Lexicon CP-1 - REV 1.0 User manual

Panorama Ambience
Reverb Surround
CP-1
Digital Audio
Environment
Processor Owner's
Manual

Lexicon
Lexicon Part #070-06619 Rev. 1.0 Printed in the United States of America
After unpacking the CP-1, save all packing materials in case you ever need to ship the unit. Thoroughly inspect
the CP-1 and packing materials for signs of damage. Report any shipment damage to the carrier at once; report
equipment malfunction to your dealer.
Unpacking and Inspection
Precautions
This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the
manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the
limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designated to provide
reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the
equipment OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures:
Reorient the receiving antenna
Relocate the computer with respect to the receiver
Move the computer away from the receiver
Plug the computer into a different outlet so that the computer and receiver are on different branch circuits.
If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find
the following booklet prepared by the Federal Communications Commission helpful:
"How to identify and Resolve Radio/TV Interference Problems."
This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.
This triangle, which appears on
your component, alerts you to
the presence of uninsulated,
dangerous voltage inside the
enclosure... voltage that may be
sufficient to constitute a risk of
shock.
CAUTION This triangle, which appears on
your component, alerts you to
important operating and main-
tenance instructions in this ac-
companying literature.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Copyright 1988
All Rights Reserved.
Acknowledgement
The CP-1 is manufactured under license from Dolby Laboratories Licensing Corporation. Additionally licensed
under one or more of the following patents: U.S. numbers 3,632,886, 3,746,792 and 3,959,590; Canadian numbers
1,004,603 and 1,037,877. "Dolby" and the double-D symbol are trademarks of Dolby Laboratories Licensing
Corporation.
Patents are pending on the CP-1

Table of Contents
CP-1 Digital Audio Environment Processor
6 Theory and Design 31
7 Specifications 49
1 Controls and Indicators
2 Connection and Calibration
Introduction 1
The Front Panel 2
The Rear Panel 3
The Remote Control 4
Installation 7
Connections to Other Equipment 7
Setting the Main Input
and Output Levels
9 Calibration of the
Panorama Program
3 Speaker Set-Up and Configuration
13
4 Using The Programs
10 To Load, Modify
and Store Programs
17 The Programs:Panorama
18 Ambience
20 Reverb
5 Troubleshooting 29

Page 1
CP-1 Digital Audio Environment Processor
Introduction
Controls
and
Indicators 1
All of the programs in the Lexicon CP-1 Digital Audio Environment
Processor have a common goal: to draw you, the listener, more deeply into
a musical performance or a film. For music the CP-1 uses unique digital
processing to re-create either the original recording space or a new one of
your choosing. For films it offers an extremely accurate version of Dolby Pro
Logic Surround decoding and our own decoding for monaural film sound-
tracks. The increase in impact of a musical performance or film when heard
with the CP-1 is enormous, especially when widely spaced multiple loud-
speakers are provided, but even without additional loudspeakers signifi-
cant gains are made.
To re-create the experience of being at a performance the CP-1 draws on
recent studies of concert-hall acoustics, and applies this research to home
listening rooms. The object is to increase the sideways-moving sound in a
room, thus increasing Spatial Impression, or SI.
The CP-1 increases SI by either extracting it from the original recording,
using the Panorama or Surround programs, or by generating a new acoustic
environment with Ambience or Reverb.
When a listener is in the correct spot the Panorama program provides an
almost ideal re-creation of the original recording space. It works by using
digital processing to cancel the crosstalk between the listener's ears, 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 almost spooky in its realism.
The CP-1 Reverb and Ambience programs provide signals for driving
widely spaced side and rear loudspeakers, directly exciting sideways
sound and heightening the listener impact over a large listening area.
(When there are no side speakers, Panorama is used to increase the side-
ways sound from the main speakers.)
The Ambience and Reverberation programs transform the listening room
into a new acoustic space, letting you choose an environment which
matches your music or your mood. Unlike some previous hall simulators,
the CP-1 provides full stereo processing. The Ambience program generates
the side and rear reflection patterns of idealized rooms and concert halls.
The larger spaces add the true depth and realism of a concert hall to classical
and popular music, while the smaller spaces are ideal for jazz and rock. The
Reverberation program is similar, but places more emphasis on rich, dense
reverberant decay than on early reflections. It is especially good for
simulating large, highly reverberant spaces.
For films encoded with Dolby Stereo, Lexicon has incorporated into the
CP-1 the first completely digital Dolby Pro Logic Surround decoder, and the
only one with automatic correction of azimuth and channel-balance errors
(the most common problems in currently available films). The CP-1 also
provides a program for playing music through a Surround speaker set-up
(Stereo Logic), and a program for expanding monaural film sound tracks
(Mono Logic).

Page 2
Lexicon
The Front Panel
Source The SOURCE buttons select one of two identical stereo pairs of audio
inputs. Ordinarily Input I will be connected to the main outputs of your
stereo preamp and the second input will be a spare. In video installations,
Input I will be connected to the main audio outputs of your TV receiver,
VCR or audio/video control center. Input II can then accept the outputs of
a separate system or the audio outputs of a video disc or CD player.
INPUT LEVEL
SOURCE
SOURCE
TAPEMONITOR
PRE POSTTAPE SYSTEM
MUTE EFFECT MUTE POWER
I II
DIGITAL AUDIO ENVIRONMENT PROCESSOR CP-1
exicon
The MONITOR button selects SOURCE I/II or TAPE IN. The Tape inputs
are provided to accommodate a recorder if the CP-1 occupies a previously
used tape monitor loop.
Monitor
Controls and
Indicators
TITLE: dlby lgo 2
CREATOR: Adobe Illustrator(TM) 1.1
CR DATE: 6/20/88 3:52 PM
System On/Off.
The unlabeled LED to the left of the System Mute Indicator lights when the
CP-1 detects a signal from the remote control. The SYSTEM MUTE LED
indicates that unprocessed audio is no longer passing through to the CP-1's
main outputs. The EFFECT MUTE LED indicates that the CP-1’s processed
audio is no longer passing through to its outputs.
Indicator
Lights
The alphanumeric display shows both the program that is running and its
modifiable parameters. The CP-1 has 24 registers: PRESETs 1-12 are
configured at the factory; those labeled USER 1-12 are available for storage
of programs customized by the user.
Alphanumeric
Display
The INPUT LEVEL control and its display allow you to match the level of
the incoming signal to the CP-1’s digital encoding circuits. When correctly
set, loud passages will light the entire row of green LEDs without flashing
the red ones.
The PRE and POST Tape switch determines whether CP-1 processing if
applied before or after tape output. PRE means that the tape deck gets the
signal unaltered (PRE-processing); POST applies CP-1 processing to the
tape output (POST-processing).To record CP-1 processing onto tape the
CP-1 must be in the two-speaker mode (Configuration 1) with the POST
button engaged.
Tape
Input Level
Power

Page 3
CP-1 Digital Audio Environment Processor
The Rear Panel
Rear and Side
Outputs
Stereo outputs for rear and side power amplifiers, with level adjusting
knobs. The procedure for balancing these outputs (as well as the center
channel and subwoofer) with the main pair begins on page 9.
Main outputs, with level adjustment. Level-setting of these outputs must
precede adjustment of the auxiliary channels.
The adjustment of the subwoofer output should be done only after all other
channels are calibrated. (See page 10.)
Main, Center
and Subwoofer
Outputs
Center channel output with level control and button. Push the button in if
you have no center channel; leave it out if a center speaker is connected.
NOTE: Leaving this button out with no center channel will cause the
Surround programs to malfunction.
Center/Out
Phantom/In
Inputs and outputs for an additional audio or video tape deck (audio
portion only) or to replace the monitor loop occupied by the CP-1. Tape Out/In
Two sets of main inputs, selected by the SOURCE I/II buttons. Inputs
Controls and
Indicators
REAR SIDE LEVEL
SUB WOOFER
CENTER/OUT
PHANTOM/IN
L
R
L
R
OUTPUTS
TAPE
OUT TAPE IN
L
R
INPUTS
L
R
III
MAIN CENTER SUB

Page 4
Lexicon
The Remote Control
The Programs
The REVERB programs, like AMBIENCE, simulate rooms of three sizes
with the aid of side and rear channels. These programs have fewer specific
initial reflections than AMBIENCE but richer and smoother reverberant
decay. REVERB is especially good for simulating large, highly reverberant
spaces.
Reverb
The AMBIENCE programs simulate concert halls of three different sizes,
generating reflections of appropriate directionality, delay and spectral
shape and sending them to the side and rear speakers. The Ambience
programs provide adjustable recirculation through the Liveness parameter
but for long reverberation times, use REVERB. Both AMBIENCE and
REVERB are true stereo simulators.
Ambience
Panorama The PANORAMA programs provide enhanced lateral sound (and hence
greater spaciousness and envelopment) for either music or films. This
program can utilize left and right rear channels but is also effective using
only the two front loudspeakers. NORMAL(1) and WIDE(2) differ primar-
ily in their initial Effect Levels. BINAURAL(3) is for playback on loudspeak-
ers of recordings made with a dummy head.
MUTE
EFFECT BALANCE VOLUME
BANK
PARAM
PANORAMA
1 2 3
AMBIENCE
456
7
REVERB
89
SURROUND
11 1210
NORMAL WIDE BINAURAL
SMALL MEDIUM LARGE
SMALL MEDIUM LARGE
MONO STEREO
EFFECTSYSTEM
B
F
L
R
DOLBY SURROUND
PRO - LOGIC
Controls and
Indicators
TITLE: dlby lgo 2
CREATOR: Adobe Illustrator(TM) 1.1
CR DATE: 6/20/88 3:52 PM

Page 5
CP-1 Digital Audio Environment Processor
Surround
Controls and
Indicators
*The first push of either of this pair of buttons displays the current value for five seconds; another push during that time increases or decreases
the displayed value. Holding the button down for 1 second engages auto-repeat.
SYSTEM MUTE turns off all outputs and lights both SYSTEM and EFFECT
MUTE LEDs. Pushing EFFECT MUTE while in system- mute mode turns
the effects alone back on.
EFFECT MUTE alternately turns off and on all signals added by the CP-1.
Use it to compare the sound with and without CP-1 processing. In TEST
mode EFFECT MUTE clears all user memories. (See page 17.)
Mute
VOLUME: UP and DOWN adjust the level of all channels simultaneously.
It assumes the function of the volume control on your preamp or receiver. Volume*
BALANCE: F and B adjust the levels of the rear speakers relative to the
sides and fronts.
BALANCE: L and R adjust the left/right balance of all speakers: front, sides
and rear. It assumes the function of the balance control on your preamp or
receiver.
EFFECT: UP and DOWN adjust the level of all signals added by the CP-1. Effect*
The three PARAMETER buttons allow selection and adjustment of variable
parameters within each program. Pushing PARAM displays the current
parameter for five seconds; pushing it again before the display changes
selects the next parameter. Pressing PARAM UP or DOWN will display and
adjust the current parameter, whether or not PARAM has been pushed. A
single push changes the parameter by one unit; holding the button for more
than one second causes the values to change rapidly in anauto-repeat mode.
PARAM can also put the CP-1 into TEST mode. (See page 17.)
Parameter
The SURROUND programs work with film sound tracks to recreate the
theater experience. MONOLOGIC (10) expands the music and effects on
monaural films into the additional channels while leaving the dialog in the
front center. STEREO LOGIC (11) enhances music with surround speakers
and also allows the listener to adjust certain parameters for film sound that
are fixed in Program 12. PRO LOGIC (12) provides the same decoding used
in Dolby Stereo theater systems, using up to eight speakers for front, center,
side, rear and subwoofer channels.
The BANK button switches between the 12 factory-preset programs and 12
user registers where customized programs may be stored. The program
number doesn't change: if you are using Preset program 9, BANK switches
to User program 9 and vice-versa. Holding BANK for a few seconds puts
the CP-1 into Configuration mode, in which the three Parameter buttons
adjust the LCD contrast and select one of the 12 speaker setups illustrated
on page 13.
Bank
Balance*

Page 7
CP-1 Digital Audio Environment Processor 2
Connection
and
Calibration
Connections
to Other
Equipment
Tape Monitor Loop
Installation
The CP-1 may be installed on a shelf or in a standard 19" equipment rack,
using the optional rack-mounting hardware (Lexicon part #021-06639).
Connect the power cord to a wall outlet or to a switched outlet on the back
of your preamplifier. Observe the following precautions:
Audio Preamp
VCR
or
CASSETTE DECK
MAIN
OUT
TAPE
OUT/IN
AUDIO
OUT
I
II
TAPE
OUT/IN
REAR
MAIN
SIDE
PROGRAM EQ
or
DYNAMIC RANGE
PROCESSOR
VCR, TV, VIDEO
CONTROL CENTER
SIDE
AMPS
AUDIO
PREAMP
CP-1
INPUTS (SPEAKER
EQ)
REAR
AMPS
MAIN
POWER
AMPS
CENTER
AMP
SUB
WOOFER
AMP
CENTER
SUB
WOOFER
VCR
or
CASSETTE DECK
AUDIO
OUT
I
II
TAPE
OUT/IN
REAR
MAIN
SIDE
SIDE
AMPS
CP-1
INPUTS
VCR, TV, VIDEO
CONTROL CENTER
REAR
AMPS
CENTER
AMP
SUB
WOOFER
AMP
CENTER
SUB
WOOFER
INTEGRATED AMP
or
RECEIVER
TAPE
IN
TAPE
OUT
●Make sure the remote control receiver, located on the right side of the front
panel, is unobstructed. The remote control must be in line of sight to this
receiver for proper operation. The CP-1 may be placed in a glass-doored
cabinet but smoked glass will make the display hard to read.
● Select a dry, well-ventilated location out of direct sunlight.
● Do not stack the CP-1 directly above heat-producing equipment such as
power amplifiers.
● Avoid placing the CP-1 near unshielded TV or FM antennas. The CP-1
may interfere with some FM tuners if it is placed immediately above or
below them.
● Install two AAA batteries in the CP-1’s remote control.
Precautions

Page 8
Lexicon
Connection
and
Calibration
Turn off ALL audio and video components, including individual power
amplifiers. (Unplug any preamps and power amps that don’t have
switches.) Locate the gain trim potentiometers on the rear panel of the CP-
1; these are knobs at the top of the panel, marked REAR, SIDE, MAIN,
CENTER and SUB. Turn each one all the way down (counterclockwise as
viewed from the back).
Note
Front Panel
Adjustments
Note
Audio Inputs
Audio Outputs
Connect the main outputs of your audio preamplifier or the preamplifier
output of your receiver to Input I on the CP-1.
Inputs I and II are electrically identical and can be used interchangeably.
The CP-1 will also act as a line-level preamp with three inputs (including the
built-in tape monitor loop) if you wish to connect, for example, the audio
outputs from a TV receiver/monitor, a CD player and a VCR directly to it.
Connect the CP-1’s MAIN outputs to your main stereo channels. Connect
any additional amplifier/speaker combinations to the remaining outputs
on the CP-1: SIDE to the side amplifiers, REAR to the rears, CENTER to the
center- channel amplifier and SUB WOOFER to the subwoofer amp.
Locate the button below the SUB potentiometer marked CENTER/OUT,
PHANTOM/IN. If you have no center front speaker, push it in; if you have
a center channel, make sure this button is in the out position.
Push the INPUT I button on the front panel. Push the MONITOR SOURCE
and TAPE PRE buttons. Turn the INPUT LEVEL knob all the way down
(counterclockwise).
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-1. However,
any change in the receiver’s volume control after the system is adjusted will
upset the balance between the main and auxiliary speakers. If you are using
this configuration, you should now turn the receiver’s volume control all
the way down. If there was a tape deck previously connected to your
receiver's monitor loop, connect it to the CP-1's tape outputs and inputs.

Page 9
CP-1 Digital Audio Environment Processor
Connection
and
Calibration
Setting the
Main Input and
Output Levels
Turn on the CP-1. For the first two seconds the display should read:
LEXICON CP-1, with a software version number and a copyright notice.
For another two seconds there will be a configuration message, then a
program name will appear. When the power-up routine is finished, aim the
remote control at the unit and push the EFFECT MUTE button (bottom row,
right). The message: EFFECTS OUTPUTS OFF will appear in the display for
about 4 seconds and the EFFECT MUTE LED on the front panel will light.
Main Output
Be sure the Input Level is as high as
possible without flashing red.
Set all output levels to zero; set Vol-
ume UP almost all the way.
Set Main Output so system is as
loud as you are ever going to need it.
(Be careful that this level does not
cause speaker distortion or amplifier
clipping.)
The CP-1 has its own volume and balance controls, which you will be using
in place of the ones on your existing preamp or receiver. Set the gains in your
main stereo channels for optimum dynamic range as follows.
For best performance, the CP-1 should always be driven to its full Input
Level.
With the CP-1’s remote volume nearly all the way up, slowly advance the
rear- panel potentiometer for the MAIN OUTPUTS until the sound is as
loud as you will ever want to play the system. (Make sure that this level is
not high enough to cause speaker distortion or amplifier clipping.) DO
NOT TOUCH THE GAIN ON YOUR PREAMPLIFIER AFTER THIS
ADJUSTMENT. USE ONLY THE CP-1’S VOLUME CONTROL.
If you are using the CP-1 in a tape monitor or processor loop, turn the rear-
panel MAIN output adjustment all the way up, then advance your
receiver’s volume control until the music is as loud as you will ever want it.
DO NOT TOUCH THE GAIN ON YOUR RECEIVER AFTER THIS
ADJUSTMENT. USE ONLY THE CP-1’S VOLUME CONTROL.
If there are audible differences between the levels of the source you used for
this calibration procedure and other sources, you may have to readjust the
INPUT LEVEL to accommodate them. Where possible, try to use the output
level controls on the various sources to equalize levels.
Output Levels
Input Levels
Turn on your preamp, choose a signal source and play some loud music (a
heavily compressed FM rock station or heavy-metal CD is ideal). Turn the
preamp’s volume control up about three quarters of the way. Adjust the CP-
1’s INPUT LEVEL control until the red level-indicator LEDs at the right of
the display blink occasionally, then reduce the INPUT LEVEL until only the
green LEDs are lit.
Push and hold the VOLUME DOWN button on the remote control until the
bar graph on the display completely disappears and the display reads
SYSTEM VOLUME -64 dB. Turn on the main stereo power amplifier, then
hold the VOLUME UP button until the CP-1’s volume is at -03 dB. If the
back-panel potentiometers are turned all the way down, as they should be,
you will not hear any sound yet. If you hear loud sound as the CP-1’s
volume advances, stop and reset all rear-panel gain potentiometers fully
counterclockwise until they are completely off before proceeding.

Page 10
Lexicon
Connection
and
Calibration
Balancing
Additional Channels
Adjust other output levels until all
directions are equally loud.
1. Select
Pro Logic 2.Push Param to
CALIBRATE
3.Push UP
for ON
SPEAKER ANGLE is the angle
between the main speakers as
seen from the listening position -
here it is about 60°.
60°
60°
Calibration of the
Panorama Program
If you are using only two audio channels, level adjustment is now complete.
If you have additional channels, use the following procedure to set their
levels to match the main stereo pair.
Use the VOLUME DOWN button to reduce the CP-1’s level to about -20 dB.
If the EFFECT MUTE LED is on, push EFFECT MUTE to cancel it. Push
program button 12; the display will read: PRESET 12 on the left and
SURROUND PRO LOGIC on the right. Push PARAM four times or until
the display reads: CALIBRATE. Push PARAM UP to turn on the calibration
signal.
The sound you hear is a band of noise centered around 1 kHz, being sent in
sequence to: all channels, left side plus left front, center, right side plus right
front and rear channel(s). If you have a center speaker, the rear-panel
CENTER/PHANTOM button should be out. Since all levels are down
except for MAIN, you will hear only: both fronts, left only, silence, right
only, silence. If you have no center speaker, the rear-panel button should
be in and you will hear: both fronts, left-only, both fronts,right only, silence.
Now turn on the remaining power amplifiers and turn up SIDE, REAR and
CENTER gain until the individual loudness of the sounds reaching your
listening position is the same and the all-channel signal is evenly distributed
from all speakers. The CALIBRATE ON display will remain for as long as
you use this mode. When the front, center, side and rear channels are
balanced, press PARAM DOWN to turn off the calibration signal.
Finally, if you are using a separate low-frequency channel, use music or the
test signal of your choice to adjust the SUB WOOFER gain until the low bass
balances the rest of the spectrum. This completes the initial connections and
level adjustments of the CP-1.
PANORAMA works by canceling the sound going from each speaker to the
opposite ear. The effectiveness of the program is highly dependent on the
geometry of your front loudspeakers, the room and your listening position.
The correct timing of the canceling signal varies with the angle between
your main speakers. The SPEAKER ANGLE parameter, displayed in de-
grees, adjusts for wide or narrow speaker spacing. For the two canceling
signals to arrive at both ears at the same time you must be centered precisely
between the speakers. The Listener Position parameter (LISTENER POS)
delays the corrections from either channel and allows adjustment for an off-
center listening chair or for asymmetrical speaker placement.
The ideal setup for Panorama is an acoustically dead room, with speakers
well away from the walls, and the listener on the center line between the
speakers. The effect is diminished by reflections from nearby surfaces.
Furthermore, if the listener sees the two speakers from different angles their
responses will differ. The addition of acoustic absorption (soft furniture,

Page 11
CP-1 Digital Audio Environment Processor
Connection
and
Calibration
The Panorama Program is now calibrated. To store it, see page 27. Use
PARAM to display the final values of LISTENER POS and SPEAKER
ANGLE. Note these values and use them for all forms of Panorama,
including the Panorama subsections of AMBIENCE and REVERB.
carpets and drapes) or diffusion (furniture or books that form irregular
surfaces and break up reflections) and time spent shifting speakers and
chair into more precise alignment (use a tape measure rather than relying
on your eyes) will all be rewarded.
Find a mono source, such as an announcer on FM radio or a mono film, and
listen for a tightly focused center image of speech or singing. If the image
is off-center, adjust the CP-1's BALANCE control. (The narrower the
monaural image, the better Panorama will work.) Perform the following
setup from a relaxed, comfortable position in your listening chair with your
head facing the center point between the speakers.
1. Reduce the volume to about -20 dB. If the display reads: PRESET at the
top left, push Program button 2; if not, push BANK, then button 2 to load
PRESET PANORAMA WIDE. Push PARAM eight times (until the display
reads: CALIBRATE OFF). Push PARAM UP to turn on the left-channel
calibration signal.
2. The test signal should appear to come from off to your left side, well
beyond the left speaker, with near-total silence in the right ear. Still facing
forward, move your head from side to side until the effect is strongest. If you
can find thesweet spot from the confines of your chair, go directly to step 4;
otherwise perform step 3.
3. Push PARAM once so the display reads: LISTENER POS. Push PARAM
UP and DOWN until you hear the strongest effect. Then push PARAM four
times, or until the display reads: CALIBRATE LEFT ONLY.
4. Push PARAM UP until the display reads: CALIBRATE RIGHT ONLY.
Again, shift your head from side to side to find the sweet spot, this time
looking for the point where the silence in theleft ear is deepest. Compare the
locations of the two sweet spots from steps 2 and 4. If they coincide, go on
to step 6; otherwise, perform step 5.
5. Push PARAM twice so the display reads: SPEAKER ANGLE. If the sweet
spot from step 2 (LEFT ONLY) is to the left of the sweet spot from step 4
(Right ONLY), push PARAM UP once. If the the step 2 sweet spot is to the
right of the step 4 sweet spot, push PARAM DOWN. Push PARAM to
return to CALIBRATE RIGHT ONLY and go back to step 2.
6. Adjust your chair so the single sweet spot is in the center, or use PARAM
to get to LISTENER POS and adjust this parameter to move the sweet spot
to where you want it. Use PARAM to step to CALIBRATE and push
PARAM DOWN until the calibration signal goes off.
Select Panorama; Push PARAM to
display: CALIBRATE; then push
Param UP to: ON LEFT ONLY.
NOISE SILENCE
}
Move your head from side to side to
find the position where the noise is
full left, and the right ear hears noth-
ing.
NOISE
SILENCE
Push PARAM UP again for RIGHT
ONLY. If your left ear is in the silent
band, the speaker angle is correct.
Repeat for the right side.
If the two silent bands are too close,
raise SPEAKER ANGLE; if too far
apart, lower SPEAKER ANGLE.
To store, see page 27.

Page 13
CP-1 Digital Audio Environment Processor
Speaker
Set-Up and
Configuration
Configuration
Speaker Configurations
3
Press the PARAM UP or DOWN buttons until the contrast of the display is
at a maximum as seen from your listening chair. Then push PARAM to
enter the Configuration menu. Consulting the Speaker Configuration
Chart, push PARAM UP or DOWN until the figure and the description in
the display match your room.
Choose the diagram from the Speaker Configuration Chart that corre-
sponds to your room and note its number. Press the BANK button and hold
it for a few seconds. The display will read: LCD CONTRAST ADJ with a
bright bar. The CP-1 is now in Configuration mode. Within this mode,
operations are carried out using only the three PARAM buttons. Configu-
ration mode will be canceled if any other button is pressed or if 10 seconds
pass without a button push.
Subwoofers are not shown in any of these
configurations. Consult the subwoofer
owner's manual or your dealer for proper
placement of subwoofers, remembering
that corners are almost always best.
Side and rear speakers may sound better if
mounted above the listener, (See Page 15.)
1
Center Phantom
Button IN
3
Center Phantom
Button IN
4
Center Phantom
Button IN
2
Center Phantom
Button IN
5
8
7
10 11 12
Center Phantom
Button IN
9
Center Phantom
Button IN
6
speaker connected to
center output
speakers connected to
Main outputs
speakers connected to
Side outputs
speakers connected to
Rear outputs
Note: If you are using only one rear
speaker it may be hooked up to either
the left or right rear output, as long
as you use the correct Configuration
number.

Lexicon
Page 14
Speaker
Set-Up and
Configuration
Notes on Speaker
Placement
2
Good
Better
Best
10
6
The CP-1’s Configuration routine allows a wide range of choices in speaker
and room set-ups to maintain optimal performance as your system ex-
pands. If you are starting with a conventional two-channel system, in what
order should you add additional channels? The answer depends on
whether you are primarily interested in audio or video.
For Film The film enthusiast with only two stereo speakers should place them
relatively close on either side of the screen and use Panorama for both music
and films. Beyond this, the very first priority should be a center channel
above or below the screen for dialog (Configuration 2). An alternative is
Configuration 3, in which two front speakers and one rear are used with
either the Panorama or Pro Logic programs.
A dramatic improvement will be noticed when increasing from two or three
speakers to four. These should be arranged as in Configuration 6, but with
the front left and right speakers spread quite wide, perhaps all the way
around to the sides — making a diamond pattern with the listener in the
center. How widely you space the front channels will depend on how
deeply immersed in the sound track you want to be; the full diamond
configuration can considerably heighten the sense of emotional involve-
ment in many movies. This arrangement has the advantage of using
amplifiers and speakers in pairs.
If your center channel speaker is smaller than the left and right fronts,
increasing BASS BLEND will remove low bass from the center and increase
it in the left and right speakers. The center channel is so important that if it
is not possible to have an extra center speaker it is frequently better to plug
the center output of the CP-1 into the audio input of your video monitor and
use its built-in speaker (if it has one) than it is to run the dialog through the
main loudspeakers.
The best set-up for those who like both music and films is Configuration 10.
The addition of side speakers allows all forms of source material to be
palyed without compromise.
The button on the back of the CP-1 labeled CENTER OUT/PHANTOM
IN is very important in the operation of the Surround programs. Make
sure the button isout if you have a center speaker and in if you have none.
With the button in (Phantom Mode) the center channel is mixed in with
the two main outputs; the side outputs carry the Left and Right signals;
the center channel is turned off.

Page 15
CP-1 Digital Audio Environment Processor
Speaker
Set-Up and
Configuration
For Music
1
Center Phantom
Button IN
Good
Center Phantom
Button IN
5
Better
9
Center Phantom
Button IN
Best
Subwoofer Connections
If your main interest is music, you will most likely begin with two high-
quality main speakers (Configuration 1). Here the Panorama program
alone will add substantial enhancement in spatial impression, image size,
image depth and freedom from coloration of central sources.
The audiophile’s first addition should be two side channels (Configuration
5) and, after that, two rear channels (Configuration 9). For maximum effect
with the Reverberation programs, two additional speakers can be placed in
the front corners of the room, driven from the rear amplifiers. The side
speakers, however, are the most important.
With Configuration 5, movies can be played with the Pro Logic program;
the rear-channel sound will automatically be routed to the side speakers. If
you have six speakers (Configuration 9) an additional stereo amplifier can
power both a center channel and a subwoofer.
The height of the extra speakers will depend on the furnishings in the room.
In real halls much of the reflected energy comes from above, and placing the
side and rear speakers above the listener can be very effective. They also
work well on normal speaker stands. Placing the speakers too high in a
narrow room may reduce the spaciousness, since this makes the sound
come from the ceiling instead of the side walls.
The Subwoofer Output is a monaural signal created by summing the left,
right and center outputs, then filtering out frequencies above 100 Hz at a
rate of 12 dB per octave.
Connecting a subwoofer to the CP-1 rear-panel Subwoofer Output, adds
bass energy without removing any from your main speakers. Note, how-
ever, that many of the subwoofers curently on the market have their own
crossover built in, and in some cases it cannot be adjusted or defeated. These
are generally designed to generate the deep bass for your system in order
to relieve your main speakers and amplifier from having to produce these
low frequencies. To take advantage of this, connect the CP-1 Main Outputs
to the subwoofer crossover input and connect the front main amplifier to the
high pass output from the subwoofer. Because the CP-1 has some parame-
ters specifically dedicated to low frequency processing, we recommend
inserting a crossover ( or any other signal processor) after the CP-1 in the
signal chain.

Page 17
CP-1 Digital Audio Environment Processor
To Load, Modify and
Store Programs
4
Using the
Programs
The CP-1 contains four basic programs: Panorama, Ambience, Reverb and
Surround. Each program has three variations which occupy one row on the
remote control.
Pushing one of the buttons numbered 1 through 12 during normal opera-
tion will load that program. Whenever the CP-1 is turned on, it will load the
program that was running when it was turned off.
Each program has a number of parameters that you can vary with the three
PARAMETER keys. The parameters for each program are listed in the
section on individual programs. The PARAM key displays the current
parameter and its value for about five seconds. If PARAM is pushed during
this period it will select the next parameter. Pushing the PARAM UP or
DOWN keys at any time will display and change the parameter’s value in
the direction you have selected.
The CP-1 contains a total of 24 program registers organized into two banks
of 12 each. Each of the 12 program buttons, therefore, will load one of the
factory presets or one of the 12 user registers, depending on which bank is
currently in use. The factory preset programs are denoted by: PRESET in the
upper left of the display, with the program number beneath. The program
title appears in the right half of the display, with the basic program name
above and the variation below. The BANK button switches between
whichever of the 12 PRESET variations is running and the corresponding
USER register or vice-versa. For example, if you are running USER 7,
pressing BANK will switch to PRESET 7.
When the CP-1 leaves the factory each User register contains a duplicate of
the Preset program of the same number. If you maintain this arrangement,
the labels on the remote will continue to describe the contents of both
registers. You can, however, store a version of any program in any of the
User registers.
The CP-1’s User registers can be cleared and reloaded with duplicates of the
factory Preset programs at any time. Press and hold the PARAM key while
you turn the CP-1 on; continue to hold down PARAM for 5 seconds. This
puts the unit into TEST mode. Push EFFECT MUTE to clear and reload the
User registers and to restore all initial settings of Volume, Balance, Contrast,
Configuration, etc. The display will read: RESTORE DEFAULTS. Push
PARAM again to begin normal operation.
While running a Preset program you can change any of its parameters to see
how they affect the sound. These changes will be lost when you turn the CP-
1 off or change programs, unless you explicitly store the changes. (See page
27.)Changes made in the value of parameters within a User program,
however, are stored with that program immediately and automatically.
This includes settings of EFFECT LEVEL and FRONT/REAR BALANCE
but not of the LEFT/RIGHT BALANCE or VOLUME controls. You do not
have to perform any specific storage routine to create a new variation in a
User register; it happens whenever you change a parameter.
Test Mode
PARAM
BANK
To load a program:
1. Push BANK to select
USER or PRESET
2. Push a program # to load.
3. Changes to PARAM, EFFECT
LEVEL and F/B BALANCE store
automatically in USER Bank.
4. To store changes for a PRESET
Bank program, see page 27.
EFFECT BALANCE VOLUME
B
F
L
R
MUTE
EFFECTSYSTEM

Page 18
Lexicon
Panorama
The Programs:
Panorama
The location of the front speakers and the listening position are crucial to
Panorama’s effectiveness and for best results your system and the CP-1
together should be set up and calibrated according to the procedure on page
10. The strength of the Panorama effect drops off as you move away from
the prime listening position, especially to the sides. Video systems with the
main loudspeakers spaced closely on either side of a TV screen will produce
a diminished effect over a somewhat wider area than set-ups with a large
included angle between the speakers.
Note
* 0 in BINAURAL, or if no rear speakers specified
Program
Parameters
Panorama extracts the natural ambience from recorded music and moves it
outward from the speakers, producing greater width and depth of image
and a feeling of enhanced spaciousness. The program adds no additional
sound but expands the existing stereo image. Panorama also works with
Dolby Stereo movies, bringing the surround track outward into the room.
Panorama works with just two loudspeakers. If side speakers present,
Panorama disables them and substitutes its own simulation. The front
speakers are driven entirely from the CP-1’s digital circuits. Panorama will
also send a stereo difference signal (left channel minus right or vice-versa)
to the rear loudspeakers if you have them. NORMAL (1) will provide
enough expansion for most music, while WIDE (2) has a more pronounced
effect on the image. BINAURAL (3) has special low-frequency compensa-
tion and is meant specifically for true binaural recordings made with a
dummy head.
Panorama NORMAL is designed to work with recordings whose bass
energy is evenly distributed across the stereo image. Panorama WIDE is
designed for recordings with centered bass (almost all pop and rock). The
only other difference between these two programs is their initial EFFECT
LEVEL. If you need more bass from Panorama NORMAL, switch to WIDE
and reduce the EFFECT LEVEL. Conversely, if Panorama WIDE is too bass-
heavy, switch to NORMAL and increase the EFFECT LEVEL.
INPUT BALANCE
LISTENER POS
SPEAKER ANGLE
LF WIDTH
REAR LEVEL
REAR ROLLOFF
REAR DELAY
CALIBRATE
SET PROGRAM NAME
MEMORIZE PROGRAM
(Centered)
127
49 degrees
0
16*
2.9 kHz
16 ms
OFF
NA
NA
Full Left-Full Right
0-254
29-90 degrees
-25 - +25
0-32
329 Hz-14.1 kHz
0-32 ms
Left, Right, Both
NA
NA
Parameter Initial Value Range

Page 19
CP-1 Digital Audio Environment Processor
The Programs:
Panorama
The procedures for naming a new version of the program (SET PROGRAM
NAME) and storing it in one of the User registers (MEMORIZE PROGRAM)
are described on page 27.
Set Program Name/
Memorize Program
The use of the CALIBRATE mode is described in the setup instructions
beginning on page 10. Calibrate
REAR ROLLOFF sets the frequency above which the rear-channel sound is
attenuated. It should be high enough to give presence and airiness to the
rear sound but not so high as to place distracting instrumental overtones or
other sounds behind you. The appropriate setting will vary with program
material.
Rear Rolloff
REAR DELAY adjusts the amount of time between the appearance of a
signal in the front channels and its emergence from the rear. Generally, the
correct delay is about 16 milliseconds but the setting depends on speaker
set-up and source material. In general, the delay should not be so great that
the rear sound becomes identifiable as a distinct source.
Rear Delay
REAR LEVEL adjusts the loudness of the signals sent to the rear channels. Rear Level
LF WIDTH controls the amount of low-frequency spatial correction that is
applied to the signal. A positive value of LF WIDTH means the difference
(left minus right channel) signal has additional energy below 500 Hz, while
the sum (left plus right) signal has correspondingly less. (Negative settings
can compensate for recordings with too much of this property.) LF WIDTH
can add needed spaciousness and warmth to classical recordings made with
coincident or near-coincident miking. (See Chapter 5: Theory and Design.)
LF Width
EFFECT LEVEL sets the amount of crosstalk cancellation, and thus the
apparent front width. It is the most important user adjustment to Panorama,
and has been given its own button on the remote. When EFFECT LEVEL is
all the way down, Input Balance, LF Width and the rear outputs are still
active.
Effect Level
INPUT BALANCE compensates for the occasional source with audible
channel imbalance. It is especially important when using Panorama for
movies. If the movie sound tracks are unbalanced, the dialog will wander
away from the center; adjusting the Input Balance corrects for this.
Input Balance
LISTENER POS and SPEAKER ANGLE are determined using the calibra-
tion procedure on page 10. The resulting value for Listener Position should
then be used for the Panorama sections of Ambience and Reverb.
Listener Position/
Speaker Angle

Page 20
Lexicon
Ambience
The Programs:
Ambience
Ambience generates the appropriate early reflections for stereo simulation
of one of six different halls — one rectangular hall and one fan-shaped hall
in small, medium and large sizes — and sends the reflections to the side and
rear speakers. For systems with only two loudspeakers, Ambience also
incorporates a version of Panorama that will spread the stereo image and
add the reflections it generates to the expanded sound stage.
The initial EFFECT LEVEL is highest for Program 4 and progressively lower
for Programs 5 and 6. It will be easier to hear exactly what the parameters
do if the effect level is temporarily turned all the way up.
The LIVENESS parameter adjusts the amount of recirculation within the
program. The higher the value, the more reflective the surfaces of the
simulated space and the longer the sound will take to decay. At very high
values the decay is audibly less smooth than in the Reverb programs, which
are more effective at simulating very live spaces.
Liveness
ROOM SHAPE selects one of two basic hall shapes. Refer to Chapter 5:
Theory and Design, for a discussion of the properties of the two.
Room Shape
EFFECT LEVEL adjusts the loudness of the side and rear speakers. When
there are no side speakers, it adjusts the amount of ambient signal mixed
into the main loudspeakers. EFFECT LEVEL is the most important user
adjustment in AMBIENCE and REVERB, and has been given its own button
on the remote. It should be adjusted as high as possible without making the
extra speakers individually audible.
Effect Level
* 0 if side speakers are specified
ROOM SHAPE
LIVENESS
ROLLOFF
PANORAMA EFF
LISTENER POS
SPEAKER ANGLE
SPEECH DETECTION
SET PROGRAM NAME
MEMORIZE PROGRAM
Rectangle
4
s/m/l=5.9/3.6/2.9 kHz
28*
128
51 degrees
ON
NA
NA
Rectangle, Fan
0-6
329 Hz-14.1 kHz
0-32
0-254
33-91 degrees
On/Off
NA
NA
Parameter Initial Value Range
Program
Parameters