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Using
the CP-3
CP-3 Digital Surround Processor
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.
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 the Theory and Design booklet.)
REAR LEVEL adjusts the loudness of the signals sent to the rear channels.
This control should be set so that the rear is audible without calling attention
to itself.
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 the
program material.
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.
NOTE: If the system is configured with only side speakers, the REAR
LEVEL, REAR ROLLOFF and REAR DELAY settings will affect the side
outputs. If the system has both side and rear speakers, these parameters
control them both.
In Panorama, MAIN MUTE mutes the front outputs; EFFECTS MUTE
mutes the side and rear outputs.
The center channel is not used in the Panorama mode.