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Model CP500 Digital Cinema Sound Processor Installation and Alignment Issue 5 Part No.
Installation and Alignment Manual For Model CP500 Digital Cinema Sound Processor Dolby Laboratories Incorporated U.S.A. 100 Potrero Avenue, San Francisco, CA 94103 Tel: 415-558-0200; Fax: 415-863-1373, www.dolby.com U.K. Wootton Bassett, Wiltshire SN4 8QJ Tel: (44) 1793-842100; Fax: (44) 1793-842101 DISCLAIMER OF WARRANTIES: Equipment manufactured by Dolby Laboratories is warranted against defects in materials and workmanship for a period of one year from the date of purchase.
TABLE OF CONTENTS SECTION 1 INTRODUCTION 1.1 About the Dolby CP500 ......................................................................1-1 1.2 Hardware Configurations Available....................................................1-1 CP500-D........................................................................................1-1 CP500-300.....................................................................................1-1 CP500-SR........................................................................
ii Dolby Digital Soundtrack Processing System............................. 3-11 Cat. No. 670 Video Front-end Card ............................................ 3-11 Cat. No. 671 DSP Cards (2) ........................................................ 3-11 Cat. No. 673 System Services Card ............................................ 3-11 Cat. No. 675A Digital Signal Processing Card ........................... 3-11 Cat. No. 680 Bit Rate Converter Card ........................................
iii SECTION 6 A-CHAIN ALIGNMENT 6.1 Aligning the A-Chain .................................................................................... 6-1 6.2 Analog Optical Alignment - Projector........................................................... 6-2 SECTION 7 Cat. No. 700 DIGITAL SOUNDHEAD 7.1 Mechanical Alignment ....................................................................................7-1 7.2 Adjustment Setup with Oscilloscope ..............................................................7-1 7.
iv 8.4 Bypass Adjustments ........................................................................................8-6 8.4.1 Before you Adjust ............................................................................8-6 8.4.2 Bypass Level Adjustment (No Cat. No. 683 Electronic Crossover Card Installed)..........................................................................8-7 8.4.3 Output HF/LF Balance and Level Adjustments(With Cat. No. 683 Electronic Crossover Card)...................................
v A.2 Saving System Settings...................................................................................A-5 ® A.2.1 Using the Terminal Program in Windows .....................................A-5 Equipment Needed ........................................................................A-5 Transferring Data From the CP500 to the Computer ....................A-5 Transferring Data From the Computer to the CP500 .................. A-9 A.2.2 Using Load500 Software ..........................................
vi APPENDIX D THE DOLBY DIGITAL SUBSYSTEM D.1 Basic Functions ..............................................................................................D-1 D.2 Discussion of Changeover Technique ............................................................D-3 D.3 Auxiliary Data Channel..................................................................................D-3 APPENDIX E THE EVOLUTION OF DOLBY FILM SOUND Optical Sound..............................................................................
SECTION 1 INTRODUCTION 1.1 About the Dolby CP500 Dolby Laboratories has continuously established new benchmarks for motion picture sound. The CP500 Digital Cinema Processor maintains that tradition, setting new standards for performance, value, flexibility, and convenience. Entirely selfcontained, the CP500 provides both Dolby Digital and Dolby analog processing built in. An easy-to-read LCD screen and uncomplicated front panel soft keys makes it easy to install, operate, and maintain.
1-2 CP500-SR • • Dolby A-type and SR analog soundtrack decoding capability Upgradable to Dolby Digital decoding by means of plug-in circuit cards CP500-70 • • • Dolby Digital decoding capability Dolby A-type and SR analog soundtrack decoding capability 70mm magnetic soundtrack capability (includes a 6 channel A/D module and 4 additional channels of Dolby A-Type noise reduction for use with an external magnetic pre-amp); can play Formats 42 and 43 Any CP500 configuration also interfaces readily with oth
1-3 1.4 Specifications Construction Rack-mount chassis frame construction with plug-in modules accessible behind hinged front panel. Signal Connections a. Standard 9 pin D-type connectors for Mic., Optical 1, Optical 2, Serial Data, and Motor Start signals. b. Standard 25 pin female D-type connectors for Digital Readers 1 and 2, Accessory Unit, Automation connections, and 6 Channel Analog Inputs. c. RCA type phono jacks for Non-sync 1 and 2. d.
1-4 Loudspeaker Equalization L,C,R: 27 band digital 1/3 octave EQ; digitally controlled bass and treble LsRs: digital 9-band, full octave EQ SW: Digital parametric EQ with 12dB cut capability Remote Connections Connections for up to two Dolby Cat. No. 689 remote fader, format selectors and/or Cat. No. 734 fader-only remotes are provided. A provision is also made for a temporary auditorium fader consisting of a 100k potentiometer.
1-5 1.5 Regulatory Notices FCC This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment.
1-6 IMPORTANT SAFETY NOTICE This unit complies with the safety standard IEC65. To ensure safe operation and to guard against potential shock hazard or risk of fire, the following must be observed: o If the unit has a voltage selector, ensure that it is set to the correct mains voltage for your supply. If there is no voltage selector, ensure that your supply is in the correct range for the input requirement of the unit o Ensure fuses fitted are the correct rating and type as marked on the unit.
SECTION 2 EQUIPMENT REQUIRED The following equipment is required for proper installation and alignment of the CP500 Digital Cinema Processor. • Dual-trace oscilloscope with X-Y facilities (minimum bandwidth 20 MHz, 50 MHz recommended). • Calibrated microphone (preferably multiple microphones and a multiplexer). • Sound pressure level meter with slow time-constant and C weighting scale. • Voltmeter for measuring the exciter lamp power supply.
2-2 Figure 2 - 4. SMPTE Buzz Track. Figure 2 - 5. Stereo Optical Surround Level – Cat. No. 151B. Figure 2 - 6. Illumination Uniformity – Cat. No. 566. JIFFY TEST FILM Cat. No. 251 SR•D—A subjective film for testing theatre sound RECORDED IN Running Time: 6 minutes Picture format: 1.85:1 widescreen or 2.35:1 anamorphic Sound formats: 10 05 digital analog Dolby Laboratories Inc.
SECTION 3 INSTALLATION AND JUMPERS Do NOT connect the CP500 to mains power until all connections have been made and all jumpers have been checked or set. If air-conditioning noise is audible in the theater, arrange for lubrication of the motor, fan bearings, adjustment of belts and drives, and cleaning of filters to reduce the ambient noise to a minimum. If the air-conditioning cannot be repaired switch it off while the CP500 is being aligned. 3.
3-2 3.2 Mount the CP500 To avoid heat problems, do not mount the Dolby CP500 immediately above or below the power amplifiers. Locate the power amplifiers away from the CP500 to avoid hum pickup problems. Always leave a 1U (43 mm, 1.75") space above and below the CP500 to provide adequate ventilation. Install an air guide or baffle to deflect hot air from equipment below the CP500.
3-3 3.3.1 Connect Motor Start Relays (Models CP500-D, and -70) For two-projector installations, motor start relays are required for projector changeover. Digital data on the soundtrack is read in advance of the picture, therefore an advanced changeover signal is required (see Appendix C). Projector motor start contact closures provide this signal to the CP500. Isolated contact closures from mechanical or opto-isolated relays wired across projector motors must be used.
3-4 3.3.3 Connection of Solar Cell Boards In contrast to traditional solar cells, the Cat. No. 655 and other solar cell circuit boards used by several projector manufacturers are active devices with their own power supply. Some care needs to be given to the wiring between the board and the CP500 in order to avoid grounding problems and to provide immunity to RF interference. In principle, this means separating the audio ground connections and the RF shielding screen connections.
3-5 J2 Cinema Processor * Ground Wire on J2 Pin 2 is Optional * Ground Wire on J2 Pin 5 is Required Chassis Ground J1 Figure 3 - 2. Wiring using two 3-wire shielded (screened) cables. J2 Cinema Processor * Ground Wire on J2 Pin 2 is Optional * Ground Wire on J2 Pin 5 is Required Chassis Ground J1 Figure 3 - 3. Wiring using one 5 or 6-wire shielded (screened) cable.
3-6 Check and Set Jumpers Next, check the following jumpers located on each circuit card. The factory settings for each jumper are shown in [brackets]. Cat. No. 661 Optical Pre-amplifier Card (Analog Soundtracks) PROJECTOR 2 PROJECTOR 1 J2 POWER-UP PROJECTOR SELECT JUMPER DS503 PROJ 1 SIG1 DS501 GND SIG 2 PROJ 2 CAT.NO. 661 Figure 3 - 4. Cat. No. 661. J2 Power-up Projector Select (Wake-up state) [P1] This jumper determines which projector is selected when power is first applied to the CP500.
3-7 Cat. No. 682 Analog Output Card Figure 3 - 6. Cat. No. 682. Crossover Select Jumpers [NO] J3 Left Channel J4 Center Channel J5 Right Channel J901 Bypass Audio Channel These jumpers route the designated signals through an optional Cat. No. 683 crossover card. If the Cat. No. 683 card is installed, these jumpers should be set to the “YES” position. If the optional Cat. No. 683 is not present, these jumpers should be set to the “NO” position. The jumpers are set to the “NO” position at the factory.
3-8 Cat. No. 683 Crossover Card (Optional) BYPASS RN600 CROSSOVER FREQUENCY SETTING HEADERS 500 Hz RN202 500 Hz RIGHT RN302 500 Hz LEFT SURROUND RIGHT SURROUND BASS SPEAKER CROSSOVER FREQ SELECTOR ACTIVE 100 Hz 50 Hz RN102 CENTER RN400 LEFT 500 Hz Freq setting for large horn is shown. CAT. NO. 683 Figure 3 - 7. Cat. No. 683 – Crossover Frequency Setting Headers.
3-9 Low Frequency Time Delay Enable Jumpers [DELAY] J100 Left Channel J200 Center Channel J300 Right Channel These jumpers allow the low frequency portion of the designated channels to be delayed when the jumper is placed in the “DELAY” position. This compensates for the time offset caused by high frequency drivers being behind the low frequency drivers in contemporary stage speakers.
3-10 3.5 Install Circuit Cards - Card Descriptions If they are not already installed in the CP500 unit, install all of the cards for your system as shown below for each CP500 version. Note that the noise reduction modules (Cat. No. 222SR-A) are shipped uninstalled. This is to prevent damage during shipment due to their weight. Should it ever be necessary to ship the CP500 again, be sure to remove these from the unit and pack them separately. NOTE: Cat. No.
3-11 Contains Microprocessor. Controls front panel display and controls. Contains interface for remotes and automation equipment. Cat. No. 683 Crossover Card (Optional) Provides active high- and low-pass filters on L, C, and R signals for bi-amplified installations. Provides low frequency surround channel outputs. Provides low frequency delay for time alignment of L, C, and R low frequency drivers. Contains bypass crossover and must be present for bypass operation in bi-amplified systems.
3-12 3.6 Bypass Power Wiring For emergency operation, the CP500 comes equipped with an independent external mains power module. If the main power supply or processor circuitry fails, the unit will automatically switch to bypass operation, allowing the show to continue with limited sound processing functions. The unit can also be switched manually to bypass operation by pushing a button located inside the front panel and labeled POWER/BYPASS.
3-13 3.7 Power On Connect the bypass power module to the CP500 and plug it into AC mains. The unit is shipped with the POWER/BYPASS switch set to BYPASS. The front panel BYPASS LED should light. Open the front panel and confirm that one of the Projector Select LEDs is on. Projector 1 or Projector 2 is selected by Jumper J2 on the Cat. No. 661 (See manual section 3.4). Connect the main power cable. Then, push the Bypass/Power button to turn on the CP500.
3-14 3.7.1 Hum and Other Noise Problems If you hear undesirable hum from the speakers when you apply power to the CP500 and other projection room equipment, check the following list for possible causes. 1. Equipment grounding. All equipment including the CP500 is grounded to the rack. To ensure good ground contact, install a starwasher to one mounting screw per piece of equipment.
SECTION 4 FRONT PANEL AND ALIGNMENT OVERVIEW This section describes the CP500 LCD display and operation of the front panel controls, along with of an overview of the general principles involved in the alignment of Dolby cinema equipment. It is useful to develop an understanding of why the CP500 is aligned as described in this manual. If the installer is already familiar with the CP500 and these principles, or is in a hurry to complete the installation, this section may be read later.
BYPASS INDICATOR Indicates continuous red when unit is in bypass mode. SOFT KEYS 1 - 8 Used to select the function shown next to the switch in the front panel display. MUTE ON INDICATOR Flashes when mute is activated. MAIN FADER/MULTI-FUNCTION CONTROL Controls sound level and also is used for data selection in menu operations. (SK1) (SK5) (SK2) (SK6) (SK7) (SK4) (SK8) Displays fader setting. Ranges from 0 to 10. Normally set to 7.0 This display shows '- -' when in data entry mode.
4-3 CANCEL Many of the screens used during set-up, alignment, or diagnostics contain a "PopUp" screen within the main screen. The CANCEL key is used to cancel the current pop-up operation being performed and restore any data that was changed during the pop-up screen operation. OK This key is used to accept and store the current setting in a pop-up screen. EXIT This key is used to signal completion of an adjustment procedure or select the previous screen. 4.1.
4-4 A manual bypass push-button is located inside the front panel on the right hand side of the unit. 4.2 System Password Many of the CP500 alignment functions can be protected from unauthorized access be using a system password (any four numbers). A password can be stored after the system is aligned in order to block any changes to the B-chain alignment, level settings, or time delays. Knowledge of this password would be required to enter these CP500 menus. The CP500 is shipped with no system password.
4-5 4.3 Aligning the B-Chain The B-chain is defined as those system components from the fader through the loudspeakers. In the CP500, available adjustments include equalization, level control, and digital soundhead, analog, and digital surround delay settings. Adjustable mute fade-out time is also provided. It is not practical for the entire cinema industry to standardize on a single make and model of loudspeaker.
4-6 because there is no time for reverberation to build and add to the original sound. What is required is a curve that favors such impulsive “first arrival” sound and implies the same gently falling response that is observed when the output of an ideal loudspeaker is measured with a perfect microphone in the theater. The amount of reverberation varies with frequency and the higher the frequency the more the treble will be absorbed rather than being reflected.
SECTION 5 B-CHAIN ALIGNMENT 5.1 Check Theater Equipment Thoroughly check the loudspeakers and power amplifiers for sources of poor performance: • Check that the loudspeaker cables are in good condition and that they of a suitable gauge for the impedance of the speakers and the length of the run. • Rattles (a leak in the low frequency driver cabinet may appear to be a rattle). • Loose bolts or other hardware. • Open drivers.
5-2 B-Chain Alignment • • Blown fuses. Good air movement through power amplifiers. Air-conditioning If air-conditioning noise is audible in the theater, arrange for lubrication of the motor and fan bearings, adjustment of belts and drives, and cleaning of filters to reduce the ambient noise to a minimum. 5.2 Preparing for Room Equalization Using a Microphone Multiplexer with the CP500 If you are using a Dolby Cat. No.
5-3 B-Chain Alignment Before you set out to equalize the room, make sure you do the following: 1. Be sure to use the same Bypass crossover frequency setting header as the screen channels use. 2. Carefully install the correct headers in the appropriate socket locations, making sure to set the header correctly. 3. Set all power amplifier gain pots to the maximum. Carefully ensure that only HF outputs are routed to the HF horns to avoid damage from excessive low frequency excursion of HF horn diaphragms. 4.
5-4 B-Chain Alignment 5.3 Room Equalization Equalization is performed using a real-time analyzer built into the CP500. The adjustment for the five full range channels involves two steps - coarse adjustment and fine adjustment, using a 27-band equalizer for each of the screen channels (left, center, and right), and a 9-band equalizer for the two surround channels (left surround and right surround). Subwoofer channel equalization involves setting the frequency, "Q", and level of "cut".
5-5 B-Chain Alignment WARNING: The following steps will cause the CP500 to output pink noise to the power amplifiers. The CP500 is shipped with the output levels set to a minimum. If you are unsure of the settings on your unit, turn off the power amplifiers before pressing the Output Adjust key. Then, press the key and observe the front panel display; it will show the present output level adjustment settings. With the settings at minimum, excessive loudness will usually not be a problem.
5-6 B-Chain Alignment LEFT SIGNAL PRESENT RIGHT SIGNAL PRESENT NONSYNC1 LEFT NONSYNC1 RIGHT NONSYNC2 LEFT NONSYNC2 RIGHT EQ MIC INPUT EQ MIC SIGNATURE MIC CAT. NO. 681 Connect Cat. No. 580 Microphone Multiplexer to the microphone input connector on the rear panel, or if using another type of multiplexer or single microphone, open the front door of the CP500 and plug it into the "EQ MIC INPUT" connector on the Cat. No. 681 card.
If the sound pressure level in the theater is too low, a dialog box will appear on the CP500 screen. 30 40 70 50 FF O 80 60 5-7 B-Chain Alignment Adjust the level in the room to about 85 dBC, using the EQ mic control as mentioned above. Verify the level by using your hand-held sound level meter. “85 dBC” SIGNAL PRESENT SIGNAL PRESENT Now open the front door of the CP500 and locate RV1100, the second trimpot from the bottom on the Cat. No. 681.
5-8 B-Chain Alignment Each of the channels should now be adjusted to give a reasonable sound pressure level in the room. It is not necessary to get exact readings at this point since the levels will change slightly during equalization of the room. Exact output level adjustment must be performed after equalization. To select the channel to be adjusted, rotate the front panel knob. Pink noise is routed to the channel indicated by the video highlight along the bottom of the screen.
5-9 B-Chain Alignment The system now displays a dialog box allowing you to select the channel to equalize. OK Rotate the front panel knob until the desired channel is displayed, then press the OK key to select the channel. The display will switch to the 27 Band Half-Screen mode. This screen is split into two parts which display equalizer band settings, or “sliders” at the top, and a frequency versus level analyzer at the bottom.
5-10 B-Chain Alignment Adjust the Bass and Treble controls to move the room levels close to the reference line. This is accomplished by rotating the front panel knob until the arrow is under the desired control to be adjusted. Then, press and hold the Up/Down arrow key (SK4), and rotate the front panel knob until the desired response is displayed. SK4 Press All Bands (SK3) to return to the 27 Band Half-Screen screen.
5-11 B-Chain Alignment Select the next channel to adjust by again pressing B-Chain Equalization (SK1). FORMATS Menu Cancel OK Exit Repeat the above procedure for the remaining front screen channels. Equalization facilities for the surround channels are slightly different than for the screen channels. The equalizers for the surround channels are 9-band octave equalizers.
5-12 B-Chain Alignment Equalization facilities for the subwoofer channel are also different than for the other channels. The subwoofer equalizer is a digital cutonly filter, with adjustable frequency, Q (or sharpness), and amount of cut. From the analyzer display, determine the primary low-frequency resonant peak of the room and adjust the Frequency, Q, and Cut controls to cancel this resonance. The front panel knob and "Up/down arrow" key (SK4) are once again used to select and move the controls.
5-13 B-Chain Alignment Using the front panel knob and the "Up/down arrow" key: Set the SPL to 85 dB for the screen channels. Set the SPL to 82 dB for the surround channels. When the proper levels have been achieved, the subwoofer level may be set by pressing the Subwoofer Level key (SK2). SK2 The subwoofer adjustment begins with a calibration cycle which uses center channel pink noise to establish the zero reference line of the RTA display.
5-14 B-Chain Alignment Noise is now routed to the subwoofer in optical mode (0 dB, 50 Hz bandwidth). Use the front panel knob to set the average of the bands below 50 Hz to 0 dB on the RTA display. Center noise can be turned on and off at any time by pressing the Center Noise key (SK1), allowing observation of the bass extension of the center speaker contributed by the subwoofer. Check the polarity of the signal being sent to the subwoofer channel by using the Opt. Sw Polarity key (SK4).
5-15 B-Chain Alignment 5.4 Bypass Crossover Adjustment NOTE: In a bi-amplified system, the bypass subsystem must have its own electronic crossover as well, to avoid damage to the HF horns from low frequency signals. In order to perform these adjustments, first turn off the CP500 and remove the Cat. No. 682. Move jumper J900 to the BCAL position. Re-insert the card and turn on the CP500. Also, set the bypass adjust level jumpers on the Cat. No. 682 to HI and the Cat. No. 683 to LO.
5-16 B-Chain Alignment BYPASS LEVEL Adjust the Bypass Level trimpot on the Cat. No. 683 for 85 dBC in the room. 30 40 70 50 F OF 80 60 CAT. NO. 683 “85 dBC” Position J900 to disable BCAL Cat. No. 682 card Next, turn off the CP500 and reset jumper J900 to disable BCAL to preserve correct bypass operation. If the jumper is left in BCAL, Bypass mode will not isolate the CP500 output from faulty sounds in the main signal path.
SECTION 6 A-CHAIN ALIGNMENT The A-chain alignment involves adjustments made to the projector soundhead optics, solar cell, and optical preamplifier card. It is the part of the sound system that covers the film path, analog soundtrack solar cell, optical preamplifier, slit loss equalizer, digital soundtrack reader, associated digital signal processing and decoding circuitry, and Dolby processing circuits.
6-2 Analog Optical Alignment - Projector 6.2 Analog Optical Alignment - Projector If a stereo solar cell is already installed on Projector No. 1, inspect the surface of the cell for cracks, chipping, or other damage. If the cell appears to require replacement, remove the mounting bracket from the projector and replace the cell and mounting block assembly. Clean the lens surfaces with a cotton swab moistened with glass cleaner.
6-3 Analog Optical Alignment - Projector Inspect the lateral film guides for evidence of cuts, cracks, surface defects, and any foreign materials that could impair the film guiding. Clean as required or replace the guides, as necessary. Make sure the guide roller rotates freely, and if it is springmounted, make sure that lateral movement and return is not obstructed. If the roller has a felt or rubber insert, check for a flat spot, replace the roller if need be.
6-4 Analog Optical Alignment - Projector Place a white card at the front of the lens close to the position of the film sound track. Adjust the position of the exciter lamp until the image of the filament is centered both vertically and horizontally as shown. You may find that obtaining an image of the filament is difficult in some projectors. Place a piece of tissue paper over the lens to assist in seeing the image of the filament.
6-5 Analog Optical Alignment - Projector On the CP500, press the FORMATS key. The Current Format screen will be displayed. FORMATS Select Format 01, Mono. FORMATS Menu Cancel OK POWER AMPS OFF LEFT TEST POINT PROJ 1 SELECT LED LEFT SIGNAL PRESENT LED GND TEST POINT RIGHT SIGNAL PRESENT LED Exit Verify that the theater power amplifiers are off. Open the CP500 front panel, and connect an oscilloscope to the test points Left and Right on the Cat. No. 661 Optical Pre-amplifier card. as shown.
6-6 Analog Optical Alignment - Projector press: screen shows: Menu Format Selection key Begin the optical alignment program by pressing the following keys: press: screen shows: Menu Selection Alignment key MENU, press: screen shows: A-Chain Alignment key System Alignment Alignment (SK2) (A password may be required to continue), A-chain Alignment (SK3), FORMATS Menu Cancel OK Exit Adjust Optics (SK1).
6-7 Analog Optical Alignment - Projector ✓ ✓ L L R R L L R R OSCILLOSCOPE TRACES The lens and exciter lamp assembly are adjusted laterally for a null if the film cannot be moved laterally. The adjustment is correct when there is no signal output while the film is played. It may not be possible to adjust for a null with some older slits; in such instances, adjust for a minimum and equal signal on L and R. Some projectors use a lens with an adjustable slit width.
6-8 Analog Optical Alignment - Projector L R Cat.No.222SR/A Cat.No.222SR/A LEFT TEST POINT Verify that the outputs of the right and left solar cells are properly connected by placing a white card over the right solar cell (nearer the outside of the projector) and verifying that the level of the right channel drops, as indicated by the bottom group of LEDs on the Cat. No. 222SR/A card, and the Right Signal Present LED on the Cat. No. 661 card.
6-9 Analog Optical Alignment - Projector Press Manual EQ (SK2). FORMATS Menu Cancel OK Exit OK P1, Left Select Projector 1, Left Channel by rotating the front panel knob and pressing OK. The OPU Alignment RTA screen will appear. Switch the oscilloscope to the X/Y mode and adjust the azimuth of the projector optics for the narrowest diagonal trace.
6-10 Analog Optical Alignment - Projector The RTA trace shown may not be typical of your results. Merely attempt to obtain the best response. The azimuth and focus adjustments interact so you must repeat the azimuth and focus adjustments until no further improvement is obtained. Press EXIT. EXIT Now check the Right channel: FORMATS Menu P1, Right Cancel OK Exit OK Press Manual EQ (SK2) Select Projector 1, Right channel by rotating the front panel knob and pressing OK.
6-11 Analog Optical Alignment - Projector Press EXIT. EXIT Press Manual EQ (SK2) and repeat the high frequency adjustment for the left channel. FORMATS Menu Cancel OK Exit Select Projector 1, Left channel by rotating the front panel knob and pressing OK. P1, Left OK Again, rotate the main fader for the most extended high frequency response without "peaking". The frequency response (both channels) must be within 1dB to at least 12kHz. Press EXIT.
6-12 Analog Optical Alignment - Projector Press Auto Level (SK7) FORMATS Menu Cancel OK Exit A pop-up screen appears which allows you to select Projector 1 or 2 as the optical input source. Projector 1 OK Turn the front panel knob to select Projector 1, then press OK. Be certain that the Dolby Tone test film is still running. FORMATS Menu Cancel OK Exit EXIT The CP500 automatically calibrates the right and left channel optical preamp gain, setting it to Dolby level.
SECTION 7 THE CP500 DIGITAL SYSTEM 7.1 Mechanical Alignment Mechanical alignment of the Cat. No. 700 Digital Soundhead consists of making sure the film path through the Digital Soundhead is aligned with the path through the rest of the projector. For built-in (basement) digital soundheads, see the manufacturer's instructions. 1.
7-2 Cat. No. 670 Video Board Test Points: VIDEO VGND CLAMP TRACK +15 +5 DGND −15 TP1 (white) TP2 (black) TP3 (green) TP4 (brown) TP5 (yellow) TP6 (red) TP7 (black) TP8 (blue) The CCD video signal Ground reference for Video signal Horizontal Sync. to view Video scan.
7-3 7.4 Exciter Lamp Level Confirmation and Adjustment The output voltage of the lamp power supply is factory-set to be between 9.5 and 10 volts (See scope set up in Section 7.2). Lamp intensity has a direct relationship to the video signal voltage. The acceptable range for the peak video signal voltage (of unobstructed light through the perf hole) is between 2.7 and 5 volts (see figure above).
7-4 CLAMP SCREW LATERAL ADJUSTMENT SCREW TENSION ARM SPRING Figure 7- 3. Locations of clamp screw and lateral adjustment screw. 7.6 Optical Alignment The soundhead is optically aligned at manufacture and should not require adjustment unless the CCD circuit board has been moved or replaced (the CCD sensor is located on the CCD circuit board. Optical alignment of the sensor depends on the position of the circuit board).
7-5 5. To re-align the CCD board, first loosen the two lateral adjustment screws shown in the diagram of the circuit board. Move the board laterally while observing the image on the scope. When the video trace appears as shown in Figure 7-5, with respect to the clamp trace, tighten the screws. x - 0.2 division x + 0.2 division Figure 7- 5. Video trace in relation to clamp trace. Azimuth The azimuth adjustment controls the angular position of the CCD board with respect to the film.
a 7-6 Proper adjustment of position, intensity and focus will be verified by observing no error light flashing and minimum error rate (1 to 8) displayed on the Cat. No. 673 board in the CP500. 7.7 How to Identify Types of Soundtracks A Dolby Digital print, or stereo optical (A-type or SR),or mono optical print should be identified as such both on the film can and the leader. However, with handling the identification may be lost.
7-7 7.9 Cat. No. 673 Error Rate Display Following powerup, with no film running, the seven-segment display on the Cat. No. 673 will display a “-” indicating no data on which to display error rate. With film running, the display will show the error rate of the film on a scale of 0-8 with intermediate values indicated by the right hand decimal point (0,0.,1,1.,2,2.,3,3.,4,4.5,5.,6,6.,7,7.,8,) where 0 is the lowest and 8 is the highest. The display shows “F.
7-8 digital system, the performance is perfect up to the limits of error correction, and then degrades very rapidly. Should the digital data become corrupted beyond correction through perforation damage, concealment techniques are applied for up to 4 perforations (40 ms), after which time the CP500 switches to passing analog audio. Corrected digital data must remain valid for a period of time before switching back to the digital track. 7.
7-9 To disable the auto-digital feature: You may disable auto-digital operation by pressing the MENU key and SK7. MENU SK7 Pressing SK7 alternately enables and disables the auto-digital feature. Alternately, if the unit is currently playing digital audio in Format 10, select Format 05 (SK3). FORMATS Menu Cancel OK Exit A dialog box will ask you if you want to disable auto-digital operation.
7-10 Allowable Source Formats Any format can be designated as a source format. Non-film formats, however, should not be chosen as source formats. If, for example, you choose non-sync as a source format, film motion during projector cueing could result in accidental selection of Dolby Digital during intermission. Allowable Target Formats Any format can be a target format. Of course, the target format should be the format in which you play Dolby Digital.
7-11 Method 2 Press Format 05 while playing digital data. A dialog box will appear on the screen, asking if you want to disable the auto-digital format. Press the OK key to disable auto-digital. NOTE : The dialog box will not appear and autodigital will not be disabled unless the CP500 is currently playing in Format 10. OK Method 3 Turn off the light source in the digital reader. Note that in some projectors with the digital and analog readers built-in, both light sources turn on and off together.
7-12 Assigning Target Formats press: screen shows: Menu Format Selection key press: screen shows: System Setup Menu Selection key System Setup (SK1) press: screen shows: Format Configuration System Setup Format Configuration (SK3) key press: screen shows: Format Configuration Build Format Selector Build Format Selector (SK3). key key FORMATS Press the MENU key Menu Cancel OK Exit Choose Assign Auto-Digital Targets (SK3).
7-13 7.13 Maintenance and Adjustments The Cat. No. 700 Digital Soundhead should be kept clean and free of dust and dirt for best performance, just like the analog soundhead. Wiping the external surfaces with a clean cloth on a regular basis will keep the head looking new. The optical path should be inspected regularly and kept clean with a photographer’s lens cleaning kit (available from most camera stores). Use care not to scratch the lens.
7-14 7.13.2 Print Cleanliness As with any soundtrack, keeping the film print clean will give best performance. The Dolby Digital print format has robust error correction information encoded along with the audio data, and the CP500 uses a powerful digital error correction technique, allowing the data to be read perfectly even if scratches and dirt are present. However, best performance will be obtained if the print is kept clean. Standard film cleaners will provide good results.
SECTION 8 FINAL ADJUSTMENTS 8.1 Setting Optical Surround Delay The CP500 incorporates a delay line in the surround channel to ensure that sound from the rear of the theater arrives at the listeners’ ears approximately 20 milliseconds after the arrival of sound from the front speakers. The delay is set into CP500 memory using the front panel knob. Use the following formula to calculate the correct delay setting: 1. Estimate the distance between a rear seat and the nearest surround loudspeaker, in feet.
8-2 Rotate the front panel knob until the desired delay reading is displayed. Then press the OK key. OK You can verify that the delay setting is acceptable by listening to a familiar Dolby Stereo film which ideally contains both center channel dialogue and some discernible surround sound. The Dolby Cat. No. 251 SR/Digital “Jiffy” film serves very well for this purpose.
8-3 8.2 Setting Digital Soundhead Delay On a Dolby Digital print, the digital sound data is located 6 frames in advance of the analog soundtrack, and 26 frames in advance of the picture. When the Digital Soundhead is mounted above the analog soundhead (as with the Cat. No. 700) a delay is necessary in order to synchronize the digital soundtrack with the analog track and the picture.
8-4 8.2.2 Dynamic 1. Thread a loop of Cat. No. 1010 Digital Soundhead alignment test film through the projector, analog soundhead, and digital soundhead. Run the projector. 2. From the Current Format menu, select Format 10, Dolby Digital. 3. Press MENU, Alignment (SK1), Reversion Mode (SK4), then rotate the front panel knob to display Digital Only. Press OK. This forces the CP500 to read the digital track on the Cat. No. 1010 continuously.
8-5 8.3 Setting Digital Surround Delay The CP500 automatically calculates a typical digital surround delay based on the optical surround delay setting performed in Section 8.1. Actual theater geometry affects the amount of surround delay required, therefore you may wish to set the delay manually. From the System Alignment menu, press the Digital Surround Delay key (SK5). Rotate the front panel knob until the desired delay reading is displayed, then press OK.
8-6 8.4 Bypass Adjustments The Bypass system has two adjustments: output level (all systems) and low frequency and high frequency driver balance (for systems only equipped with the optional Cat. No. 683 Electronic Crossover). 8.4.1 Before you Adjust First, turn off the power to the CP500. Remove the Cat. No. 682 card, located in position J2 (see Model CP500-SR Card Locations in Section 3). Set jumper J900 to the BCAL position. Set jumper to BCAL position. Figure 8-1. Cat. No.
8-7 8.4.2 Bypass Level Adjustment (No Cat. No. 683 Electronic Crossover Card Installed) press: screen shows: Menu Format Selection key press: screen shows: Menu Selection Allignment Press the MENU key, Alignment (SK2), key press: screen shows: utput A ust System Alignment key Output Adjust (SK2), and select the Center channel. If necessary, calibrate the SPL level of the CP500 analyzer.
8-8 8.4.3 Output HF/LF Balance and Level Adjustments (With Cat. No. 683 Electronic Crossover Card) REMEMBER: Adjust the trimpot on the Cat. No. 682 Output Card for LF/HF Balance and adjust the trimpot on the Cat. No. 683 Electronic Crossover Card for Bypass Level.
8-9 Press Output Adjust (SK2). SK2 Select the Center channel. If necessary, calibrate the SPL level of the CP500 analyzer. Select Half Screen. SK5 Press Bypass (SK5). This connects the Left, Center, and Right outputs of the CP500 to the Bypass subsystem output. BYPASS LEVEL 30 40 70 50 F OF 80 60 Adjust the Bypass Level trimpot on the Cat. No. 683 (do not adjust the 682 at this time) Electronic Crossover Card to 85 dBC in the theater. CAT. NO.
8-10 8.4.4 Bypass Level Adjustment for Early Cat. No. 682 (No Cat. No. 683 Electronic Crossover Card Installed) Thread the projector, and run a loop of Cat. No. 69P pink noise test film, or the pink noise side of Cat. No. 69 test film. Select Format 04 (Dolby Stereo). Press MENU. Then, System Setup.
8-11 8.4.5 Early Cat. No. 682 Output HF/LF Balance and Level Adjustments (With Cat. No. 683 Electronic Crossover Card) REMEMBER: Adjust the trimpot on the Cat. No. 682 Output Card for LF/HF Balance and the adjust the trimpot on the Cat. No. 683 for Bypass Level. Thread the projector, and run a loop of Cat. No. 69P pink noise test film, or the pink noise side of Cat. No. 69 test film.
8-12 About Non-sync The CP500 has two sets of Non-sync inputs, designated Non-sync 1 and 2. They both have a wide range of input level adjustment, but to further extend the possible range of input signals, the two sets of inputs have different gain adjustment ranges. • • Non-sync 1 will accommodate input Dolby levels between approximately 0.13 and 6.3 volts. Non-sync 2 will accommodate input Dolby levels between approximately 0.05 and 2.5 volts. Dolby level represents about 85 dBC in the auditorium.
8-13 8.6 Mute Speed Adjustment The length of time it takes for the sound to fade from normal setting to muted (when the MUTE key is pressed) is adjustable. To make this adjustment, press: screen shows: Menu Format Selection key Press the MENU key, press: screen shows: System Setup Menu Selection key System Setup (SK1), press: screen shows: CP500 Controls System Setup key CP500 Controls (SK1), Mute Speed Adjustment (SK7).
SECTION 9 ACCESSORIES 9.1 CP500 Operation with Remote Controls The CP500 is equipped for use with three types of remote controls: Cat. No. 689, Cat. No. 734, and an auditorium fader. 9.1.1 Cat. No. 689 CP500 Remote Control FORMAT SELECTION KEYS Select the same formats as displayed on the CP500 front panel. The remote controller can be programmed to also select the local projector when any key is pressed WRITE-ON AREAS MUTE ON INDICATOR Indicates output to all channels is muted.
9-2 The format selection softkeys and MUTE key of the remote control box function just like those on the CP500 front panel, as long as the CP500 is in a format screen. White painted areas are provided next to each softkey so that the assigned formats can be written on them. O F F 1 2 3 4 ROCKER DOWN S11 +V DATA GND J1 CAT. NO. 689 REMOTE Figure 9 - 2. Dip switch location for Cat. No. 689 – set to Projector 1. The remote is set at the factory with all switches UP (ON), which causes the Cat. No.
9-3 9.1.3 Auditorium Fader This is a user-furnished 100k linear pot wired as a variable resistor, with minimum resistance corresponding to Fader 10. To select the Auditorium Fader: press: screen shows: Menu Format Selection key Press the MENU key. Press Auditorium Fader. Turn the front panel knob to the “Enabled” position FORMATS Menu Cancel Exit OK FORMATS Press the FORMATS key to return to the format control screen. The fader level display will show “AU.
9-4 9.2 Operation with Cat. No. 580 Microphone Multiplexer The Cat. No. 580 Microphone Multiplexer has been designed to work with, as well as be controlled from the CP500. The multiplexer ensures more accurate theater speaker equalization by enabling the simultaneous use of as many as four microphones (supplied) placed throughout the auditorium.
9-5 The figure shown below provides an example of good microphone placement. Figure 9 - 3. Microphone placement with Cat. No. 580 Multiplexer. Connect the Cat. No. 582 input/output cable to the Cat. No. 580 Multiplexer and secure the hold down screws so that the cable cannot work loose. Route the cable to the location of the CP500 and connect it to the microphone connector on the back panel of the CP500. To operate the Cat. No.
9-6 To select one mic: Pressing any soft key, SK1 through SK4, will halt scanning and enable the corresponding microphone. SK1 - SK4 To remove one mic: SK5 SK1 - SK4 ⇒ To resume scan: SK8 To remove a microphone from the scan sequence, select the microphone by pressing the corresponding softkey, then press the Enable/Disable key (SK5). Resume scanning by pressing Scan (SK8).
SECTION 10 TROUBLESHOOTING Your theater sound system consists of a number of critical audio components in addition to the Dolby CP500. Thus, the first step when something goes wrong with the sound is to find the source of the problem. The troubleshooting chart, starting on page 7, can be helpful. If the troubleshooting chart is not sufficient for finding and solving the problem right away, the procedures in the following manual sections should be helpful.
10-2 10.1.2 If One Channel Fails or is Distorted 1. Open the front door of the CP500 and switch to Bypass using the pushbutton switch in the lower right corner. A mono signal is then fed to all three screen channels. If the problem in one channel persists, the power amplifier or speaker for that channel is probably at fault. If the problem is not in the Center channel, switch the faulty amplifier off, being sure that it is not shared with the Center channel, and finish the show in that condition.
10-3 10.1.5 Excessive or Inappropriate Sound From Surround Speakers 1. As an emergency measure to continue the show, switch off the surround channel power amplifier(s). At your next opportunity, find out if the problem is related to the film itself or the theater sound system. The problem is most likely to be in: • Power amplifier gain settings; • Damaged loudspeakers rattling, etc.; • Solar cell alignment in the projector (if the problem is analog sound); • Cat. No.
10-4 10.2 Between Shows Open the door and look at the three LEDs at the left edge of the Cat. No. 684 system controller board. This is the horizontal board located at the bottom of the CP500. If all three are lit, then the power supply is acceptable. MAIN CP500 RESET BUTTON POWER INDICATORS CAT.NO. 684 +15V -15V +5V NOTE: There is no LED indicating +24V power. If the fan is running then +24V power is working. Next, turn off the power amplifiers to avoid disturbing the audience.
10-5 three LEDs function as a signal meter. If the Cat. No. 681 LEDs are flashing but these are not, then the Cat. No. 681 is defective, or the Cat. No. 222 SR/A is defective. EXCEPTION: If you have a Cat. No. 668 Studio NR daughter board, the Lt and Rt signals are routed through the Cat. No. 300 modules rather than the Cat. No. 222 SR/A module. The Cat. No. 300s have no level meters so no signal presence indicators are available in this configuration. Next in the signal path are the LEDs on the Cat. No.
10-6 If this does not correct the problem, you can reset the entire CP500 by pressing the button located on the left hand end of the horizontal Cat. No. 684 board on the bottom of card rack (J8,9). WARNING: Resetting the system will cause the CP500 to switch to Bypass until the system reset process is complete. This will produce a considerable change in sound quality and you may not wish to do this during a show. The Cat. No. 673 contains a one-character alphanumeric display.
10-7 10.2.3 Bypass Signal Path LEDs When the CP500 is operating in Bypass, the only LEDs that are active are the Cat. No. 661 optical preamp card located three slots from the left hand side of the unit (J3). They are the Projector Selected LEDs and the Lt and Rt Signal Present LEDs. If the Signal Present LEDs are flashing, you should have sound unless the fader is turned down or the Cat. No. 661, 682, or 683 (optional card) has failed. 10.
10-8 Symptom Probable Cause Recommended Action NO SOUND AT ALL No sound, front panel dark, no bypass LED No power to either main or bypass systems. See if mains panel fuse or circuit breaker feeding the CP500 is blown. Verify all power connectors are fully inserted into their sockets. If power is present, see if CP500 bypass transformer is installed correctly. Verify that Cat. No. 682 card is fully seated in its connector. Press main power switch (behind front door of CP500).
10-9 Symptom Probable Cause Recommended Action NO SOUND IN SOME FORMATS The analog exciter lamp or power supply may have failed No analog film sound (Formats 01,04, 05). Front panel normal, but Dolby Digital or the wrong projector may be selected. Solar cell connections may be loose or damaged. The Cat. No. 661 sound OK and non-sync OK. optical preamp may have failed. Digital exciter lamp/LED not working, No Dolby Digital sound (Format 10). Front panel normal, analog sound OK.
10-10 Symptom Probable Cause Recommended Action FADER PROBLEMS Fader level display indicates “Au” and front panel fader has no effect Auditorium analog fader selected. Select front panel fader. Fader level display changes when no change in CP500 front panel fader has been made Remote fader is being operated; If in Custom screen, new format with different fader setting selected In the screen menu structure, go to MENU/System Setup/CP500 Controls and disable the auditorium fader.
10-11 Symptom Probable Cause Recommended Action RUMBLES, WHISTLES, HUM etc. IN SOUND Rumble in sound, regardless of format Whistles in sound Hum (power line frequency) in sound Audio grounding scheme may need changing. Audio grounding scheme may need changing. Malfunctioning exciter lamp or lamp power supply. Call service engineer. Call service engineer. Cover the solar cells with a business card or other opaque object.
10-12 Symptom Probable Cause Recommended Action TROUBLE IN ONE OR MORE CHANNELS One channel fails. Defective power amplifier, external crossover, or wiring for that channel. Place the CP500 in bypass. All three screen speakers should become active. If not, there is a fault in the power amplifier, external crossover, or wiring for the missing channel. Check if the amplifier concerned is on and check for blown fuses.
10-13 Symptom The sound from two or more channels is distorted (you can detect the distortion at the booth monitor at normal listening level). Probable Cause Malfunctioning 2-channel power amplifier. Recommended Action If two distorted channels are served by the same 2-channel amplifier, the problem may be in the amplifier. See the manufacturer's instructions. Call service engineer. When a stereo film is projected, the sound The A-chain has become misaligned.
10-14 Symptom There is distortion when you play nonsync sound, but sound from the film is not distorted. Probable Cause The non-sync source is introducing distortion. Recommended Action Change the non-sync selection in case the track being played is distorted. If you have control of the output level of the device (cassette deck, CD player, etc.), it will be useful to turn down its volume especially if you have to operate the non-sync with the fader a long way below 7.
10-15 Symptom Probable Cause Recommended Action CHANGEOVER AND CONTROL TROUBLES Projector changeover command does not change to sound output of the selected projector and the front panel LEDs do not light according to the projector selected. Defective changeover relay or switch. If possible, check that the relay or switch contacts actually open and close as the changeover command is issued several times. Defective wiring from relay or switch to terminals on rear of the CP500.
10-16 You can hear pops and thumps during projector changeover. If your projector changeover relay power is DC, a diode should be soldered across the winding of the relay to prevent noise from the relay winding from leaking into the audio wiring. This diode may be missing or defective. If possible, check that the diode is installed across the relay winding. If you are familiar with such electronic components, check to see that it is not blown.
APPENDIX A ADVANCED OPERATIONS A.1 Customizing the Format Display Screen There are two types of Format Selection display screens. The unit is shipped in "Standard Mode", which allows selection of eight commonly used formats. There also exists a "Custom Mode" which allows the user to program the softkeys to show formats of his own choosing, along with changes to the fader setting and projector selection for each of these softkeys.
A-2 Customizing the Format Display Screen To assign formats to the softkeys press the Assign Formats key (SK1). FORMATS Menu Cancel OK Exit A copy of the existing format selection screen is displayed. Pressing any softkey causes a pop-up box to appear, allowing any format to be assigned to that softkey. This example shows the display after SK4 has been pressed for assignment. Rotating the front panel knob will move the display through the formats available.
A-3 Customizing the Format Display Screen Assigning fader settings to the softkeys is done in a similar fashion. FORMATS Menu Cancel OK Exit To assign fader settings, press the Assign Fader Settings, key (SK2). Once again a copy of the format selection screen is displayed. Pressing any softkey causes a pop-up box to appear allowing a fader setting to be entered for that softkey. This example shows the display after SK4 has been pressed to set a fader value for SK4, "Format 10".
A-4 Customizing the Format Display Screen FORMATS Menu Cancel OK Exit Assigning , or "linking", a projector selection to the softkeys is done in a similar fashion. To assign projector selection, press the Assign Projectors key (SK5). Once again a copy of the format selection screen is displayed. Pressing any softkey causes a pop-up box to appear allowing a projector selection to be entered for that softkey.
A-5 Customizing the Format Display Screen Press the FORMATS key to return to the format selection screen. FORMATS Notice that a small indicator (CUST) now appears next to the Current Format area, indicating that “Custom” screen mode is active. Any fader settings and projector selections are also displayed. In this example, the screen tells you that the fader setting has been adjusted to 6.5 and Projector 1 has been selected. A.
A-6 Saving System Settings 1. Begin the data download function (send data to a computer) in the CP500 by pressing the key sequence: press: screen shows: Menu Format Selection key press: screen shows: System Setup Menu Selection MENU System Setup (SK1) CP500 Controls (SK1) key press: screen shows: CP500 Controls System Setup FORMATS key Menu Cancel OK Exit 2. Next, press Data Transfer (SK2). FORMATS 3. A pop-up box will appear prompting you to select various send or receive modes.
A-7 Saving System Settings 5. Go to the Settings drop-down menu, and select Communications. 6. Click on the various options as shown in this figure. This sets the above communications parameters in the Communications dialog box. 7. Click OK to return to the initial Terminal - (Untitled) window. 8. You can now save these communications settings for future use. Go to the File menu and Save these settings as CP500.trm in a convenient directory. The name of the window will now change to Terminal - CP500.TRM.
A-8 Saving System Settings 13. On the CP500, rotate the front panel knob on the CP500 front panel to select Send Data + Text (for saving the CP500 data plus a readable file of the system's settings), or select Send Data (for saving the CP500 data only). 14. Press the front panel OK key when you have the correct setting in the list box. The file will then begin to transfer, and will be visible as it is received on the computer's terminal screen.
A-9 Saving System Settings 16. It is a good idea to check the integrity of the file which has just been downloaded by immediately trying to load the file back into the CP500 as described in the following section. Any errors in the transfer process will become apparent because the data is automatically checked before any attempt is made to save the new received settings in the CP500. To view the readable text portion of the file to look at settings, etc.
A-10 Saving System Settings 5. Press the OK key and the receive data pop-up box should appear. The system is now waiting for data to be sent from the computer. 6. On the computer screen, go to Transfers and select Send Text file. 7. Provide the name of the file you wish to transfer to the CP500. 8. Click OK or press the Return key. The transfer of data will now begin. Although the computer's progress bar will indicate that it is sending the file, the data itself will not be visible.
A-11 Saving System Settings A.2.2 Using Load500 Software Load500 is a specific DOS based program which has been developed to make the task of transferring alignment and format information to and from a computer both simpler and quicker. The program includes a special option which allows CP500 operating software to be updated easily from new files supplied on disc. Please refer to the Load500 software manual, for complete information on installation requirements and operation.
A-12 Saving System Settings 4. On the computer run Load500. 5. At the Load500 screen, select 2. Download Parameters from CP500. Selection of menus in Load500 can be performed by (a) using the arrow keys and pressing RETURN, (b) pressing the associated number key, in this case, “2”, or (c) pressing the highlighted letter key, in this case, “D”. 6. Your next option is to download the CP500 with 1. Parameters Only or 2.
A-13 Saving System Settings 7. After choosing your option, the screen prompts you for a file name. (Any file name within the normal DOS constraints may be used, e.g. *.dmp. Refer to the Load500 software manual.). Type in the filename and press enter. The “.dmp” extension is not automatically added by the Load500 program and should therefore normally be included in the typed file name. NOTE: The default file name brain.dmp should not be used.
A-14 Saving System Settings 4. On the computer, run Load500. 5. From the Load500 screen, select 3. Upload Parameters to CP500. Selection of menus in Load500 can be performed by (a) using the arrow keys and pressing RETURN, (b) pressing the associated number key, in this case, “3”, or (c) pressing the highlighted letter key, in this case, “P”. 6. Your next option is to download the CP500 with one of the following: 1. 2. 3. 4. Upload Upload Upload Upload All EQ only A-chain only Formats only 7.
A-15 Transferring Data Between Two CP500s A.3 Transferring Data Between Two CP500s It is possible to send CP500 system alignment and set-up parameters to another CP500 Cinema Processor before replacing or moving it. A Cinema Processor can therefore be swapped with another and the replacement will not require realignment. The original data is simply copied to the replacement processor.
A-16 Transferring Data Between Two CP500s 6. On the sending CP500, press the key sequence: MENU System Setup (SK1) CP500 Controls (SK1) press: screen shows: Menu Format Selection key press: screen shows: System Setup Menu Selection key press: screen shows: CP500 Controls System Setup FORMATS key Menu Cancel OK Exit 7. Next, press Data Transfer (SK2). FORMATS Menu Cancel OK Exit 8. Rotate the front panel knob to select the Send Data option from the popup box. Press the OK key.
APPENDIX B CAT. NO. 683 ELECTRONIC CROSSOVER B.1 Description and Features The Cat. No. 683 Electronic Crossover Board is designed for use in the CP500 Digital Cinema Processor. When installed in a CP500, it provides the following features: • Electronic crossover filters for three bi-amplified channels (L, C, R) are configured to create a 4 pole Linkwitz-Reilly crossover, taking into account common loudspeaker characteristics.
B-2 B.3 Alignment B.3.1 Screen Channels Jumpers J100, J200, and J300 allow the low frequency portion of the designated channels to be delayed by 1.9 ms or 0.8 ms when the jumper is placed in the “DELAY” position. This compensates for the time offset caused by high frequency drivers being behind the low frequency drivers in contemporary stage speakers.
B-3 B.3.2 Surround Channel Bass Drivers Both the Cat. No. 682 Output card and the Cat. No. 683 have reversible filter headers labeled 50/100 Hz for the surround channels. Ensure that the headers on both cards are set to the same frequency, chosen to suit the low frequency handling capability of the surround speakers in use. If you have separate surround bass drivers, it is probably best to set both headers to 100 Hz in order to improve the low frequency power handling ability of the surround channel.
B-4 Bear in mind that when the unit first switches into Bypass mode, (when power is first applied, for example) the fader level in Bypass will be set to 7. When in Bypass mode, the fader setting can be adjusted and will be remembered until Bypass power is interrupted. Adjustments made to the fader level while not in Bypass do not affect the setting of the fader for Bypass mode. B.4 Special Applications The Cat. No. 683 was designed to be very flexible.
B-5 B.4.2 Crossover Frequency The values given in the table are for a 500 Hz crossover frequency. The frequency can be set by scaling ALL resistors in the same manner. Larger resistors give lower frequencies. Example: Suppose you wish to create a 630 Hz crossover frequency. Multiply each resistor value above by 500/630. The table shows the resulting values rounded to the nearest standard 1% resistor value. B.5 500 Hz header Pins 1-16 2-15 3-14 4-13 5-12 6-11 7-10 8-9 Resistance 10.0K 10.0K 6.98K 13.
B-6 Jumpers and Headers BYPASS CHANNEL HIGH FREQUENCY GAIN HI LO BYPASS LEVEL DELAY RN101 LEFT NO DELAY 1.9 mSEC J100 J600 CENTER 1.9 mSEC J200 RN201 DELAY LOW FREQUENCY DELAY DELAY J300 1.9 mSEC RN301 NO DELAY RIGHT DELAY SETTING HEADERS NO DELAY Delay setting for large horn is shown. CAT. NO. 683 Figure B - 1. Cat. No. 683.
B-7 Figure 3 - 1. Cat. No. 682. Crossover Select Jumpers [NO] J3 Left Channel J4 Center Channel J5 Right Channel J901 Bypass Audio Channel These jumpers route the designated signals through an optional Cat. No. 683 crossover card. If the Cat. No. 683 card is installed, these jumpers should be set to the “YES” position. If the optional Cat. No. 683 is not present, these jumpers should be set to the “NO” position. The jumpers are set to the “NO” position at the factory.
APPENDIX C BACKPLANE CONNECTORS / REFERENCE DIAGRAMS CP500 Backplane Connector Pin Assignments 1.
C-2 4. Bypass / Remote Connector: Pin Number 1 2 3 4 5 6 7 8 Signal Name Bypass Power Transformer Connection, 16-18 Vac Bypass Power Transformer Connection, 16-18 Vac Remote Control Unit V+ Remote Control Unit Data Remote Control Unit Ground Remote Auditorium Fader + Remote Auditorium Fader Ground N/C 5.
C-3 7. Optical 1 Input Connector: Pin Number 1 2 3 4 5 6 7 8 9 Signal Name Projector 1 Left Channel + Projector 1 Left Channel Signal Ground Projector 1 Right Channel + Projector 1 Right Channel Signal Ground N/C N/C Signal Ground 8. Optical 2 Input Connector: Pin Number 1 2 3 4 5 6 7 8 9 Signal Name Projector 2 Left Channel + Projector 2 Left Channel Signal Ground Projector 2 Right Channel + Projector 2 Right Channel Signal Ground N/C N/C Signal Ground 9. Mic.
C-4 10. Accessory Rack Analog Connector: * Pin Number 1 Signal Name AccOptByp 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 X15 X14 X13 X12 X11 X10 AccSW AccC AccRS AccLS AccR AccL AccNRS AccNRC AccNRRe AccNRLe AccNRR AccNRL Ground Ground Ground Ground Ground Ground Ground Ground Ground Ground +13VDC +13VDC -12VDC -12VDC Ground OPTBUSSR 36 37 Ground OPTBUSSL Dolby Level is 388 mV.
C-5 11.
C-6 12. 6 Channel Input Connector* : Pin Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 * Signal Name Signal Ground EXT3 Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground Signal Ground EXT0 EXT2 Signal Ground EXT1 Signal Ground Signal Ground EXT4 Signal Ground Signal Ground Signal Ground EXT5 Signal Ground Dolby Level is 300 mV at these set of inputs.
C-7 13.
APPENDIX D THE DOLBY DIGITAL SUBSYSTEM Basic Functions The basic functions of the Dolby Digital subsystem are: Video Acquisition Sync Finding Thresholding and Bit Packing Error Correction and De-interleaving FIFO Buffering and DAC Clock Generation Soundhead Delay AC-3 Transform Decoding Sample Rate Conversion Dolby Digital data is printed in the “interperf” area, between sprocket holes, adjacent to the normal analog tracks of standard 35mm release print motion picture film.
D-2 from each DSP, a threshold value is derived, above which a fixel is determined to be clear, representing a digital “1”, and below which the fixel is determined to be a “0”. Having reduced each 8-bit sample value to a single bit, each DSP packs groups of 8 bits of data and 8 a bit of erasure information into a serial stream, and passes this block of 722 words to the next stage. Error Correction and De-interleaving The Cat. No.
D-3 Sample Rate Conversion The sample rate of the data comming from the film is determined ultimately by the projector speed. For correct operation of the CP500, all data must be at a fixed sample rate. The Cat. No. 680 Bit Rate Converter Card performs this function. Discussion of Changeover Technique Projector changeover sensing is provided through the 9 pin female D-connector "Motor Start" on the CP500 rear panel.
D-4 Dolby Digital Decoder Block Diagram Exciter Lamp Light Pipe Film Optics 6 Channel CCD Line Array CCD Scanner Video Acquisition Bit Extraction Error Correction Fixed Delay FIFO and Clock Gen Transform Decoding Sample Rate Converter Digital Audio to Main Signal Path of CP500
APPENDIX E THE EVOLUTION OF DOLBY FILM SOUND Thanks to such developments as multichannel sound, the motion picture viewing experience today is more exciting and involving than ever before. And what the audience hears today is very much the result of a continuing effort to improve film sound originally undertaken by Dolby Laboratories more than twenty years ago. Indeed, the evolution of motion picture sound over the past two decades is, in great part, that of Dolby film sound technologies.
E-2 to the older speakers. The result was to ignore the improved high-frequency response of the newer, better units. To forestall compatibility problems, in the late 1930s a de facto standardization set in, the theater playback response that today is called the “Academy” characteristic. Theater owners knew what to expect from the films, and therefore what equipment to install. Directors and sound recordists knew what to expect from theater sound systems, and thus what kind of soundtracks to prepare.
E-3 By the 1970s, however, the film industry declined overall, with fewer films and fewer theaters. The expense of magnetic release prints, their comparatively short life compared to optical prints, and the high cost of maintaining magnetic theater equipment led to a massive reduction in the number of magnetic releases and theaters capable of playing them. Magnetic sound came to be reserved for a only handful of first-run engagements of “big” releases each year.
E-4 (made all but obsolete by the stereo optical format), consistently higher fidelity, and few of the drawbacks of magnetic formats. Much of the new technology, including noise reduction and equalization, also is applied to 70 mm magnetic releases (also originally designated as Dolby Stereo).
E-5 As with previous Dolby developments, Dolby Digital does not obsolete existing theater installations. The prints can be played conventionally in any theater, while the digital optical track can be reproduced by adding digital readers to the projectors and a digital decoder which interfaces with the theater's existing Dolby cinema sound processor. About Dolby AC-3 Conventional digital audio is coded by a technique called pulse code modulation (PCM).
E-6 While Dolby’s involvement with film sound first achieved wide recognition with the spectacular audio effects of such films as Star Wars, it has long since come to mean more than just special or dramatic effects. The objective is high quality sound reproduction overall—dialogue and music, as well as effects. Dolby technology is a means, not an end. It can be likened to an artist’s palette that provides the director with a full range of colors, where before there were but a few.
