Lexicon Recording Equipment CP 3 User Manual

O wne r's Ma nua l

CP-3

Dig ita l

Surro und

Pro c e sso r

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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

unit,

Retain Instructions Keep the safety and operating instruc-

tions for future reference.

the unit has been exposed to rain,

Heed Warnings Adheretoall warnings ontheunit andin the

operating instructions.

the unit does not appear to operate normally or exhibits

a marked change in performance,

the unit has been dropped, or the enclosure damaged.

Follow Instructions Follow operating and use instructions.

Outdoor Antenna Grounding If an outside antenna is

connected to the receiver, be sure the antenna system is

grounded so as to provide some protection against voltage

surges and built-up static charges. Section 810 of the Na-

tional Electrical Code, ANSI/NFPA No. 70-1984, provides

information with respect to proper grounding of the mast and

supporting structure, grounding of the lead-in wire to an

antenna-discharge unit, size of grounding conductors, loca-

tion of antenna-discharge unit, connection to grounding

electrodes, and requirements for the grounding electrode.

See figure below.

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 thelocation or positionof the unit

doesnot interferewithitsproper ventilation.For example,the

unit should not be situated on a bed, sofa, rug, or similar

surface that may block the ventilation openings; or, placedin

acabinetwhich impedestheflowofair throughtheventilation

openings.

Wall or Ceiling Mounting Do not mount the unit to a wall or

ceiling except as recommended by the manufacturer.

Power Lines An outside antenna should be located away

Power Sources Connect the unit only to a power supply of

thetypedescribedin theoperatinginstructions, or asmarked

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 tobewalked onor pinchedbyitems 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.

from power lines.

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 entryDo 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 attemptany servicebeyondthatdescribed

in the operating instructions. Refer all other service needs to

qualified service personnel.

Damage requiring service The unit should be serviced by

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C P-3

Dig ita l Surro und

Pro c e sso r

O wne r's

Ma nua l

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CP-3 Dig ita l Surround Proc e sso r

Contents

Introduction to the CP-3

Introduction

Using the Documentation

System Overview

Installation and Calibration

Controls and Indicators

The Front Panel • The Rear Panel

The Standard Remote • The Expanded

Remote

Connection

Location Cosiderations • AC Connections

Wiring Considerations • Audio/Video

Connections • Connecting the CP-3 as a

preamp • Connecting the CP-3 in a tape

monitor loop • Video Connections

Calibration

LCD Adjustment • The Video

On-Screen Display • The Setup Menu

Setting the Speaker Configuration • Setting

Input Levels • Setting Output Levels

Calibrating the Listener Position • Setting

Rear Delay

Customization

Locking in Settings • Custom Name

Custom Modes • Modifying the mode

Using the CP-3

Using the Modes

Presets and User Registers

Panorama

Ambience

Reverb

Surround

Television • Music • Full Range • Mono

Logic • Pro Logic • THX Cinema

Troubleshooting

Installation Documentation

Specifications

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Intro d uc tio n

to the C P-3

CP-3 Dig ita l Surround Proc e sso r

Introduction

All of the operating modes of the Lexicon CP-3 Digital Surround Processor

have a common goal: to draw you, the listener, more deeply into a musical

performance or a film. For music the CP-3 uses true stereo digital processing

to recreate the original recording space or to create a new one of your

choosing. For films it offers an extremely accurate version of Dolby^®Pro

Logic Surround decoding with all of the enhancements of the LucasFilm

Home THX^®Cinema system and Lexicon's own decoding for monaural film

soundtracks. The increase in impact of a musical performance or film when

heard with the CP-3 is incredible.

A great deal of effort went into designing an instrument which would be

flexible enough to satisfy the most critical listeners and yet be simple to

operate. Essentially, the CP-3 is a signal processing computer that can be

custom-programmed for any specific system. Once installed, it can be

operated by either of the two remote controls supplied with the unit. The

Standard Remote features simple, intuitive controls for most day-to-day

operations; the Expanded Remote, which is used to customize the CP-3,

allows complete control of every aspect of operation.

To recreate the experience of being at a live musical performance the CP-3

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-3 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.

The object is to increase the sideways-moving sound in a room, thus

increasing Spatial Impression, or SI. The CP-3 increases SI by either extract-

ing it from the original recording, using the Panorama or Surround modes,

or by generating a new acoustic environment with Ambience or Reverb.

When a listener is in the correct spot the Panorama mode provides an almost

ideal recreation of the original recording space. It works by using digital

signal processing to cancel the crosstalk between the listener’s ears, effec-

tively spreading the sound from the two front loudspeakers in a wide arc in

front of the listener. With the optional addition of rear speakers, Panorama

can be startling in its realism.

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Intro d uc tio n

to the C P-3

Le xic o n

The Ambience and Reverberation 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-3

provides full stereo processing, preserving the critical SI information in the

recording and expanding upon it. The Ambience mode generates the side

and rear reflection patterns of idealized rooms and concert halls. The larger

spaces add the true depth and realism of a concert hall to classical and

popular music, while the smaller spaces are ideal for jazz and rock. The

Reverberation mode is similar, but places more emphasis on rich, dense

reverberant decay than on early reflections. It is especially good for simu-

lating large, highly reverberant spaces such as churches, stadiums, and

cathedrals.

The requirements for processing sound for home theater are quite different

than those for music. Lexicon invented the technology that permits the most

accurate reproduction of film sound in the same system that is used for

music listening, and the software-based CP-3 is optimized for each of these

unique tasks. The Music Surround mode is specifically designed to opti-

mally play conventional stereo music through any system which includes

side or side-located rear speakers. Additionally, the CP-3 is able to perform

automatic analysis and error correction to compensate for problems in the

source material.

For films encoded with Dolby Surround, Lexicon has incorporated the

Lucasfilm Home THX Cinema processing into the CP-3. This utilizes a

patented, completely digital Dolby Pro Logic Surround decoder, and is the

only one with automatic correction of inter-channel phase and channel-

balance errors (the most common audio problems in currently available

video releases of films).

The CP-3 also provides modes for expanding monaural film sound tracks

(Mono Logic), general TV viewing (Television) and, of course, direct two-

channel stereo playback (Effects Mute ON).

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Intro d uc tio n

to the C P-3

CP-3 Dig ita l Surround Proc e sso r

Using the

Documentation

Because the CP-3 is designed to be customized for your system and your

listening space, the information required for installation is considerably

more extensive than that required for use of the system. We have, therefore,

provided separate documentation for these needs. The CP-3 is shipped with

an Owner's Manual, a Quick Reference Card and a booklet titled: CP-3

Theory and Design.

The Owner's Manual is designed to assist you in installing, calibrating and

operating the CP-3. It should be used in conjunction with the Expanded

Remote Control when configuring the system to perform optimally in your

environment. This manual was written with the underlying assumption

that the installer is familiar with audio/ video system installation.

To keep operation simple, the unit recognizes which remote control is used

to turn it on. In the Owner's Manual, references to "Standard" operation

mean that the unit was turned on with the Standard remote; "Expanded"

operation refers to the Expanded remote. "Normal" operation refers to

modes for using (as opposed to setting up) the CP-3.

An Installation worksheet is provided in Chapter 5 of the Owner's Manual

for documentation of the settings arrived at during the calibration proce-

dure.

Once installation is satisfactorily completed, you should need only the

Standard Remote and the Quick Reference Card for day-to-day operation

of the system.

Whether you are performing the installation, or simply using the system,

we hope that you will read the Theory and Design booklet. Understanding

the goals of CP-3 design will make sense of each step in the setup procedure,

and will help you make the most of the operating features.

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Intro d uc tio n

to the C P-3

Le xic o n

System Overview

Although the CP-3 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-3.

Glossary of Terms

Mode A mode is a configuration that determines how the CP-3 will

process an input signal. The CP-3 contains four basic modes: Panorama,

Ambience, Reverb and Surround. Each of these basic modes has a set of

variations which are labeled on the Expanded remote (1-15). In this

manual, these 15 variations are also referred to as modes.

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.

modes are stored.

Bank The CP-3's 45 registers are organized into 3 banks, of 15.

Presets One bank of 15 registers is loaded with the modes which appear

on the Expanded Remote. These modes are presets which are perma-

nently initialized at the factory. Presets appear on the display with their

names and their numbers preceded by the letter P.

User Registers Two banks of 15 registers each are designated as User

registers. These are available for storing your own custom modes. The

factory presets cannot be overwritten, but they can be modified and

stored into User registers (or copied into registers,then modified). When

shipped, the CP-3 has a duplicate of the presets loaded into both Bank

A and Bank B. The contents of User registers appear on the display with

their names and their numbers preceded by the Letter A or B.

Finding your way around

Press SETUP to display the Setup menu. PARAM will step a cursor

through the Setup menu selections. Once an item is selected, pressing

PARAM ▲ or ▼ will display a sub-menu for that item. With the sub-

menu displayed, PARAM once again selects menu items. PARAM ▲

and ▼ adjust the settings of the selected item over its available range.

Press STORE to exit any sub-menu; press SETUP to return to the Setup

menu. Press SETUP again to exit the Setup menu.

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Intro d uc tio n

to the C P-3

CP-3 Dig ita l Surround Proc e sso r

Essentially, the CP-3 can be thought of as a line level preamp with one

audio-only and three audio/ video inputs. It behaves as the master proces-

sor for your system, controlling system volume, balance, source selections

and acoustical environments.

Two remote control units are provided with the system: an Expanded

remote, and a Standard remote. The Expanded remote is designed primar-

ily for use in configuring the CP-3 to work optimally with your system. This

remote gives you access to setup controls and parameter menus for all of the

modes of operation of the CP-3. This remote also allows access to 15 Preset

modes and storage of as many as 30 of your own custom modes.

Although some users may continue to use the Expanded remote after

installation and configuration is complete, a second, simpler remote con-

trol, called the Standard remote, is provided for everyday use. This remote

is designed to control some system parameters and to access only five

modes of operation. (We have chosen names for these modes, as labeled on

the Standard remote, but the actual modes that are triggered by these

buttons can be changed.)

In many systems, a universal, or learning remote, may take the place of the

Standard remote. If you are using one of these, we strongly suggest that the

types of operating controls we have provided on the Standard remote be

adapted into the universal remote. We have found these controls enhance

the listening/ viewing experience while keeping the technology transpar-

ent.

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Insta lla tio n a nd

C a lib ra tio n

CP-3 Dig ita l Surround Proc e sso r

Controls and

Indicators

The Front Panel

1. Input

ThePROGRAM buttonsteps EFFECTS MUTE turns off all

through the modes of the signals added by the CP-3,

bank currently in use. Using lights the yellow EFFECTS

its Expandedmodes, theCP- MUTE LED on the front

3 can have as many as 45 panel, and displays “EF-

operating modes: Presets 1- FECTS MUTED.” This by-

15 are configured at the fac- passes all signal processing

tory, those labeled User A1- in the CP-3 except level con-

15 and User B1-15 are avail- trol, and is the simplest way

able for storage of modes to play “normal” two-speaker

3. Alphanumeric Display

The four INPUT buttons are

used to select which input is

processed by the CP-3.

Pressing any one of these

buttons will select that input

and light the LED above it.

The CP-3 can be pro-

grammed to engage a spe-

cific operating mode for each

input, so changing inputs

may change the mode being

used. See Auto-Mode Load,

Page 24.

The alphanumeric LCD (liq-

uid crystal display) shows

both the mode that is running

and its modifiable parame-

ters. The contrast of the LCD

can be adjusted for optimum

visibility. See Page 18. (A

video on-screen display is

described on Page 19.)

customized by the user.

stereo. Pressing again will

restore normal operation.

4. Infrared Receiver

In Standard operation, 5

modes are available.

The small unlabeled window

totherightoftheLCDhouses

the infrared receiver used by

the CP-3 to detect signals

from the remote controls.

10. On/Off

ON/OFF alternately puts the

CP-3 into and out of standby

mode. Turning the CP-3 off

withthis button (or witheither

remote) deactivates the unit

while leaving power to the

signal processing circuitry to

keep it at optimum operating

temperature. Although this

switch may be used to turn

the CP-3 off, it is important

that the CP-3 be turned on

with the remote control that

will be used during each lis-

tening session. If the front

panel switch is used to turn

on the CP-3, it will resume

operation in whichever mode

(Standard or Expanded) it

was last in.

2. Input Level Display

7. Volume

The INPUT LEVEL display

monitors the level in the CP-

3's digital encoding circuits

and is used to indicate the

correct Dolby level for video

sound sources (marked by

the double-D symbol be-

tween the LEDs.) When cor-

rectly set, the loudest pas-

sages will light the entire row

ofgreenLEDs,thetwoyellow

ones, and occasionally flash

the red peak LEDs at the top.

See Page 22, Setting Input

Levels. (The input level me-

ters canbeturnedofftoelimi-

nate distraction — See Page

19.)

The VOLUME buttons adjust

the level of all channels si-

multaneously. Thesebuttons

assume the function of the

volume control on your

preamp or receiver.

5. Bank

In Expanded operation, the

BANK button cycles through

thePresetbankandtwo User

banks (A&B) where custom-

ized modes can be stored.

The mode number doesn't

change: if you are using Pre-

set 9, pressing BANK once

switches to User A9, press-

ing it again switches to User

B9, pressing it again

switches back to Preset 9. In

Standard operation, the

BANK button is inoperative.

6. Program

8. Main Mute

MAIN MUTE turns off all out-

puts and lights both MAIN

and EFFECTS MUTE LEDs.

9. Effects Mute

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C o ntrols a nd

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The Rear Panel

CAUTION:Nevermakeorbreakanyconnections

to the CP-3 with the rear-panel power ON. Make

sure any associated amplifiers have been turned

off for at least one minute before turning this

master power switch on or off.

1. Power On/Off

The three video inputs are

switched with their corre-

sponding audio inputs and

fed to VIDEO OUT. VIDEO

OUT should be connected to

a video input on your monitor

for the On Screen display to

work. The CP-3 will generate

a blue background field if

there is no video signal in the

selected input. If the CP-3 is

turned off via the front panel

or either remote, the last in-

put selected will continue to

be passed to the video out-

put. If the rear-panel master

power switch is turned off, or

if AC power is removed from

the unit, the video output will

default to Input 1.

This provides an unproc-

essed, bufferedaudiooutput

of whatever input has been

selected. This output will be

activeiftheCP-3isturnedoff

via remote, or front panel,

but is shut off when the rear-

panelmaster powerswitchis

turned off.

Outputs

The master power switch

should be left ON when the

unit is in regular use. When

the CP-3 will not be used for

an extended period of time,

or whenever you are con-

necting or disconnecting any

cables to the unit, this switch

should be turned OFF.

There are four stereo audio

inputs on the CP-3. Input 4 is

audio only; it uses the video

signal from Video Input 1.

Stereo outputs are provided

for Front, Side, and Rear

amplifiers, as well as single

monaural outputs for the

Center speaker amplifier and

the Subwoofer amp.

5. Audio Inputs and

2. Power Connector

Connect the supplied AC

power cord here, then plug

the cord into an unswitched

outlet. Besure that thepower

cord is firmly seated in this

connector.

3. Video In and Video Out

4. Tape Out

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C o ntrols a nd

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CP-3 Dig ita l Surround Proc e sso r

The Standard

Remote

4. On/Off

1. The Operating Modes

The five operating mode but-

tons on the Standard Re-

mote can be customized to

load any of 45 operating

modes. The specific modes

we recommend for each but-

ton are:

Turning the CP-3 off with this

button(or the front panel ON/

OFF button) deactivates the

unit while leaving power to

the signal processing cir-

cuitry to keep it at optimum

operating temperature.

The CP-3 uses this button’s sig-

nal to differentiate between the

remotes. Therefore it is impor-

tant that the CP-3 be turned on

with the remote control that will

be used during each listening

session. To use the other re-

mote, simply turn the CP-3 off

(with either remote or the front

panel switch), then turnit on with

theON/OFF buttonoftheremote

you wish to use.

NIGHTCLUB gives the best

re-creation of the orignal re-

cording venue, but covers a

somewhat limited listening

area. This mode is most suit-

able for intimate listening of

any type of music.

CONCERT HALL creates

the sound of a near-perfect

large concert hall with your

seat in the front third. This

mode covers a very large lis-

tening area, and is best for

large-scale works.

5. Balance

These four buttons adjust

thelevel of thesound relative

to the other channels. For

instance, pressing the left ar-

row will turn down the level of

all the right channels. The

effect of the Front/Back con-

trol on the side channels will

depend on speaker configu-

ration and operating mode.

MUSIC SURROUND is a

unique, versatile surround

program that adapts itself to

the individual recording. The

results, which can be quite

subtle on simply miked re-

cordings, are spectacular on

heavilyproducedrecordings.

6. Volume

These buttons simultane-

ously adjust the level of all

channels. It should be used

instead of the volume control

on your preamp or receiver.

2. Main Mute

3. EFX Mute (Effects Mute)

Turns offall signals addedby

the CP-3, lights the yellow

EFFECTSMUTELEDonthe

front panel, and displays

“EFFECTS MUTED.” This

bypasses all signal process-

ing in the CP-3 except level

control, and is the simplest

way to play “normal” two-

speaker stereo. Pressing

again will restore normal op-

eration.

TELEVISION provides sur-

round effects for television

viewing of monaural, stereo,

and stereo synthesized pro-

grams.

Turns off all outputs, lights

both MAIN and EFX MUTE

LEDs and displays “SYS-

TEM MUTED.” Pressing

again will restore normal op-

eration. (Because it is pos-

sible to alter the setting of the

volume while Main Mute is

on, check the volume before

you turn the mute off again.)

The first push of either of these

buttons displays the current

value for 2 seconds; another

push during that time increases

or decreases the displayed

value. Holding the button down

for 1 second engages auto-re-

peat, changing thevalue rapidly.

MOVIES (Home THX Cin-

ema) is designed for any sur-

round sound encoded mov-

ies, music, or television pro-

grams.

7. Input

Buttons 1-4 select the input

source and can be pro-

Pressing EFX MUTE after the MAIN MUTE (which mutes the main

and effect outputs) has been engaged will turn the effect mute off

while leaving the main speakers muted. This allows you to hear the grammed to automatically

effect the CP-3 is adding without the main channels on. Operation

depends on the mode in use and is explained in the manual section

for each mode.

engage the desired operat-

ing mode.

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Le xic o n

The Expanded

Remote

1. The Modes

The PANORAMA

THX CINEMA (15) combines

Dolby Pro Logic decoding

and the spectral enhance-

ments of the LucasFilm

Home THX Cinema system

to re-create film sound in

your home the way it was

heard in the final production

stages.

modes(1, 2and3)

provide enhanced

lateral sound (and

hence greater spaciousness

and envelopment) for either

music or films. This mode is

effective even using only the

two front loudspeakers.

NORMAL(1) and WIDE(2)

differ primarily in their initial

Effect Levels. BINAURAL(3)

is for playbackonloudspeak-

ers ofrecordingsmadewitha

dummy head microphone

system.

2. Setup

The SETUP button allows

selection and adjustment of

all the interface functions of

the CP-3 including Input and

Output levels, visual dis-

plays, speaker configura-

tions, etc.

3. Store

The AMBIENCE

modes(4, 5 and 6)

simulate concert

The STORE button saves in

memory thesettingsfrom the

SETUP mode and is used to

memorizeandstoreany cus-

tomized operating modes.

halls of three dif-

ferent sizes, generating re-

flectionsofappropriatedirec-

tionality, delay and spectral

shape, sending them to the

side and rear speakers. The

Ambience modes provide

adjustable recirculation

through the Liveness pa-

rameter but for long rever-

beration times, use Reverb.

Both Ambience and Reverb

are true stereo simulators.

4. On/Off

Turning the CP-3 off with this

button(or the front panel ON/

OFF button) deactivates the

unit while leaving power to

the signal processing cir-

cuitry to keep it at optimum

operating temperature.

SURROUND:

TV (10) is de-

signed to expand

FULL (12) allows unproc-

essed music to be played

over all the speakers for

background music, or for

maximum acoustical output

of the system.

and enhance a

The CP-3 uses this button’s sig-

nal to differentiate between the

remotes. Therefore it is impor-

tant that the CP-3 be turned on

with the remote control that will

be used during each listening

session. To use the other re-

mote, simply turn the CP-3 off

(with either remote or the front

panel switch), then turnit on with

theON/OFF buttonoftheremote

you wish to use.

wide range of television pro-

gramming. This mode also

allows adjustment of certain

parameters for film sound

which are not adjustable in

Mode 14. If aprogram is des-

ignatedas beingin surround,

use Pro Logic (14), or THX

(15).

Like Ambience,

MONO (13) expands the

music and effects on monau-

ral films into the additional

channels while leaving the

dialog in the front center.

the

REVERB

modes(7, 8 and 9)

simulate rooms of

three sizes with the aid of

side and rear channels.

These modes have fewer

specific initial reflections

than Ambience, but richer

and smoother reverberant

decay. Reverb is especially

good for simulating large,

highly reverberant spaces.

PRO LOGIC (14) provides

the same decoding used in

Dolby Stereo theater sys-

tems, using as many aseight

speakers for front, center,

side, rear, and subwoofer

channels.

MUSIC (11) enhances music

through a unique ambience

extraction method, and can

provide spectacular results

with music that has carefully

recorded stereo information.

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C o ntrols a nd

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CP-3 Dig ita l Surround Proc e sso r

5. Bank

▲ and▼ adjust thelevelofall ▲ and ▼ simultaneously ad-

The BANK button switches signals added by the CP-3.

between the three register

banks: the Presets and the 8. Mutes

just the level of all channels.

These should be used in-

stead of the volume control

two User register Banks (A & MAIN MUTE turns off all out- on your preamp or receiver.

B) where customized modes puts and lights both MAIN

may be stored. The mode andEFXMUTELEDs. Push- 11. Input

number doesn’t change: if ing EFX MUTE while in sys- INPUT buttons 1-4 select the

you are using Preset 9, tem- mute mode turns the input source and can be pro-

pressing BANK once effects alone back on. EFX grammed to automatically

switches to User A9, press- MUTE alternately turns off engage the desired operat-

ing BANK again switches to and on all signals added by ing mode.

USER B9, and pressing the CP-3. Use it to compare

*The first push of either of these

buttons displays the current

value for 2 seconds; another

push during that time increases

or decreases the displayed

value. Holding the button down

for 1 second engages auto-re-

peat, changing values rapidly.

BANK once more selects the sound with and without

Preset 9.

CP-3 processing, or as a

simple way to play normal

two-speaker stereo.

6. Parameter

The three parameter buttons

allow selection and adjust- 9. Balance*

ment of variable parameters BALANCE: Thefourbalance

within each mode. Pushing buttons adjust the levels of

PARAM displays the pa- the rear speakers relative to

rameter menu with a move- the sides and fronts, and the

able cursor for 5 seconds; left/rightbalanceofallspeak-

pushing it again before the ers: front, sides and rear. It

display changes moves the should be used instead of

cursor to the next parameter. the balance control on your

Pressing PARAM ▲ or ▼ will preamp or receiver.

display and adjust the cur-

rent parameter (whether or 10. Volume*

not PARAM has been

pushed.) A single push of ei-

therofthesebuttonsdisplays

the parameter; another push

changes the parameter by

one unit. Holding PARAM ▲

or ▼ for more than 1 second

causes the values to change

rapidly in an auto-repeat

mode.

7. Effects*

Note: Unless otherwise indicated, all references to the remote control in this manual

refer to the Expanded Remote.

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Connection

Location

Considerations

The CP-3 is a highly specialized signal processing computer and requires

special care during installation to ensure optimum performance.

The CP-3 may be installed on a shelf or in a standard 19" equipment rack,

using rack-mounting hardware available from Lexicon. Observe the fol-

lowing precautions:

•

Select a dry, well-ventilated location out of direct sunlight.

Do not stack the CP-3 directly above heat-producing equipment such as

power amplifiers.

•

Avoid placing the CP-3 near unshielded TV or FM antennas, cable TV

decoders, or other receivers. The CP-3 may interfere with some FM

tuners if it is placed immediately above or below them. Some products,

particularly power amplifiers, may cause hum in the CP-3 if they are in

close proximity.

•

Make sure the IR receiver window (located above the On/ Off switch on

the CP-3 front panel) is unobstructed. The remote control must be in line-

of-sight to this receiver for proper operation. If line-of-sight is impracti-

cal, an infrared remote repeater can be used. Place the sender/ emitter so

that it has an unobstructed path to the CP-3’s IR receiver window. The

CP-3 may be placed in a glass-doored cabinet but smoked glass will

make the front panel Liquid Crystal Display (LCD) difficult to read and

will reduce the sensitivity of the IR receiver.

•

Do not mount the CP-3 into walls or ceiling.

AC Connections

The CP-3 is designed to be connected to an uninterrupted AC power line in

the same manner as a VCR or aTV with a clock in it. Like all computers, the

CP-3 is sensitive to voltage fluctuations. We therefore recommend the use

of an AC line filter to protect against line surges, or the installation of a line

conditioner to protect against under voltage (brownouts) as well as over-

voltage conditions. A lithium battery prevents loss of information stored in

the CP-3 in the event of power loss. This battery should not need replace-

ment for 5-7 years. As it is not user-replaceable, please contact Lexicon or

your local dealer for service.

The CP-3 has a master power switch on the rear panel above the IEC

standard AC power receptacle. This switch may be left ON continuously

when the unit is in regular use. When the CP-3 will not be used for an

extended period of time, or whenever you are connecting or disconnecting

any cables to the unit, this switch should be turned OFF.

Connect the power cable to the CP-3, then plug the power cord into a wall

outlet or into an unswitched outlet on the back of your preamplifier. Be sure

that the power cord is firmly seated in the connector on the rear panel of the

CP-3.

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Wiring Considerations

There is controversy over the audible effects of different types of intercon-

nects. Good engineering practices have minimized the effect that cables

might have on the inputs and outputs of the CP-3 — but feel free to evaluate

different interconnects in your system. If you want to do some tweaking, be

conscious of the mechanical stress from repeated insertion and overly tight

connectors, and the possibly corrosive nature of some contact-enhancing

fluids.

Audio/Video Cables

Note that the use of audio cables for video applications may cause signal

degradation, and is not recommended. For video connections, please use

only cables that are designed for video applications — these have different

impedance characteristics than cables approved for audio applications.

Both audio and video cables should be kept as short as possible.

Speaker Connections

In general, speaker cables should be kept short, and low-impedance wire

should be used throughout to assure efficient power transmission and

avoid audible distortion. Recommended wire lengths are given in the table

below. Although these examples can be used as a general guide, your

system manuals should provide detailed information specific to your

components.

Wire Lengths

Length

AWG Size & Stranding

16 gauge (19/29)

14 gauge (19/27)

12 gauge (19/27)

10 gauge (105/30)

up to 12 feet

up to 18 feet

up to 29 feet

up to 51feet

Contact your dealer for specific recommendations regarding interconnects

and speaker cables.

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Audio/Video

Before making any connections, turn off ALL audio and video components,

Connections including individual power amplifiers. (Unplug any preamps and power

amps that don’t have power switches.)

The CP-3 is designed to function as the control center of the system, selecting

inputs and controlling the volume of all speakers in the system. There are

several ways to integrate the CP-3 into the system, but they basically fall into

two categories: those where the CP-3 is connected directly to all of the

amplifiers in the room, and those where the CP-3 is connected into a tape or

signal processor loop of a preamp or receiver.

As most systems which use the CP-3 are likely to be fairly complex, one of

the design goals should be to make the entire system intuitive to use. If there

are no more than four line level (not a turntable) sources, it is easiest to hook

them directly to the inputs of the CP-3, and to connect all of the system

amplifiers to the CP-3 outputs. If a mono source is used (such as an older

VCR), a Y-connector should be used to connect to both left and right audio

inputs on the CP-3.

Many installations will have more than four sources in the system. A

preamp, or A/ V switcher, can handle the additional components — and

possibly add some additional dubbing capabilities. A preamp has the

advantage of a built-in phono amp, and many include decent tone controls

as well. The disadvantages include: a redundant gain stage, another volume

control that can be set incorrectly, forfeit of remote switching and loss of the

CP-3 programmable input functions for the sources connected through the

preamp. An A/ V Switcher may yield more dubbing flexibility, and should

be considered if there is no turntable in the system.

You may choose to connect the CP-3 in the tape monitor, or external

processor loop of a preamp, allowing you to completey bypass the CP-3.

This, however, will make the system somewhat more complicated to

operate, and adds a gain stage (the preamp) that is not needed.

CAUTION: The CP-3 Tape Out output is not a tape monitor circuit.

The audio input selected is always fed directly to Tape Out. If a tape

deck is connected to this output and one of the inputs, and that

input is selected, a feedback loop will result. This can damage the

amplifiers, the speakers, and your ears.

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Connecting the

CP-3 as a preamp

If there are four or fewer sources to be used in the system, they can each be

connected directly to the CP-3 inputs. A typical system might use Input 1 for

television, Input 2 for VCR, Input 3 for video disc and Input 4 for CD player

or turntable (output through a preamp). Since Input 4 is audio only, the

video output will default to the video signal from Input 1. This feature

allows TV or other video source viewing while different audio is playing.

Connect your main stereo amplifier to the CP-3’s FRONT outputs. Connect

any additional amplifier/ speaker combinations to the remaining outputs

on the CP-3: side amplifiers to the SIDE outputs, rear amplifiers to the REAR

outputs, center-channel amplifier to the CENTER output and the sub-

woofer amp to the SUB WOOFER output. If you are using THX-type dipolar

surround speakers, the amplifier driving them should be connected to the

CP-3 SIDE outputs.

In this configuration, use a Y-connector to hook the VCR to Video 1 as well if its tuner is

used instead of the TV tuner.

** In this configuration, select the TV's video input to see the CP-3's on-screen display.

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Connecting the CP-3

in a Tape Monitor Loop

If you have a receiver with no external access to the preamplifier outputs,

you can use a tape output or external processor loop to the CP-3. However,

any change in the receiver’s volume control after the system is adjusted will

upset the balance between the main and auxiliary speakers.

In this configuration, use a Y-connector to hook the VCR to Video 1 as well if its tuner is

used instead of the TV tuner.

** In this configuration, select the TV's video input to see the CP-3's on-screen display.

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Video Connections

The CP-3 has three video inputs and one video output. The inputs are

labeled VIDEO IN 1, 2, and 3, and are switched along with audio inputs 1,

2, and 3 via the front panel or either remote. (Audio Input 4 will use the video

signal from Video Input 1.) These inputs are designed for standard NTSC

composite video signals such as those found at the outputs of video disc

players and VCRs.

If the CP-3 is turned off via remote or front panel, the last selected video

input will continue to be fed to the output (the audio will be muted), so the

CP-3 need not be left on, for example, for simple TV viewing. If the master

power switch on the CP-3 rear panel is turned off, or if power is removed

from the CP-3, the unit will default to Input 1 for audio and video, and will

continue to pass that signal through to the output.

NOTE: The CP-3 video inputs are designed for NTSC "M" composite

video signals. The video circuitry is capable of overlaying text on the

incoming video signal; it is also capable of generating its own blue text

background in the absence of an incoming video signal. Even though the

video circuitry is designed for NTSC only, it can synchronize to incoming

PALandSECAMcomposite videosignalsandoverlaytextonthe picture.

Indoing this,however, the text willlose sharpness, especially inSECAM.

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Calibration

When turning on the CP-3 for the first time, perform the Restore Defaults

routine described in Chapter 4 of this manual.

Depending on the location of the CP-3 in your room, you may need to adjust

the front panel Liquid Crystal Display (LCD) for optimum viewing.

LCD Adjustment

To adjust this display, press the SETUP key on the Expanded Remote. The

CP-3 is now in SETUP mode. Within this mode, operations are carried out

using the three PARAM buttons and STORE.

The LCD will now read:

S E T U P M E N U

> I N P U T S

Press PARAM to step to the DISPLAY ADJUST menu, then press PARAM

▲. The LCD will now read:

D I S P L A Y M E N U

> O S D P O S I T I O N

Pressing PARAM twice will step to the following display:

D I S P L A Y M E N U

> L C D C O N T R A S T

Pressing PARAM ▲ or ▼ will display:

L C D C O N T R A S T

❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

Press PARAM ▲ or ▼ until the contrast of the display is at a maximum as

seen from your listening chair.

Press SETUP to return to the main menu.

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In addition to the front-panel LCD, the CP-3 contains a character generator

for a video overlay display on television sets. Since the On-Screen Display

is capable of showing the full menu of options available at any point,

calibration of the system is faster and easier if the CP-3 video output is

connected to a video input on a television monitor.

The Video

On-Screen Display

Adjustments to the on-screen display are made from the Display Adjust

menu. To display this menu, press SETUP. The display will show the

options available in the Setup menu. Press PARAM to move the cursor to

"DISPLAY ADJUST", then press either PARAM ▲ or PARAM ▼ to display

the Display Adjust menu.

This menu allows you to choose both the position and duration of items

displayed on-screen during normal operation.

Adjusting the position allows you to move the CP-3 display items to a

location where they will not interfere with any other video overlays your

system may generate.

The "DISPLAY TIME" option allows you to choose to have the on-screen

display always off, always on, or on for a two-second duration. Note that if

you choose to have the display "time out", this will not affect the display of

the Setup menu. Note also that parameter changes will still be effected when

you make adjustments with PARAM ▲ or ▼, even if the display is inactive.

If you choose "Always Off", you will not be able to use the video overlay, and

even setup will have to be done using only the front-panel LCD.

Once installation and calibration procedures are completed, if you find the

input level meters visually distracting, you can turn them off from the

Display Adjust menu. Simply press PARAM to select "LEVEL METERS" at

the end of this menu, then press PARAM ▼ twice to select OFF.

Press SETUP to return to the main menu.

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Press SETUP to display the Setup menu. PARAM will step the cursor

through the Setup menu selections. Once an item is selected, pressing

PARAM ▲ or ▼ will display a sub-menu for that item. With the sub-menu

displayed, PARAM once again selects menu items. PARAM ▲ and ▼ adjust

the settings of the selected item over its available range. Press STORE to exit

any sub-menu; press SETUP to return to the Setup menu. Press SETUP

again to exit the Setup menu. For your reference, all of the options available

in the Setup menu are shown here.

The Setup Menu

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Setting the Speaker

Configuration

The CP-3 Configuration Menu allows a wide range of choices in speaker

placement and room setups to maintain optimal performance in almost any

room with virtually any speaker system. A table of these menu choices is

shown below.

80HzHPF Turns on and off the High Pass Filter that removes low frequency

information from the left, center, right, side and rear outputs (12dB per

octave, -3dB at 80 Hz.) Turn ON if you are using THX-certified speakers.

You may also want to turn this control ON if you are using small satellite or

in-wall speakers throughout the system.

Center Select FULL if you have a full-range center speaker, or if you have

set the high pass filter ON.

Use SMALL if your center speaker cannot handle deep bass well. This will

automatically engage the Bass Split parameter in the Preset surround

modes that use the center, splitting bass out of the center channel and

directing it to the main left and right outputs.

Select NONE if there will be no center speaker in the system.

NOTE: The center output is only active in the surround modes, not in

Panorama, Ambience or Reverb.

Sides Select THX if THX-type surround speakers are used for the sides.

Select STANDARD if any other type of speakers are used, and NONE if

there are no side speakers in the system.

NOTE: THX -type surround speakers provide good diffuse envelopment

with only two speakers. Additional surround speakers will color the

surround information through comb-filtering effects. To prevent this, if

THX side speakers are selected in the Speaker Configuration menu, the

rear channels are muted in THX mode.

Rears Select the appropriate setting for the number of rear speakers in the

system. If you are using only a single rear speaker, or multiple speakers with

a single amp channel (mono), select ONE. This speaker should be connected

to the left rear output on the CP-3 rear panel. Select TWO if you are using

two or more rear speakers.

Subwoofers Select YES if you are using the SUBWOOFER output. (See

page 26.)

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There are four inputs on the CP-3. Inputs 1, 2 and 3 switch audio and video;

Input 4 switches audio only and outputs the video signal from Video Input

1. Each input can be assigned an individual gain level to compensate for

sources with different output levels. You can create a name that will be

displayed on the screen whenever that input is selected and have each input

automatically engage the proper operating mode. For example, Input 1

could have an input level gain of +6dB, display "Video Disc" on the screen,

and engage the Home THX Cinema mode.

Setting

Input Levels

To obtain maximum performance from the CP-3 (or almost any other signal

processor) it is important that the unit be driven to its full input level

without overloading. Despite industry attempts at standardization, there is

still a wide disparity of output levels among different sources. For example,

Compact Discs are often as much as 10-15dB higher in level than video discs.

To compensate for this, each of the four inputs on the CP-3 can be assigned

a different input gain, assuring optimum performance and consistent

volume, regardless of the source selected. The CP-3 can also be set to

monitor the input level and automatically optimize the input gain. The CP-

3's auto-level and signal-to-noise optimization systems can be defeated for

special situations. (The S/ N Optimizer is deliberately turned off in the

Ambience and Reverb modes.)

Note: When calibrating the input levels, set the system volume to -25dB or

higher to ensure optimum meter accuracy. You may engage the System

Mute if you do not want to hear the input.

To adjust the input parameters for any of the four inputs, select the input,

then press the SETUP button on the remote to call up the main Setup menu.

The cursor will be at "INPUTS". (If it is not, select it with PARAM.) Press

PARAM ▲ or ▼. The display will show:

Adjusting Input

Parameters

Select the input you want to adjust by pressing the appropriate input select

button at the bottom of the remote. Then press PARAM ▲ or▼. The display

will read:

SET INPUT(X) GAIN

MAN+00 AUTO+00dB

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The PARAM ▲ and ▼ buttons increase or decrease the input gain for the

input you have selected over a range of -18dB to +12dB. Your setting is

displayed(in dB) as the MAN (manual) setting. The AUTO setting shows

the optimum input level as determined by the CP-3. If the manual level is

set too high, causing input overload, the input level will automatically

decrease to the point at which it is no longer causing overload.

You can observe this in action by pressing PARAM ▲ until the manual and

automatic gain settings are both at +12dB, then play a reasonably loud

selection (typically on CD) into this input. You will notice that, while the

MAN setting will remain at +12dB, the AUTO setting will decrease until the

input is no longer causing distortion. This is an excellent way to determine

the optimum setting for the input level. Observe the value of the AUTO

setting with a variety of program material and set the MAN gain a few dB

above the AUTO setting by pressing PARAM ▲ two or three times.

All values are referenced to true clipping,

which is 00dB. Values shown are the

minimum required to light the LEDs.

If using a Dolby Level test tone, adjust

the input level to the point at which the

LEDs adjacent to the double-D marker

just light.

Following are some general recommendations for level settings:

Compact Disc player: -03dB

Multi-Disc (Combi) player: +06dB

Video Disc player: +06dB

Cassette deck: +03dB

AM/ FM Tuner: +06dB

When you have selected an input level, press STORE to save the setting and

return to the Input Menu. Follow this same procedure for each input.

Assigning Input Names

You can assign a name (up to 16 characters) to each of the inputs. This will

identify the source whenever an input is selected. In the Input Menu, select

"SET INPUT NAME", then press PARAM ▲ or ▼.

The On-Screen display will show the 2-line input name display with the

leftmost character on the second line flashing. (The LCD indicates the

character being adjusted with an underline cursor.) PARAM ▲ and ▼ will

move you forward and backward through the available characters.

PARAM will step you to the next character in the name. The sequence of

available characters is:

(*) + , – . / 0-9 A-Z *

Note that the On-Screen display uses a blinking asterisk (*) to denote a blank

space. On the LCD spaces are blanks with an underscore cursor. Press

STORE to save the setting and return to the Input menu.

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Auto-Mode Load

(Automatic Input Mode

Loading)

Auto-Mode Load determines which operating mode will be engaged when

a specific input is selected. For example, the input for a video disc player

would load the Home THX Cinema mode, while the input for a CD player

would load the Music Surround mode. Any of the preset modes or any of

the CP-3's 30 User Registers can be selected — or the current mode can

remain unchanged. You can, of course, change the operating mode you are

listening to, but if AUTO MODE LOAD is ON, pressing the same input

button again will reload the assigned operating mode.

To set Auto-Mode Load, go to the Input menu, select "AUTO MODE

LOAD", then press PARAM ▲ or ▼. The display will show which mode is

automatically loaded. If the display reads "AUTO MODE LOAD OFF",

selecting this input will not change the operating mode and the CP-3 will

remain in the same operating mode it was in before this particular input was

selected. To change the mode, press PARAM ▲ or ▼ to scroll through the

available operating modes. The choices are: OFF, Presets 1-15, Bank A 1-15,

Bank B 1-15. Since the Standard remote uses modes stored in User Register

B, we recommend selecting one of these five modes for Auto-Mode Load.

Auto-Level

The Input Auto-Level function (see discussion under Setting Input Levels)

is normally ON. This can be defeated by using PARAM to move the cursor

to select the "AUTO LEVEL" parameter, then pressing PARAM ▼ twice.

Now, pressing PARAM ▲ will turn this function ON, pressing PARAM ▼

will turn it OFF. Press STORE to save and return to the Input menu.

Signal-to-Noise Optimization

In addition to controlling the input level, the CP-3 constantly monitors and

adjusts the internal signal levels to maximize the signal-to-noise ratio.

Theoretically, if the manual input level is set far too high, and you have

music or a soundtrack with a very long soft section followed by, say a

cannon shot, this may result in a few milliseconds of input clipping.

Although we have yet to find a musical selection or a film soundtrack that

does this (and, hopefully, the input level will not be grossly misadjusted to

begin with) we have provided a control so that you can turn this function

off. Under normal operating situations, we recommend it be left on.

The Signal-to-Noise Optimization function is not available in the Reverb

and Ambience modes. In other modes it is normally ON. This function can

be defeated by using PARAM to move the cursor to select the "S/ N

OPTIMIZER" parameter, then pressing PARAM ▼ twice. Now, pressing

PARAM ▲ will turn this function ON, pressing PARAM ▼ will turn it OFF.

Press STORE to save and return to the Input menu.

Note that the S/ N Optimizer is selectable for each of the four inputs.

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Setting

Output Levels

When CP-3 Input and Output levels are set properly, the entire system will

be calibrated to play films at the level intended by the director. Setting the

output levels is easy, particularly if a Sound Pressure Level (SPL) meter is

used. Using the PARAM and the PARAM ▲ and ▼ buttons, adjust the level

of each individual output until they are all the same relative level. You can

use an external source for this, or the CP-3's internally generated calibration

signal.

Temporarily turn the system volume down to about -20dB. Press SETUP

and use the PARAM button to select OUTPUT LEVEL. Then press PARAM

▲ or ▼. The display will read:

INTERNAL SOURCE

EXTERNAL SOURCE

Use the PARAM button to select the built-in signal generator (INTERNAL

SOURCE) or an EXTERNAL SOURCE. With your choice selected by the

cursor, press PARAM ▲ and ▼ to activate your selection. PARAM is used

to select the output to be adjusted; PARAM ▲ and ▼ raise and lower the

level of that output in precise 1dB increments. The Level sub-menu choices

are shown below.

NOTE: When you select the

Output menu, the CP-3 auto-

matically engages the Home

THX Cinema mode. When you

exit the Output menu, the sys-

tem will return to the previously

selected mode.

Note that selecting INTERNAL SOURCE automatically disconnects all

audio and video inputs, and plays only one channel at a time. EXTERNAL

SOURCE allows all channels to be heard simultaneously.

If you are using an SPL meter, use the C-weighting with the meter response

on SLOW. From your listening position, hold the meter at about ear level at

arm's length (to avoid body interference). A tripod is useful here. Aim the

microphone at the ceiling and set to a scale incorporating 75dB. Increase the

system volume to 00dB. Now use PARAM ▲ and ▼ to raise or lower the

output level of the speaker until the meter reads 75dB. Press PARAM to

select the next channel specified in the Configuration menu and continue in

this manner through all the channels.

PAL and SECAM

NOTE: Because the CP-3 is

not capable of generating PAL

or SECAM composite video

signals by itself, during INTER-

NAL NOISE generation (when

all inputs are turned off) users

with PAL or SECAM TVs will

have to rely on the LCD when

adjusting Output Levels.

Be sure to record the values on the Installation Worksheet provided at the

end of this manual. Press SETUP to save the settings and return to the Setup

menu.

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In the absence of an SPL meter, it is possible to set the output level by ear.

Use the built-in signal generator in the CP-3 to adjust all volumes to be the

same as they cycle around the various speakers. Depending on timbre

variations between your speakers, this may be difficult to judge, get as close

as you can. The system should be reasonably well balanced, although not

actually calibrated for precise playback level matching. With the system

volume at 0dB, the internal noise source should be at the same level at which

film dialog sounds comfortable.

NOTE: If the CP-3 is connected in the tape monitor or signal processorloop

of a preamp, integrated amp, or receiver, or if any of the amplifiers used in

the system have gain (volume) controls, the level settings on them will affect

the balance of the CP-3 outputs. Generally, the gain controls of these amps

should be set at or near maximum. You should record the values of these

controls on the Installation Worksheet provided at the end of this manual

for later reference.

Subwoofers

The SUBWOOFER output is created by summing the left and right inputs,

then filtering out frequencies above 80Hz at a rate of 24dB per octave. For

the tragically technical, this is a Linkwitz-Riley LPF -6dB @ 80Hz. Many of

the better subwoofers have their own crossover (complementary low and

high pass filters) and amp built in. With these, it is often better not to use the

CP-3 SUBWOOFER output which has already been filtered. Instead, con-

nect the CP-3 main (FRONT) left and right outputs to the inputs of the

subwoofer crossover. Connect the CP-3 SUBWOOFER output to the ampli-

fier driving the main speakers. This has the advantage of bi-amping: all the

low bass is handled by the subwoofer; the main speakers handle only mid-

bass and up (usually resulting in better-sounding main speakers). If you

want to run the main speakers full range, the sub can be wired in parallel to

the main amp using a Y-connector.

Be sure to turn the 80Hz HPF in the Speaker Config menu to OFF. Since the

center channel will now be running full range, select SMALL center in the

Speaker Config menu. This turns on the BASS SPLIT parameter in the Preset

modes, splitting low frequencies off the center channel and feeding them to

the left and right front outputs. Remember to adjust this parameter in any

User registers you program, as it is initially set to BYPASS. A little experi-

mentation goes a long way in determining the optimum value for BASS

SPLIT. Usually, a cutoff between 63Hz and 140Hz is best. Too high a cutoff

will make some male vocals sound chesty; too low a cutoff causes bass loss.

Now the center channel is rolled off and the main left and right are crossed

over by the subwoofer. You do not need to be as concerned with the

surrounds because the Dolby encoder rolls off most of the bass below

100Hz. Some films, however, do have substantial LF information in the

surrounds and the CP-3 music modes do not limit low frequencies at all.

(Although the effects channels are typically using less than 25% of the

power used in the mains.) Unless you plan on very high sound pressure

levels and want lots of bass, most systems will not require subs on these

channels. Obviously, the most efficient way to add subs is to utilize the

crossover in the CP-3.

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CP-3 Dig ita l Surround Proc e sso r

The Listener Position must be calibrated for the Panorama mode and the

Panorma Effect parameter in Reverb and Ambience modes to work opti-

mally. Calibration of the listener position is performed from the setup

menu. Press SETUP, then select "LISTENER POS".

Calibrating the

Listener Position

Panorama works by canceling the sound going from each speaker to the

opposite ear. Its effectiveness 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 relative angle between your

main speakers. Although not necessary for calibration, understanding the

principle behind Panorama will help in understanding the adjustments you

will be making. Refer to the section on Panorama in the Theory & Design

booklet.

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-3’s BALANCE controls. (The more centered the

monaural image, the better Panorama will work.)

CALIBRATE NOISE is a special digitally generated signal to aid in calibrat-

ing the Panorama mode. The signal can be set for the left side, the right side,

or both. Note that in all cases, sound will actually be produced by both front

loudspeakers. The adjustments in this mode effect the perceived directional-

ity of the sound

SPKR/LSTNR ANG° is the angle be-

tween the main speakers as seen from the

listening position — here it is about 60°.

The speaker/ listener angle, displayed in degrees (SPKR/ LSTNR ANG °),

adjusts for wide or narrow speaker spacing (relative to the listening posi-

tion). 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

(LSTNR POS) parameter delays the corrections from either channel and

allows adjustment for an off-center listening chair or for asymmetrical

speaker placement.

It will be easiest to calibrate this mode if you start equidistant from the two

front speakers, even if this is not your normal listening position. Once you

have heard the effect and set the speaker/ listener angle, the Listener

Position parameter will allow you to “move” the effect to your customary

listening position.

LISTENER POS allows you to adjust for

an offset listening position.

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From the Setup menu, use the PARAM button to select the LISTENER POS

menu, then press PARAM ▲ three times to show the following display:

CALIBRATE NOISE

CALIBRATE LEFT ONLY

If you are symmetrically centered between the two front speakers, the test

signal should sound as though it is coming from off to your left side, well

beyond the left speaker, with near-total silence in your right ear. Still facing

forward, move your head from side to side until the effect is strongest.To

make sure you have found this sweet spot, press PARAM to call up the

following display:

SPKR/ LSTNR ANG °

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.

Press the PARAM ▲ and ▼ buttons until you hear the strongest effect.

(When you have found it, you will notice an almost physical sensation of

silence in your right ear.) Push PARAM repeatedly until you return to the

CALIBRATE LEFT ONLY display.

Press PARAM ▲, the display will read:

CALIBRATE NOISE

CALIBRATE RIGHT ONLY

Again, shift your head from side to side to find the sweet spot, this time

looking for the point where the sound is strongest in your right ear.

Compare the locations of the two sweet spots by pressing PARAM ▼ to call

up LEFT ONLY, then pressing PARAM ▲ and ▼ to toggle between LEFT

ONLY and RIGHT ONLY.

When calibrating right, if your left ear is

in the silent band, the speaker angle is

correct.

If the sweet spots do not coincide, press PARAM to return to the SPKR./

LSTNR ANG° display. If the first sweet spot is to the left of the second, press

PARAM ▲ ; if it is to the right, press PARAM ▼.

If your normal listening position is not centered between your two front

speakers, once you have correctly set the speaker angle, you may want to

"move" the sweet spot to that position. To do this, press PARAM to get to

LISTENER POS and use PARAM ▲ and ▼ to move the effect. As you adjust

the position, the display will indicate motion to the left of center

(L001,L002,L003...L127), CEN TER, or to th e right of cen ter

(R001,R002,R003...R127). The numbers represent approximately 1/ 3", but

are provided primarily as a general reference.

If the two silent bands are too close, lower

the Speaker Angle; if they are too far

apart, raise the Speaker Angle.

The Panorama mode is now calibrated. Press the SETUP button to store

these settings and return to the main setup menu.

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CP-3 Dig ita l Surround Proc e sso r

When presented with several similar sounds (as in the case of surround

sound) we tend to localize on the first sound we hear.Because rear speakers

are often closer to the listening area than the main speakers, occasional

leakage of the front channel sound into the surround speakers can be

audible and distracting. Delaying the sound from the rear speakers gives

the sound from the front a chance to reach the listener before the surrounds

kick in.

Setting Rear Delay

The REAR DELAY control in the LISTENER POS menu allows you to set

this delay at 15-30 milliseconds. The best setting will depend on the distance

between the main listening area and the front speakers, and the distance

between the main listening area and the surround speakers.

From the Setup menu. press PARAM to select "LISTENER POS", then press

PARAM ▲ to display the LISTENER POS menu. Now use PARAM to select

REAR DELAY, then use PARAM ▲ and ▼ to adjust the delay time.

Refer to the graph shown at the right for the best setting for your particular

situation. Measure the two distances and note where they intersect on the

graph. The shaded areas indicate the optimum delay settings.

Rear Delay Settings

Note that the delay setting you choose here will only affect those surround

modes which do not have their own rear delay parameter.

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Customization

Locking In Settings

After you have calibrated and customized the CP-3, there are two additional

steps recommended to safeguard the settings:

First, document your adjustments on the Installation Worksheet (provided

at the end of this manual) if you have not already done so.

Second, consider locking the settings in so that they cannot be inadvertently

changed. Locking the settings will allow full operation with the Standard

remote, but will limit the Expanded remote’s ability to change operating

parameters. Specifically, with the Settings Lock ON, the Expanded remote

will function normally but will not be able to change values in the Setup

menu or any parameters. The PARAM button will function normally, so

the parameters can be selected, but pressing either PARAM ▲ or ▼ will

simply display the parameter value and yield a "SETTINGS ARE LOCKED"

message.

To lock the settings, press SETUP and select "LOCK SETTINGS".

With LOCK SETTINGS selected, press PARAM ▲ twice to select the Lock

Settings parameter and engage it. To turn the lock off, follow the same

procedure but press the PARAM ▼ button instead of PARAM ▲ until the

display reads:

SETTINGS LOCK

OFF

When the CP-3 is first turned on, it will display a copyright notice with the

current software version. The next screen will say:

Custom Name

CUSTOMIZED FOR

DEMONSTRATION

The word "demonstration" can be replaced with the owner's name (up to 16

characters). The name assigned here can only be changed with the following

procedure. It will not be deleted even when the Restore Defaults procedure

(see Chapter 4) is performed.

To do this call up the Setting menu as described above and move the cursor

to select "CUSTOM NAME". Press PARAM ▲, then press BANK to unlock

the custom name. The PARAM button will now move the cursor to one of

16 available spaces in the display, while PARAM ▲ and ▼ cycle through the

available list of characters, beginning with the one currently occupying the

space.

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At this point an underline character appears in the bottom row of the LCD

display. (On the on-screen display, one of the characters of the current name

will flash.) The cursor will move to the leftmost character of the mode name.

Now push PARAM ▲ or ▼ until the character you want appears in the

space. (Holding either button for one second activates an auto-repeat mode

to speed you through the list.) All letters are available, in upper case, as are

digits 0-9, a blank space and an assortment of other characters. When the

first space in the display is correct, press PARAM, use PARAM ▲ and ▼ to

set the second character and repeat until the new name is complete.

Press SETUP to exit to the main Setup menu. Press SETUP again to resume

normal operation.

Lastly, the CP-3 is designed to be operated day to day with the Standard

Remote. Unless you are an incorrigible tweaker, simply put the Expanded

Remote away, with its batteries removed for safe keeping.

Custom Modes

When the CP-3 is powered up via the Standard remote, it will automatically

restrict itself to the five operating modes in User Bank B that correspond to

those listed on the remote. These modes are stored in registers B2, B6, B11,

B10, and B15. Since these modes are stored in User registers, it is possible

to change these modes so that a new operating mode is engaged when one

of the five mode buttons on the Standard remote is pressed. For instance,

you may choose to have NIGHTCLUB load a small Ambience hall instead

of the default Panorama Wide mode — To do this, simply load the small

Ambience hall into register B2. Of course you can also adjust any of the

parameters in the mode. Adjustments will be saved automatically.

Mode:

loads register:

default preset:

NIGHTCLUB

CONCERT HALL

PANORAMA-WIDE

AMBIENCE-LARGE HALL

SURROUND- MUSIC LOGIC

SURROUND-TELEVISION

SURROUND-HOME THX

MUSIC SURROUND

TELEVISION

MOVIES

B11

B10

B15

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Chapter 3 describes the CP-3’s four basic modes and all of their variable

parameters. Any changes in the parameters of a mode in the User bank will

be automatically recorded and stored for future use. The CP-3 also allows

you to store a new version of any Preset or User mode in any User register.

Modifying the Mode

In addition to the 15 Preset modes set at the factory, there are 30 User

registers (Bank A 1-15 and Bank B 1-15) that can be used to store customized

versions of the original modes. Any of the parameters that can be accessed

and changed with the Expanded remote can be used to modify the modes.

Left/ Right BALANCE and VOLUME settings are considered system para-

meters and are not stored with each mode. EFFECT LEVEL, Front/ Rear

BALANCE, and parameters listed in the parameter menu, will be memo-

rized in this new mode if it is stored in a User register.

Storing a mode

If you modify a Preset (or the contents of any User register) and want to

make a copy of it, press STORE. The display will read:

STORE MENU

>STORE THIS MODE

SET MODE NAME.

Press PARAM ▲ once and the display will read:

(12-letter mode name)

PUT PRO LOGIC

IN A1 PAN NORM

(User reg #)

(Mode type

Mode name

1st 3 letters) (1st 4 letters)

The top line of the display will show the mode you are about to save. The

second line shows the location (and current contents) of the register where

the mode will be saved.

If you wish to store your new mode into the register shown, simply press

STORE. This will erase the register contents and replace it with your new

mode.

If you want the mode stored in a different location, press PARAM ▲ to

display (and select) the next register. Repeatedly pressing PARAM ▲ will

step you through all 15 User registers in Bank A, then through all 15 User

registers in Bank B. (PARAM ▼ allows you to step back down through the

list.) When you find the register you want, press STORE.

If you want to exit without copying your new mode, press SETUP to return

to the operating mode you were in when you began the store procedure.

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Renaming a mode

To rename any mode, press the STORE button. The display reads:

STORE MENU

>STORE THIS MODE

SET MODE NAME.

Move the cursor to select "SET MODE NAME". The PARAM button will

now move the cursor to one of twelve available spaces in the display, while

PARAM ▲ and ▼ cycle through the available list of characters, beginning

with the one currently occupying the space.