Page 1 Film-Tech The information contained in this Adobe Acrobat pdf file is provided at your own risk and good judgment. These manuals are designed to facilitate the exchange of information related to cinema projection and film handling, with no warranties nor obligations from the authors, for qualified field service engineers.
Page 2 Model CP500 Digital Cinema Sound Processor Installation and Alignment Issue 5 Part No. 91371...
Page 3 Dolby Laboratories be liable for incidental, special, direct, indirect or consequential damages (including but not limited to damage to software or recorded audio or visual material), or loss of use, revenue or profit even if Dolby Laboratories or its agents have been advised, orally or in writing, of the possibility of such damages.
Page 4: Table Of Contents
TABLE OF CONTENTS SECTION 1 INTRODUCTION 1.1 About the Dolby CP500 ..............1-1 1.2 Hardware Configurations Available............1-1 CP500-D..................1-1 CP500-300..................1-1 CP500-SR..................1-2 CP500-70..................1-2 1.3 About This Manual................1-2 1.4 Specifications ..................1-3 1.5 Regulatory Notices ................1-5 FCC ....................1-5 UL....................1-5 UK ....................1-5 IEC....................1-5 SECTION 2 EQUIPMENT REQUIRED SECTION 3 INSTALLATION AND JUMPERS 3.1 Replacing an Existing Sound System..........3-1...
Page 5 Dolby Digital Soundtrack Processing System......3-11 Cat. No. 670 Video Front-end Card ..........3-11 Cat. No. 671 DSP Cards (2) ............3-11 Cat. No. 673 System Services Card ..........3-11 Cat. No. 675A Digital Signal Processing Card ......3-11 Cat. No. 680 Bit Rate Converter Card ........3-11 Model CP500-D/300 ................
Page 6 7.9 Cat. No. 673.....................7-7 7.10 Projector Changeover / Motor Run Indicators ..........7-7 7.11 Format Control ....................7-7 7.12 Automatic Selection of the Dolby Digital Format.........7-7 7.12.1 A Quick Look at Operation With Standard Set-up......7-7 7.12.2 Operation with Custom Setup ............7-9 Allowable Source Formats ............7-10 Allowable Target Formats ............
Page 7 8.4 Bypass Adjustments ..................8-6 8.4.1 Before you Adjust ................8-6 8.4.2 Bypass Level Adjustment (No Cat. No. 683 Electronic Crossover Card Installed)................8-7 8.4.3 Output HF/LF Balance and Level Adjustments(With Cat. No. 683 Electronic Crossover Card)..........8-8 8.4.4 Bypass Level Adjustment for Early Cat. No. 682 (No Cat.
Page 8 A.2 Saving System Settings...................A-5 ® A.2.1 Using the Terminal Program in Windows ........A-5 Equipment Needed ................A-5 Transferring Data From the CP500 to the Computer ....A-5 Transferring Data From the Computer to the CP500 ....A-9 A.2.2 Using Load500 Software ............... A-11 Equipment Needed ..............
Page 9 APPENDIX D THE DOLBY DIGITAL SUBSYSTEM D.1 Basic Functions ....................D-1 D.2 Discussion of Changeover Technique ............D-3 D.3 Auxiliary Data Channel..................D-3 APPENDIX E THE EVOLUTION OF DOLBY FILM SOUND Optical Sound..................E-1 Magnetic Sound..................E-2 Dolby Gets Involved................E-3 The Next Step: Dolby SR................ E-4 And Now - Dolby Digital ................
Page 10: Section 1 Introduction
As improvements to the CP500 digital control and processing software are developed, the latest revisions can be downloaded from a PC to the CP500 hardware. Moreover, updates to the audio coding used for Dolby Digital soundtracks, which are included from time to time on Dolby Digital release prints, download automatically into the CP500 the first time such a print is played in the cinema.
Page 11: Cp500-Sr
The Dolby CP500 is the central element of the theater sound system. The projector, the Dolby Processor, the power amplifiers and the loudspeakers, as well as the auditorium itself, must all be considered when aligning the system for optimum performance.
Page 12: Specifications
Gain and slit loss adjustments are digitally controlled. Noise Reduction Two channels of Dolby A-type noise reduction and two channels of Dolby SR are provided as standard. Up to six channels of A-type (CP500-70) and two additional channels of studio SR (CP500-300) can be accommodated.
Page 13 SW: Digital parametric EQ with 12dB cut capability Remote Connections Connections for up to two Dolby Cat. No. 689 remote fader, format selectors and/or Cat. No. 734 fader-only remotes are provided. A provision is also made for a temporary auditorium fader consisting of a 100k potentiometer.
Page 14: Regulatory Notices
FUSE - 2 Amp, time-lag (T2A), 20 mm long, 250 Volt Dolby part no. 56027 The ground terminal of the power plug is connected directly to the chassis of the unit. For continued protection against electric shock, a three-pin, correctly wired and earthed power outlet must be used.
Page 15 IMPORTANT SAFETY NOTICE This unit complies with the safety standard IEC65. To ensure safe operation and to guard against potential shock hazard or risk of fire, the following must be observed: If the unit has a voltage selector, ensure that it is set to the correct mains voltage for your supply. If there is no voltage selector, ensure that your supply is in the correct range for the input requirement of the unit Ensure fuses fitted are the correct rating and type as marked on the unit.
Page 16: Section 2 Equipment Required
Voltmeter for measuring the exciter lamp power supply. • Test Films, available from Dolby Laboratories or equipment dealers (Figures 2-1 through 2-7). We recommend that you make loops of these test films, long enough to go through the entire projector film path so that azimuth and lateral film position adjustments can be made accurately.
Page 17 Dolby Laboratories Inc. • 100 Potrero Avenue San Francisco, CA 94103-4813 Telephone 415-558-0200 • Facsimile 415-863-1373 Dolby, the Double-D symbol and Dolby Stereo are trademarks of Dolby Laboratories Licensing Corporation S96/10117/11146 Figure 2 - 7. “Jiffy” Test Film – Cat. No. 251 SR/Digital.
Page 18: Section 3 Installation And Jumpers
SECTION 3 INSTALLATION AND JUMPERS Do NOT connect the CP500 to mains power until all connections have been made and all jumpers have been checked or set. If air-conditioning noise is audible in the theater, arrange for lubrication of the motor, fan bearings, adjustment of belts and drives, and cleaning of filters to reduce the ambient noise to a minimum.
Page 19: Mount The Cp500
Proper shielding and termination of cables and cable assemblies are also very important. Be sure to follow the methods shown in the wiring diagrams. If you are installing a Dolby Cat. No. 700 Digital Soundtrack Reader, refer to its installation manual for mounting and alignment.
Page 20: Connect Motor Start Relays
The CP500 is equipped for use with three types of remote controls: the Cat. No. 689, and Cat. No. 734, which are offered by Dolby Laboratories, and an auditorium fader, which can be made from parts purchased at an any electronics store.
Page 21: Connection Of Solar Cell Boards
3.3.3 Connection of Solar Cell Boards In contrast to traditional solar cells, the Cat. No. 655 and other solar cell circuit boards used by several projector manufacturers are active devices with their own power supply. Some care needs to be given to the wiring between the board and the CP500 in order to avoid grounding problems and to provide immunity to RF interference.
Page 22 Cinema Processor * Ground Wire on J2 Pin 2 is Optional * Ground Wire on J2 Pin 5 is Required Chassis Ground Figure 3 - 2. Wiring using two 3-wire shielded (screened) cables. Cinema Processor * Ground Wire on J2 Pin 2 is Optional * Ground Wire on J2 Pin 5 is Required Chassis Ground Figure 3 - 3.
Page 23: Check And Set Jumpers
Check and Set Jumpers Next, check the following jumpers located on each circuit card. The factory settings for each jumper are shown in [brackets]. Cat. No. 661 Optical Pre-amplifier Card (Analog Soundtracks) PROJECTOR 1 PROJECTOR 2 POWER-UP PROJECTOR SELECT JUMPER DS503 PROJ 1 SIG1...
Page 24: Cat. No. 682 Analog Output Card
Cat. No. 682 Analog Output Card Figure 3 - 6. Cat. No. 682. Crossover Select Jumpers [NO] Left Channel Center Channel Right Channel J901 Bypass Audio Channel These jumpers route the designated signals through an optional Cat. No. 683 crossover card. If the Cat. No. 683 card is installed, these jumpers should be set to the “YES”...
Page 25: Cat. No. 683 Crossover Card (Optional)
Cat. No. 683 Crossover Card (Optional) BYPASS CROSSOVER FREQUENCY SETTING HEADERS Freq setting for large horn is shown. LEFT CENTER LEFT SURROUND RIGHT SURROUND BASS SPEAKER CROSSOVER FREQ SELECTOR RIGHT ACTIVE CAT. NO. 683 Figure 3 - 7. Cat. No. 683 – Crossover Frequency Setting Headers. Crossover Frequency Setting Headers- Screen Channels RN102 Left Channel RN202 Center Channel...
Page 26 Low Frequency Time Delay Enable Jumpers [DELAY] J100 Left Channel J200 Center Channel J300 Right Channel These jumpers allow the low frequency portion of the designated channels to be delayed when the jumper is placed in the “DELAY” position. This compensates for the time offset caused by high frequency drivers being behind the low frequency drivers in contemporary stage speakers.
Page 27: Install Circuit Cards - Card Descriptions
Dolby Laboratories for further information. Model CP500-D Cat. No. 222SR/A Module Provides two channels of Dolby A-type noise reduction and Dolby SR processing. Cat. No. 661 Optical Preamplifier Card * Must be functioning for bypass operation Amplifies the outputs of the analog soundtrack solar cells in the selected projector.
Page 28: Cat. No. 683 Crossover Card (Optional)
Model CP500-D/300 Contains the same boards as the CP500-D above, except Cat. No. 300 modules are used in place of the Cat. No. 222SR/A modules. A Cat. No. 668 Adapter Card is required. Used primarily in preview theaters and studios.
Page 29: Bypass Power Wiring
3-12 Bypass Power Wiring For emergency operation, the CP500 comes equipped with an independent external mains power module. If the main power supply or processor circuitry fails, the unit will automatically switch to bypass operation, allowing the show to continue with limited sound processing functions.
Page 30: Power On
3-13 Power On Connect the bypass power module to the CP500 and plug it into AC mains. The unit is shipped with the POWER/BYPASS switch set to BYPASS. The front panel BYPASS LED should light. Open the front panel and confirm that one of the Projector Select LEDs is on. Projector 1 or Projector 2 is selected by Jumper J2 on the Cat.
Page 31: Hum And Other Noise Problems
Some old exciter lamp power supplies and emergency supplies provide AC to the lamp. The resulting hum makes them totally unsuitable for a Dolby film sound system. Such exciter supplies must be replaced. Projection room lighting/solar cells. Ambient lighting, especially...
Page 32: Section 4 Front Panel And Alignment Overview
Dolby cinema equipment. It is useful to develop an understanding of why the CP500 is aligned as described in this manual. If the installer is already familiar with the CP500 and these principles, or is in a hurry to complete the installation, this section may be read later.
Page 33 BYPASS INDICATOR Indicates continuous red when unit is in SOFT KEYS 1 - 8 bypass mode. Used to select the function shown next to the switch in the front panel MUTE ON INDICATOR display. Flashes when mute is activated. MAIN FADER/MULTI-FUNCTION CONTROL Controls sound level and also is used for data selection in menu operations.
Page 34: Cancel
To the right of the display is another window showing the selected fader level. As with previous generations of Dolby cinema processors, a fader setting of "7.0" is the nominal correct operating level. This setting matches the level used during the film's production.
Page 35: System Password
A manual bypass push-button is located inside the front panel on the right hand side of the unit. System Password Many of the CP500 alignment functions can be protected from unauthorized access be using a system password (any four numbers). A password can be stored after the system is aligned in order to block any changes to the B-chain alignment, level settings, or time delays.
Page 36: Aligning The B-Chain
Aligning the B-Chain The B-chain is defined as those system components from the fader through the loudspeakers. In the CP500, available adjustments include equalization, level control, and digital soundhead, analog, and digital surround delay settings. Adjustable mute fade-out time is also provided. It is not practical for the entire cinema industry to standardize on a single make and model of loudspeaker.
Page 37 3 dB per octave above 2 kHz. This characteristic is used to define the standard steady-state response curve for all dubbing theaters in which films with Dolby soundtracks are mixed and for all Dolby processor-equipped cinemas.
Page 38: Section 5 B-Chain Alignment
SECTION 5 B-CHAIN ALIGNMENT Check Theater Equipment Thoroughly check the loudspeakers and power amplifiers for sources of poor performance: • Check that the loudspeaker cables are in good condition and that they of a suitable gauge for the impedance of the speakers and the length of the run. •...
Page 39: Air-Conditioning
Preparing for Room Equalization Using a Microphone Multiplexer with the CP500 If you are using a Dolby Cat. No. 580 Microphone Multiplexer system and need instructions on its use, turn to Section 9.2. 5.2.1 Configure the Cat.
Page 40: Surround Channel Bass Drivers (Optional)
B-Chain Alignment Before you set out to equalize the room, make sure you do the following: 1. Be sure to use the same Bypass crossover frequency setting header as the screen channels use. 2. Carefully install the correct headers in the appropriate socket locations, making sure to set the header correctly.
Page 41: Room Equalization
B-Chain Alignment Room Equalization Equalization is performed using a real-time analyzer built into the CP500. The adjustment for the five full range channels involves two steps - coarse adjustment and fine adjustment, using a 27-band equalizer for each of the screen channels (left, center, and right), and a 9-band equalizer for the two surround channels (left surround and right surround).
Page 42 SIG MIC on the Cat. No. 222 show approximately Dolby level for 85 dBC pink noise in the CAT. NO. 681 auditorium. This will place the signal in the middle of the analyzer’s acceptable...
Page 43 B-Chain Alignment Connect Cat. No. 580 Microphone LEFT SIGNAL PRESENT Multiplexer to the microphone input RIGHT SIGNAL PRESENT connector on the rear panel, or if using another type of multiplexer or single microphone, open the front door of the NONSYNC1 LEFT CP500 and plug it into the "EQ MIC NONSYNC1 RIGHT INPUT"...
Page 44 Cat. No. 681. NONSYNC2 LEFT NONSYNC2 RIGHT Adjust the trimpot so that the 4-LED EQ MIC INPUT Dolby level meter on the Cat. No. 222 RV1100 EQ MIC (standard or -300 versions) or right- SIGNATURE MIC hand Cat.
Page 45 B-Chain Alignment Each of the channels should now be adjusted to give a reasonable sound pressure level in the room. It is not necessary to get exact readings at this point since the levels will change slightly during equalization of the room. Exact output level adjustment must be performed after equalization.
Page 46 B-Chain Alignment The system now displays a dialog box allowing you to select the channel to equalize. Rotate the front panel knob until the desired channel is displayed, then press the OK key to select the channel. The display will switch to the 27 Band Half-Screen mode.
Page 47 5-10 B-Chain Alignment Adjust the Bass and Treble controls to move the room levels close to the reference line. This is accomplished by rotating the front panel knob until the arrow is under the desired control to be adjusted. Then, press and hold the Up/Down arrow key (SK4), and rotate the front panel knob until the desired response is displayed.
Page 48 5-11 B-Chain Alignment Select the next channel to adjust by again pressing B-Chain Equalization (SK1). FORMATS Menu Cancel Exit Repeat the above procedure for the remaining front screen channels. Equalization facilities for the surround channels are slightly different than for the screen channels.
Page 49 5-12 B-Chain Alignment Equalization facilities for the subwoofer channel are also different than for the other channels. The subwoofer equalizer is a digital cut- only filter, with adjustable frequency, Q (or sharpness), and amount of cut. From the analyzer display, determine the primary low-frequency resonant peak of the room and adjust the Frequency, Q, and Cut controls to cancel this...
Page 50 5-13 B-Chain Alignment Using the front panel knob and the "Up/down arrow" key: Set the SPL to 85 dB for the screen channels. Set the SPL to 82 dB for the surround channels. When the proper levels have been achieved, the subwoofer level may be set by pressing the Subwoofer Level key (SK2).
Page 51 5-14 B-Chain Alignment Noise is now routed to the subwoofer in optical mode (0 dB, 50 Hz bandwidth). Use the front panel knob to set the average of the bands below 50 Hz to 0 dB on the RTA display. Center noise can be turned on and off at any time by pressing the Center Noise key (SK1), allowing observation of the...
Page 52: Bypass Crossover Adjustment
5-15 B-Chain Alignment Bypass Crossover Adjustment NOTE: In a bi-amplified system, the bypass subsystem must have its own electronic crossover as well, to avoid damage to the HF horns from low frequency signals. In order to perform these adjustments, first turn off the CP500 and remove the Cat. No.
Page 53 5-16 B-Chain Alignment BYPASS LEVEL Adjust the Bypass Level trimpot on the Cat. No. 683 for 85 dBC in the room. CAT. NO. 683 “85 dBC” Position J900 to disable BCAL Next, turn off the CP500 and reset jumper J900 to disable BCAL to preserve correct bypass operation.
Page 54: Section 6 A-Chain Alignment
Aligning the A-Chain The A-Chain optics is first cleaned and mechanically adjusted, then calibrated by use of the Cat. No. 69T Dolby Tone test film. This film is used to establish the correct Dolby operating level within the CP500. A pink noise test film is used for A-chain frequency response and soundhead alignment.
Page 55: Analog Optical Alignment - Projector
Analog Optical Alignment - Projector Analog Optical Alignment - Projector If a stereo solar cell is already installed on Projector No. 1, inspect the surface of the cell for cracks, chipping, or other damage. If the cell appears to require replacement, remove the mounting bracket from the projector and replace the cell and mounting block assembly.
Page 56 Analog Optical Alignment - Projector Inspect the lateral film guides for evidence of cuts, cracks, surface defects, and any foreign materials that could impair the film guiding. Clean as required or replace the guides, as necessary. Make sure the guide roller rotates freely, and if it is spring- mounted, make sure that lateral movement and return is not obstructed.
Page 57 Analog Optical Alignment - Projector Place a white card at the front of the lens close to the position of the film sound track. Adjust the position of the exciter lamp until the image of the filament is centered both vertically and horizontally as shown.
Page 58 The film emulsion should face away from the screen. Verify that the signal present LEDs on the Cat. No. 661 are lit. The Dolby tone signal should be visible on the oscilloscope. Listen to the tone on the booth monitor...
Page 59 Analog Optical Alignment - Projector press: screen shows: Begin the optical alignment program by Menu Format Selection pressing the following keys: press: screen shows: Menu Alignment MENU, Selection press: screen shows: A-Chain System Alignment (SK2) Alignment Alignment (A password may be required to continue), A-chain Alignment (SK3), Menu Cancel...
Page 60 Analog Optical Alignment - Projector The lens and exciter lamp assembly are adjusted laterally for a null if the film cannot be moved laterally. The adjustment is correct when there is no signal output while the film is played. It may not be possible to adjust for a null with some older slits;...
Page 61 Analog Optical Alignment - Projector Verify that the outputs of the right and left solar cells are properly connected by placing a white card over the right solar cell (nearer the outside of the projector) and verifying that the level of the right channel drops, as indicated by the LEFT bottom group of LEDs on the Cat.
Page 62 Analog Optical Alignment - Projector Press Manual EQ (SK2). FORMATS Menu Cancel Exit Select Projector 1, Left Channel by rotating the front panel knob and pressing OK. The OPU Alignment RTA screen will appear. P1, Left Switch the oscilloscope to the X/Y mode and adjust the azimuth of the projector optics for the narrowest diagonal trace.
Page 63 6-10 Analog Optical Alignment - Projector The RTA trace shown may not be typical of your results. Merely attempt to obtain the best response. The azimuth and focus adjustments interact so you must repeat the azimuth and focus adjustments until no further improvement is obtained.
Page 64 The frequency response (both channels) must be within 1dB to at least 12kHz. Press EXIT. EXIT The final step is to adjust the output level of the optical preamplifier for Projector 1. Thread and run the Cat. No. 69T Dolby Tone test film.
Page 65 Projector 1 or 2 as the optical input source. Turn the front panel knob to select Projector 1, then press OK. Projector 1 Be certain that the Dolby Tone test film is still running. The CP500 automatically calibrates the Exit FORMATS...
Page 66: Mechanical Alignment
4. When the path is aligned, tighten the soundhead mounting bolts and reel arm. Adjustment Setup with Oscilloscope NOTE : The Dolby Cat. No. 700 Soundhead is optically aligned at manufacturer and should not require adjustment unless the CCD Circuit Board has been disturbed.
Page 67: Focus Adjustment
Cat. No. 670 Video Board Test Points: VIDEO TP1 (white) The CCD video signal VGND TP2 (black) Ground reference for Video signal CLAMP TP3 (green) Horizontal Sync. to view Video scan. TRACK TP4 (brown) Perforation rate - check for 96Hz TP5 (yellow) +15V power supply rail TP6 (red)
Page 68: Exciter Lamp Level Confirmation And Adjustment
Exciter Lamp Level Confirmation and Adjustment The output voltage of the lamp power supply is factory-set to be between 9.5 and 10 volts (See scope set up in Section 7.2). Lamp intensity has a direct relationship to the video signal voltage. The acceptable range for the peak video signal voltage (of unobstructed light through the perf hole) is between 2.7 and 5 volts (see figure above).
Page 69: Optical Alignment
CLAMP SCREW LATERAL TENSION ARM ADJUSTMENT SCREW SPRING Figure 7- 3. Locations of clamp screw and lateral adjustment screw. Optical Alignment The soundhead is optically aligned at manufacture and should not require adjustment unless the CCD circuit board has been moved or replaced (the CCD sensor is located on the CCD circuit board.
Page 70 5. To re-align the CCD board, first loosen the two lateral adjustment screws shown in the diagram of the circuit board. Move the board laterally while observing the image on the scope. When the video trace appears as shown in Figure 7-5, with respect to the clamp trace, tighten the screws.
Page 71: How To Identify Types Of Soundtracks
CP500. How to Identify Types of Soundtracks A Dolby Digital print, or stereo optical (A-type or SR),or mono optical print should be identified as such both on the film can and the leader. However, with handling the identification may be lost. If neither are available, close inspection of the film will help distinguish the various types.
Page 72: Cat. No. 673
7.11 Format Control When Format 10 Dolby Digital is selected, the audio output terminals of the CP500 will carry decoded digital audio when valid digital data is being read by the soundhead. When this is not possible (for example, playing an analog only print) the output of the CP500 will be analog audio in Format 05 (Dolby SR).
Page 73: Automatic Selection Of The Dolby Digital Format
The Standard format control screen on the CP500 comes with Formats 01 (Mono), 04 (A-Type), and 05 (Dolby SR) set up so that auto-digital will occur from them. These formats are marked by an “s” for sources on the screen.
Page 74: Operation With Custom Setup
Digital is permitted, while other formats are considered “targets” that the system will switch to if the auto-digital feature is operational and if good Dolby Digital data is detected. Any format that is designated as a source will display an “s” and any target format will show an “a”...
Page 75: Allowable Source Formats
• a source format is selected, and • valid digital data is available. So, if you select a source format when valid Dolby Digital data is available, the CP500 will immediately change to the target format. It is important that all operations personnel understand that this is normal operation and does not indicate a malfunction.
Page 76: Setting Up The Auto-Digital System
7-11 Method 2 Press Format 05 while playing digital data. A dialog box will appear on the screen, asking if you want to disable the auto-digital format. Press the OK key to disable auto-digital. NOTE : The dialog box will not appear and auto- digital will not be disabled unless the CP500 is currently playing in Format 10.
Page 77: Assigning Target Formats
7-12 Assigning Target Formats press: screen shows: Press the MENU key Menu Format Selection press: screen shows: System Setup System Setup (SK1) Menu Selection press: screen shows: Format Format Configuration (SK3) System Configuration Setup press: screen shows: Format Build Build Format Selector (SK3). Format Selector Configuration...
Page 78: Maintenance And Adjustments
Slide the lamp back into its base in the soundhead, replace the rear cover assembly and tighten the six screws. Replacement lamp: Use only General Electric EPT Reflector-type Dolby Part No. 34010 Figure 7- 8. Digital Soundhead Exciter Lamp Replacement.
Page 79: Print Cleanliness
With a digital soundtrack, wear will have no audible effect until the picture quality is degraded beyond use. At this point, wear may exceed the error correction capabilities of the decoder, and switching to the analog Dolby SR track will occur. DIGITAL ANALOG (Sound &...
Page 80: Section 8 Final Adjustments
SECTION 8 FINAL ADJUSTMENTS Setting Optical Surround Delay The CP500 incorporates a delay line in the surround channel to ensure that sound from the rear of the theater arrives at the listeners’ ears approximately 20 milliseconds after the arrival of sound from the front speakers. The delay is set into CP500 memory using the front panel knob.
Page 81 If a stereo film is not available, the delay time can be checked with a mono film if the film is played in Format 04 Dolby stereo optical with surround. Make certain all speakers are ON for this test.
Page 82: Setting Digital Soundhead Delay
Setting Digital Soundhead Delay On a Dolby Digital print, the digital sound data is located 6 frames in advance of the analog soundtrack, and 26 frames in advance of the picture. When the Digital Soundhead is mounted above the analog soundhead (as with the Cat. No. 700) a delay is necessary in order to synchronize the digital soundtrack with the analog track and the picture.
Page 83: Dynamic
1. Thread a loop of Cat. No. 1010 Digital Soundhead alignment test film through the projector, analog soundhead, and digital soundhead. Run the projector. 2. From the Current Format menu, select Format 10, Dolby Digital. 3. Press MENU, Alignment (SK1), Reversion Mode (SK4), then rotate the front panel knob to display Digital Only.
Page 84: Setting Digital Surround Delay
Setting Digital Surround Delay The CP500 automatically calculates a typical digital surround delay based on the optical surround delay setting performed in Section 8.1. Actual theater geometry affects the amount of surround delay required, therefore you may wish to set the delay manually.
Page 85: Bypass Adjustments
Bypass Adjustments The Bypass system has two adjustments: output level (all systems) and low frequency and high frequency driver balance (for systems only equipped with the optional Cat. No. 683 Electronic Crossover). 8.4.1 Before you Adjust First, turn off the power to the CP500. Remove the Cat. No. 682 card, located in position J2 (see Model CP500-SR Card Locations in Section 3).
Page 86: Bypass Level Adjustment (No Cat. No. 683 Electronic Crossover Card Installed)
8.4.2 Bypass Level Adjustment (No Cat. No. 683 Electronic Crossover Card Installed) press: screen shows: Press the MENU key, Menu Format Selection screen shows: press: Alignment (SK2), Menu Allignment Selection Output Adjust (SK2), and screen shows: press: utput A ust System select the Center channel.
Page 87: Output Hf/Lf Balance And Level Adjustments(With Cat. No. 683 Electronic Crossover Card)
8.4.3 Output HF/LF Balance and Level Adjustments (With Cat. No. 683 Electronic Crossover Card) REMEMBER: Adjust the trimpot on the Cat. No. 682 Output Card for LF/HF Balance and adjust the trimpot on the Cat. No. 683 Electronic Crossover Card for Bypass Level. press: screen shows: Press the MENU key...
Page 88 Press Output Adjust (SK2). Select the Center channel. If necessary, calibrate the SPL level of the CP500 analyzer. Select Half Screen. Press Bypass (SK5). This connects the Left, Center, and Right outputs of the CP500 to the Bypass subsystem output. BYPASS LEVEL Adjust the Bypass Level trimpot on the Cat.
Page 89: Bypass Level Adjustment For Early Cat. No. 682
(No Cat. No. 683 Electronic Crossover Card Installed) Thread the projector, and run a loop of Cat. No. 69P pink noise test film, or the pink noise side of Cat. No. 69 test film. Select Format 04 (Dolby Stereo). Press MENU. Then, System Setup. press: screen shows:...
Page 90: Early Cat. No. 682 Output Hf/Lf Balance And Level Adjustments (With Cat. No. 683 Electronic Crossover Card)
Thread the projector, and run a loop of Cat. No. 69P pink noise test film, or the pink noise side of Cat. No. 69 test film. press: screen shows: Select Format 04 (Dolby Stereo). Format Selection Menu Format 04 Dolby Stereo press:...
Page 91: About Non-Sync
Format 60 selects Non-sync 1; Format 61 selects Non-sync 2. These formats are decoded in the same manner that is used in the Dolby CP55 and CP65 Cinema Processors: Left and Right channels are sent straight through to the Left and Right stage speakers;...
Page 92: Mute Speed Adjustment
8-13 Mute Speed Adjustment The length of time it takes for the sound to fade from normal setting to muted (when the MUTE key is pressed) is adjustable. To make this adjustment, press: screen shows: Press the MENU key, Menu Format Selection press:...
Page 93: Section 9 Accessories
FADER KNOB Controls sound level. Mute ON MUTE MUTE Cat. No. 689 CP500 Remote Dolby Laboratories Inc. FA691D01.WMF MUTE KEY Mutes output to all channels when activated. Figure 9 - 1. Cat. No. 689 CP500 Remote Control. NOTE : Operation of the remote is disabled when the front panel display shows a screen other than a format screen.
Page 94: Cat. No. 734 Cp500 Remote Fader
The format selection softkeys and MUTE key of the remote control box function just like those on the CP500 front panel, as long as the CP500 is in a format screen. White painted areas are provided next to each softkey so that the assigned formats can be written on them.
Page 95: Auditorium Fader
9.1.3 Auditorium Fader This is a user-furnished 100k linear pot wired as a variable resistor, with minimum resistance corresponding to Fader 10. To select the Auditorium Fader: press: screen shows: Press the MENU key. Menu Format Selection Press Auditorium Fader. Turn the front panel knob to the “Enabled”...
Page 96: Operation With Cat. No. 580 Microphone Multiplexer
12V phantom powered professional microphones as well. The multiplexer rapidly switches between the four microphones and sends their outputs to the CP500 over the special 31-meter (100-ft.) Dolby Cat. No. 582 input/output cable (supplied). Then, the digital circuitry within the CP500 averages the microphone outputs for display on its built-in real time analyzer and subsequent EQ adjustments.
Page 97 The figure shown below provides an example of good microphone placement. Figure 9 - 3. Microphone placement with Cat. No. 580 Multiplexer. Connect the Cat. No. 582 input/output cable to the Cat. No. 580 Multiplexer and secure the hold down screws so that the cable cannot work loose. Route the cable to the location of the CP500 and connect it to the microphone connector on the back panel of the CP500.
Page 98: Components
To select one mic: Pressing any soft key, SK1 through SK1 - SK4 SK4, will halt scanning and enable the corresponding microphone. To remove one mic: To remove a microphone from the scan SK1 - SK4 ⇒ ⇒ ⇒ ⇒ sequence, select the microphone by pressing the corresponding softkey, then To resume scan:...
Page 99: Section 10 Troubleshooting
Your theater sound system consists of a number of critical audio components in addition to the Dolby CP500. Thus, the first step when something goes wrong with the sound is to find the source of the problem. The troubleshooting chart, starting on page 7, can be helpful.
Page 100: If One Channel Fails Or Is Distorted
10-2 10.1.2 If One Channel Fails or is Distorted 1. Open the front door of the CP500 and switch to Bypass using the pushbutton switch in the lower right corner. A mono signal is then fed to all three screen channels.
Page 101: Excessive Or Inappropriate Sound From Surround Speakers
10-3 10.1.5 Excessive or Inappropriate Sound From Surround Speakers 1. As an emergency measure to continue the show, switch off the surround channel power amplifier(s). At your next opportunity, find out if the problem is related to the film itself or the theater sound system. The problem is most likely to be in: •...
Page 102: Between Shows
Next in the analog signal path are the LEDs on the Cat. No. 222 SR/A module, located next to the Cat. No. 681 card (J4). The bottom LED of the set of four LEDs located next to the Dolby symbol is a signal present indicator. The other...
Page 103: Digital Film Sound Signal Path Leds
10-5 three LEDs function as a signal meter. If the Cat. No. 681 LEDs are flashing but these are not, then the Cat. No. 681 is defective, or the Cat. No. 222 SR/A is defective. EXCEPTION: If you have a Cat. No. 668 Studio NR daughter board, the Lt and Rt signals are routed through the Cat.
Page 104 R, Rs, and SW channels. In each group, the bottom one is illuminated for signals of 40 dB below Dolby level or louder, the middle two for signals very close to Dolby level, and the top one for signals 10 dB above Dolby level and louder.
Page 105: Bypass Signal Path Leds
10-7 10.2.3 Bypass Signal Path LEDs When the CP500 is operating in Bypass, the only LEDs that are active are the Cat. No. 661 optical preamp card located three slots from the left hand side of the unit (J3). They are the Projector Selected LEDs and the Lt and Rt Signal Present LEDs. If the Signal Present LEDs are flashing, you should have sound unless the fader is turned down or the Cat.
Page 106 10-8 Symptom Probable Cause Recommended Action NO SOUND AT ALL No sound, front panel dark, no bypass No power to either main or bypass systems. See if mains panel fuse or circuit breaker feeding the CP500 is blown. Verify all power connectors are fully inserted into their sockets. If power is present, see if CP500 bypass transformer is installed correctly.
Page 107 Verify that the exciter lamp or LED in the digital reader is No Dolby Digital sound (Format 10). Front panel normal, analog sound OK. on and that the print you are playing has Dolby Digital Digital subsystem, non-Dolby Digital print being played, information on it and is correctly threaded through the film not threaded correctly in reader, reader failure digital reader.
Page 108 Format 43 requires six channel A-type NR. Format 11 requires Cat. No. 685 6 CH ADC. CP500 gives “Not Available” when No Dolby Digital data available-non Dolby Digital print, Format 10 is selected and stays in format projector not running, data blocks badly damaged.
Page 109 10-11 Symptom Probable Cause Recommended Action RUMBLES, WHISTLES, HUM etc. IN SOUND Rumble in sound, regardless of format Audio grounding scheme may need changing. Call service engineer. Whistles in sound Audio grounding scheme may need changing. Call service engineer. Hum (power line frequency) in sound Malfunctioning exciter lamp or lamp power supply.
Page 110 10-12 Symptom Probable Cause Recommended Action TROUBLE IN ONE OR MORE CHANNELS One channel fails. Defective power amplifier, external crossover, or Place the CP500 in bypass. All three screen speakers should wiring for that channel. become active. If not, there is a fault in the power amplifier, external crossover, or wiring for the missing channel.
Page 111 Call service engineer. When a stereo film is projected, the sound The A-chain has become misaligned. Check Dolby level calibration. appears to be coming from the wrong Call service engineer. speakers. Sound from the front (screen) channels is The A-chain has become misaligned.
Page 112 10-14 Symptom Probable Cause Recommended Action There is distortion when you play non- The non-sync source is introducing distortion. Change the non-sync selection in case the track being sync sound, but sound from the film is not played is distorted. If you have control of the output level of distorted.
Page 113 10-15 Symptom Probable Cause Recommended Action CHANGEOVER AND CONTROL TROUBLES Projector changeover command does not Defective changeover relay or switch. If possible, check that the relay or switch contacts actually change to sound output of the selected open and close as the changeover command is issued projector and the front panel LEDs do not several times.
Page 114 10-16 You can hear pops and thumps during If your projector changeover relay power is DC, a If possible, check that the diode is installed across the projector changeover. diode should be soldered across the winding of the relay winding. If you are familiar with such electronic relay to prevent noise from the relay winding from components, check to see that it is not blown.
Page 115: Appendix A Advanced Operations
APPENDIX A ADVANCED OPERATIONS Customizing the Format Display Screen There are two types of Format Selection display screens. The unit is shipped in "Standard Mode", which allows selection of eight commonly used formats. There also exists a "Custom Mode" which allows the user to program the softkeys to show formats of his own choosing, along with changes to the fader setting and projector selection for each of these softkeys.
Page 116 Customizing the Format Display Screen To assign formats to the softkeys press the Assign Formats key (SK1). FORMATS Menu Cancel Exit A copy of the existing format selection screen is displayed. Pressing any softkey causes a pop-up box to appear, allowing any format to be assigned to that softkey.
Page 117 Customizing the Format Display Screen Assigning fader settings to the softkeys is done in a similar fashion. To assign fader settings, press the Menu Cancel Exit FORMATS Assign Fader Settings, key (SK2). Once again a copy of the format selection screen is displayed. Pressing any softkey causes a pop-up box to appear allowing a fader setting to be entered for that softkey.
Page 118 Customizing the Format Display Screen Assigning , or "linking", a projector selection to the softkeys is done in a similar fashion. To assign projector selection, press the Assign Projectors Menu Cancel Exit FORMATS key (SK5). Once again a copy of the format selection screen is displayed.
Page 119: Saving System Settings
CP500 system settings be saved to a disk after each installation. Saving the CP500 system settings can be accomplished by using the terminal program in Windows or by using Dolby Laboratories’ Load500 software. ® A.2.1 Using the Terminal Program in Windows ®...
Page 120 Saving System Settings 1. Begin the data download function press: screen shows: Menu Format (send data to a computer) in the Selection CP500 by pressing the key sequence: press: screen shows: System Setup Menu Selection MENU press: System Setup (SK1) screen shows: System CP500 Controls...
Page 121 Saving System Settings 5. Go to the Settings drop-down menu, and select Communications. 6. Click on the various options as shown in this figure. This sets the above communications parameters in the Communications dialog box. 7. Click OK to return to the initial Terminal - (Untitled) window. 8.
Page 122 Saving System Settings 13. On the CP500, rotate the front panel knob on the CP500 front panel to select Send Data + Text (for saving the CP500 data plus a readable file of the system's settings), or select Send Data (for saving the CP500 data only).
Page 123: Transferring Data From The Computer To The Cp500
Saving System Settings 16. It is a good idea to check the integrity of the file which has just been downloaded by immediately trying to load the file back into the CP500 as described in the following section. Any errors in the transfer process will become apparent because the data is automatically checked before any attempt is made to save the new received settings in the CP500.
Page 124 A-10 Saving System Settings 5. Press the OK key and the receive data pop-up box should appear. The system is now waiting for data to be sent from the computer. 6. On the computer screen, go to Transfers and select Send Text file.
Page 125: Using Load500 Software
A-11 Saving System Settings A.2.2 Using Load500 Software Load500 is a specific DOS based program which has been developed to make the task of transferring alignment and format information to and from a computer both simpler and quicker. The program includes a special option which allows CP500 operating software to be updated easily from new files supplied on disc.
Page 126 A-12 Saving System Settings 4. On the computer run Load500. 5. At the Load500 screen, select 2. Download Parameters from CP500. Selection of menus in Load500 can be performed by (a) using the arrow keys and pressing RETURN, (b) pressing the associated number key, in this case, “2”, or (c) pressing the highlighted letter key, in this case, “D”.
Page 127: Transferring Data From The Computer The To The Cp500
A-13 Saving System Settings 7. After choosing your option, the screen prompts you for a file name. (Any file name within the normal DOS constraints may be used, e.g. *.dmp. Refer to the Load500 software manual.). Type in the filename and press enter. The “.dmp” extension is not automatically added by the Load500 program and should therefore normally be included in the typed file name.
Page 128 A-14 Saving System Settings 4. On the computer, run Load500. 5. From the Load500 screen, select 3. Upload Parameters to CP500. Selection of menus in Load500 can be performed by (a) using the arrow keys and pressing RETURN, (b) pressing the associated number key, in this case, “3”, or (c) pressing the highlighted letter key, in this case, “P”.
Page 129: Transferring Data Between Two Cp500S
A-15 Transferring Data Between Two CP500s Transferring Data Between Two CP500s It is possible to send CP500 system alignment and set-up parameters to another CP500 Cinema Processor before replacing or moving it. A Cinema Processor can therefore be swapped with another and the replacement will not require re- alignment.
Page 130 A-16 Transferring Data Between Two CP500s 6. On the sending CP500, press the key press: screen shows: Menu Format sequence: Selection press: screen shows: MENU System Setup Menu Selection System Setup (SK1) press: CP500 Controls (SK1) screen shows: System CP500 Controls Setup Exit FORMATS...
Page 131: Appendix B Cat. No. 683 Electronic Crossover
APPENDIX B CAT. NO. 683 ELECTRONIC CROSSOVER Description and Features The Cat. No. 683 Electronic Crossover Board is designed for use in the CP500 Digital Cinema Processor. When installed in a CP500, it provides the following features: • Electronic crossover filters for three bi-amplified channels (L, C, R) are configured to create a 4 pole Linkwitz-Reilly crossover, taking into account common loudspeaker characteristics.
Page 132: Alignment
Alignment B.3.1 Screen Channels Jumpers J100, J200, and J300 allow the low frequency portion of the designated channels to be delayed by 1.9 ms or 0.8 ms when the jumper is placed in the “DELAY” position. This compensates for the time offset caused by high frequency drivers being behind the low frequency drivers in contemporary stage speakers.
Page 133: Surround Channel Bass Drivers
Note that the pink noise signal on the Cat. No. 69 test film is not at Dolby level, but approximately 15 dB below it. Therefore a preliminary setting can be achieved by setting the SPL to 70 dB while playing Cat.
Page 134: Special Applications
Bear in mind that when the unit first switches into Bypass mode, (when power is first applied, for example) the fader level in Bypass will be set to 7. When in Bypass mode, the fader setting can be adjusted and will be remembered until Bypass power is interrupted.
Page 135: Crossover Frequency
6-11 6.65K 7-10 13.3K none Headers Available Factory-made headers currently shipped with the product are: Channel Function Dolby Part no. LCR and Bypass 500 Hz Crossover 74114 LCR and Bypass 800 Hz Crossover 74117 1.9 ms LF Delay 74115 0.8 ms LF Delay...
Page 136: Jumpers And Headers
Jumpers and Headers BYPASS CHANNEL HIGH FREQUENCY GAIN BYPASS LEVEL DELAY J600 J100 LEFT NO DELAY HF BALANCE DELAY HF BALANCE J200 FREQUENCY CENTER DELAY HF BALANCE NO DELAY DELAY LF BALANCE J300 RIGHT DELAY SETTING HEADERS NO DELAY Delay setting for large horn is shown.
Page 137 Figure 3 - 1. Cat. No. 682. Crossover Select Jumpers [NO] Left Channel Center Channel Right Channel J901 Bypass Audio Channel These jumpers route the designated signals through an optional Cat. No. 683 crossover card. If the Cat. No. 683 card is installed, these jumpers should be set to the “YES”...
Page 138: Automation Connector
APPENDIX C BACKPLANE CONNECTORS / REFERENCE DIAGRAMS CP500 Backplane Connector Pin Assignments 1. Automation Connector: Function Number SK1 Format Select Input SK2 Format Select Input SK3 Format Select Input SK4 Format Select Input SK5 Format Select Input SK6 Format Select Input SK7 Format Select Input SK8 Format Select Input/or STEP (in Automation Sequential mode)
Page 139: Bypass / Remote Connector
4. Bypass / Remote Connector: Signal Name Number Bypass Power Transformer Connection, 16-18 Vac Bypass Power Transformer Connection, 16-18 Vac Remote Control Unit V+ Remote Control Unit Data Remote Control Unit Ground Remote Auditorium Fader + Remote Auditorium Fader Ground 5.
Page 140: Optical 1 Input Connector
7. Optical 1 Input Connector: Signal Name Number Projector 1 Left Channel + Projector 1 Left Channel - Signal Ground Projector 1 Right Channel + Projector 1 Right Channel - Signal Ground Signal Ground 8. Optical 2 Input Connector: Signal Name Number Projector 2 Left Channel + Projector 2 Left Channel -...
Page 141: 10. Accessory Rack Analog Connector
Ground Signal Ground +13VDC Power Supply +13VDC Power Supply -12VDC Power Supply -12VDC Power Supply Ground Signal Ground OPTBUSSR Optical Pre Amp Output Right Channel Ground Signal Ground OPTBUSSL Optical Pre Amp Output Left Channel Dolby Level is 388 mV.
Page 142: 11. Accessory Rack Digital Connector
11. Accessory Rack Digital Connector: Signal Signal Description Number Name Signal Signal Ground Ground OPTLRCK Left / Right Clock from Optical A/D RETSD2 Serial Data 2 Return RETSD1 Serial Data 1 Return RETSD0 Serial Data 0 Return RETWCK Word Clock Return RETBCK Serial Bit Clock Return ACCBAUD...
Page 143: 12. 6 Channel Input Connector
Signal Ground EXT1 Right Channel External Input Signal Ground Signal Ground EXT4 Center Channel External Input Signal Ground Signal Ground Signal Ground EXT5 Sub Woofer Channel External Input Signal Ground Dolby Level is 300 mV at these set of inputs.
Page 144: 13. Reader 1 And Reader 2 Input Connector
13. Reader 1 and Reader 2 Input Connector: Signal Name Signal Description Number TTCO Row Clock Return TCOGND Row Clock Common FTCO Row Clock Send TSCO Pixel Clock Return SCOGND Pixel Clock Common FSCO Pixel Clock Send Differential Video V0 VOGND V0 Common +15VIDEO...
Page 145: Appendix D The Dolby Digital Subsystem
AC-3 Transform Decoding Sample Rate Conversion Dolby Digital data is printed in the “interperf” area, between sprocket holes, adjacent to the normal analog tracks of standard 35mm release print motion picture film. Blocks of 76 X 76 “fixels” or film elements contain the audio data, along with synchronization, error correction, and auxiliary data.
Page 146 (at the Digital Soundhead) and when the audio is to be reproduced in sync. with the picture. Dolby Digital data is recorded 6 frames in advance of the analog sound track, which is itself placed 20 frames in advance of the picture gate. If the SR•D data is read 40 frames above the picture gate, for instance, the data must be...
Page 147: Discussion Of Changeover Technique
Sample Rate Conversion The sample rate of the data comming from the film is determined ultimately by the projector speed. For correct operation of the CP500, all data must be at a fixed sample rate. The Cat. No. 680 Bit Rate Converter Card performs this function. Discussion of Changeover Technique Projector changeover sensing is provided through the 9 pin female D-connector "Motor Start"...
Page 148 Dolby Digital Decoder Block Diagram Film Optics Exciter Light Lamp Pipe 6 Channel Line Array Video Scanner Acquisition Extraction Error Fixed FIFO and Correction Delay Clock Gen Transform Sample Rate Digital Audio to Main Decoding Converter Signal Path of CP500...
Page 149: Appendix E The Evolution Of Dolby Film Sound
Dolby Laboratories more than twenty years ago. Indeed, the evolution of motion picture sound over the past two decades is, in great part, that of Dolby film sound technologies.
Page 150: Magnetic Sound
to the older speakers. The result was to ignore the improved high-frequency response of the newer, better units. To forestall compatibility problems, in the late 1930s a de facto standardization set in, the theater playback response that today is called the “Academy” characteristic. Theater owners knew what to expect from the films, and therefore what equipment to install.
Page 151: Dolby Gets Involved
(although it is more expensive to record and mix in stereo than in mono). Conversion to Dolby optical is relatively simple—more than 28,000 theaters worldwide have done so—and, once the equipment has been installed, very little maintenance is required, particularly when compared to magnetic stereo playback systems.
Page 152: The Next Step: Dolby Sr
Dolby SR (spectral recording). Like Dolby noise reduction, it is a mirror- image, encode-decode system used both when a soundtrack is recorded and when it is played back. It provides more than twice the noise reduction of Dolby A-type, and, moreover, permits capturing loud sounds with wider frequency response and lower distortion.
Page 153: About Dolby
CD. This new technique is called Dolby AC-3. Just like the Dolby Surround technology developed originally for motion picture sound, Dolby AC-3 can be used in a wide variety of other applications, including consumer formats. For example, AC-3 will be used to provide 5.1 channel surround sound with the U.S.
Page 154 It can be likened to an artist’s palette that provides the director with a full range of colors, where before there were but a few. Above all, Dolby formats have been developed to enhance that very special experience of going to...

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Cp500-300 Cp500-sr Cp500-70 Cp500

Dolby Laboratories CP500-D Installation And Alignment Manual

Section 1 Introduction

Section 2 Equipment Required

Section 3 Installation and Jumpers

SECTION 4 FRONT PANEL and ALIGNMENT OVERVIEW

Section 5 B-Chain Alignment

Section 6 A-Chain Alignment

SECTION 7 Cat. No. 700 DIGITAL SOUNDHEAD

Section 8 Final Adjustments

Section 9 Accessories

Section 10 Troubleshooting

Appendix A Advanced Operations

Appendix B Cat. No. 683 Electronic Crossover

Appendix C Backplane Connector Assignments

Appendix D the Dolby Digital Subsystem

Appendix E the Evolution of Dolby Film Sound

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