3Com CP-1 owner manual References

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Theory

and

Design

CP-1 Digital Audio Environment Processor

References

1.Schroeder, M.R., Gottlob, D. and Siebrasse, K.F.,"Comparative Study of European Concert Halls: Correlation of Subjective Preference with Geo- metric and Acoustic Parameters", J. Acoust. Soc. Am., vol. 56, pp. 1195-1204 (1974).

2.Barron, M., and A.H. Marshall, "Spatial Impression Due to Early Lateral Reflections in Concert Halls: The Derivation of a Physical Measure",J. Sound Vibration, vol. 77, pp. 211, 232 (1981).

3.Griesinger, D., "Spaciousness and Localization in Listening Rooms and Their Effects on the Recording Technique", J. of the Audio Eng. Soc., vol. 34 no. 4, pp. 255-268 (1986).

4.Griesinger, D., "New Perspectives on Coincident and Semi Coincident Microphone Arrays", J. of the Audio Eng. Soc., 82nd Convention, Lon- don(1987) Preprint # 2464 (H-4).

5.Damaske and Mellert, "Ein Verfahren zur richtungstreuen Schallab- bildung des oberen Halbraumes über zwei Lautsprecher", Acustica, vol. 22, pp. 153-162 (1969/70)

6.Bishnu S. Atal and Manfred R. Schroeder, "Apparent Sound Source Translator" - U.S. Patent Disclosure, Patent No. 3,236,949, Feb. 22, 1966.

7.Borish, J., "An Auditorium Simulator for Domestic Use", J. of the Audio Eng. Soc., 33 (5) p. 330 (1985).

8.Blumlein, A.D., British Patent 394,325, 14 June, 1933, reprinted inJ. of the Audio Eng. Soc., Vol. 6, pp. 91-98, 130 (April, 1958).

9.Schroeder, M.R., "Progress in Architectural Acoustics and Artificial Reverberation: Concert Hall Acoustics and Number Theory", J. of the Audio Eng. Soc., 32(4) pp. 194-203 (1984).

10.Blauert, J. and Lindemann, W., "Auditory Spaciousness: Some further psychoacoustic analyses", J. Acoustical Soc. Am. 80 (2), August, 1986.

11.Griesinger, D., "Theory and Design of a Consumer Environment Proc- essor", presented at the Los Angeles AES Convention, Nov., 1988, preprint available.

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Contents Reverb Surround CP-1 Digital Audio Environment ProcessorOwners Manual Panorama AmbienceUnpacking and Inspection PrecautionsAcknowledgements Safety Suggestions Table of Contents Introduction ControlsFront Panel Controls IndicatorsSource Monitor Inputs Rear PanelPrograms Remote ControlPanorama Effect VolumeBank ParameterControls Indicators Connections to Other Equipment InstallationPrecautions Connection CalibrationConnection and Calibration Connecting the CP-1 in a Tape Monitor LoopAudio Inputs Input Levels Setting Main Input Output LevelsFront Panel Adjustments Connection CalibrationBalancing Additional Channels Output LevelsCalibration of the Panorama Program Silence Noise Configuration Speaker Set-Up ConfigurationSpeaker Configurations For Film Speaker Set-Up ConfigurationSpeaker Set-Up Configuration For Music Speaker Set-Up Configuration Speaker Set-Up Configuration Test Mode Using the 4 ProgramsTo Load, Modify and Store Programs Program Parameters PanoramaListener Position Rear Level Rear DelayEffect Level Input BalanceRoom Shape Liveness AmbiencePrograms Ambience Reverb Treble Pre-DelayMid RT Bass RTProgram Parameters Mono Logic SurroundPro Logic Stereo LogicRear Effect Program Parameters contd Auto AzimuthBalance Bass BlendNaming a Register Using ProgramsRestoring Original Settings To Rename and Store a RegisterUsing Programs Troubleshooting TroubleshootingProblem Troubleshooting Restoring defaults Troubleshooting Lateral Sound Theory DesignConcert Hall Acoustics Lateral Sound in your Listening Environment Theory and DesignAmbience Generation TheoryDesign Ambience ExtractionPanorama Program Theory Design Theory and Design Ambience Program Be the sound that comes from the sides Reverb Program Mono Logic Surround ProgramsPro Logic Pro Logic Decoding Dolby Surround DecodingCP-1 Decoder Stereo Logic Speaker Set-Ups for Pro Logic Theory and Design References Theory and Design Frequency Response SpecificationsOptional Equipment 06/00 Lexicon 070-06619 Rev
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