environment Processor balance and digital steering make the CP-1 superior to any other non-digital surround decoder, including the professional decoder for theaters. This allows the CP-1 to remove the dialog completely and feed the left and right signals (not the surround) to the side speakers.
- Page 65 Theory Design Lexicon Creating a Custom Concert Hall Seat The CP-1 allows you to create virtu- How close to the stage do you want The Speech Detection feature is ac- ally any acoustic space you desire. It is to sit? Might as well go to the good...
- Page 66 Theory 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.
- Page 67 Theory Design Lexicon Page 62...
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Page 68: Specifications
Factory set to one of the following: 120V/60 Hz 100V/50-60 Hz 220V/50 Hz 240V/50 Hz Power Consumption: Dimensions: 17"W x 12.5"D x 2.5"H 11 lbs. Weight: Specifications subject to change without notice. Lexicon Patent: U.S. no. 4,862,502; other patents pending Page 63... - Page 69 Lexicon, Inc. 3 Oak Park Bedford, MA 01730 USA Telephone 781-280-0300 FAX 781-280-0490 Lexicon Part #070-09113 Printed in the United States of America...