O wne r's Ma nua l
DC-1
Dig ita l Controlle r
Ba se , THX® a nd
Dolb y Dig ita l®
Ve rsions
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Dansk
Suomi
Vigtig information om sikkerhed
Tärkeitä turvallisuusohjeita
Säilytä nämä ohjeet tulevaa käyttöä varten.
Gem denne vejledning til senere brug.
Seuraa kaikkia yksikköön merkittyjä ohjeita ja varoituksia.
Følg alle anvisninger og advarsler på apparatet.
Käytäainaoikeaaverkkojännitettä.Tehovaatimuksetselviävätvalmistajan
käyttöohjeista. Huomaa, että eri käyttöjännitteet saattavat vaatia
toisenlaisen verkkojohdon ja/tai -pistokkeen käytön.
Apparatet skal altid tilsluttes den korrekte spænding. Der henvises til
brugsanvisningen, der indeholder specifikationer for strømforsyning. Der
gøres opmærksom på, at ved varierende driftsspændinger kan det blive
nødvendigt at bruge andre lednings- og/eller stiktyper.
Älä asenna yksikköä telineeseen jossa ei ole tuuletusta, tai välittömästi
lämpöä tuottavien laitteiden, esim. tehovahvistimien, yläpuolelle.
Ympäristön lämpötila käytössä ei saa ylittää tuotespesifikaation
maksimilämpötilaa.
Apparatet må ikke monteres i et kabinet uden ventilation eller lige over
andet udstyr, der udvikler varme, f.eks. forstærkere. Den maksimale
omgivelsestemperatur ved drift, der står opført i specifikationerne, skal
overholdes.
Kotelo on varustettu tuuletusreiillä ja -aukoilla. Luotettavan toiminnan
varmistamiseksi ja ylilämpenemisen välttämiseksi näitä aukkoja ei saa
sulkeatai peittää. Mitäänesineitäei saatyöntäätuuletusaukkoihin.Mitään
nesteitä ei saa kaataa yksikköön.
Der er ventilationsåbninger i kabinettet. For at sikre apparatets drift og
hindre overophedningmå disse åbninger ikke blokereseller tildækkes. Stik
aldrig noget ind igennem ventilationsåbningerne, og pas på aldrig at spilde
nogen form for væske på apparatet.
Älä kytke audiotehovahvistimen lähtöjä suoraan mihinkään yksikön
liittimeen.
Udgangsstik fra audioforstærkere må aldrig sættes direkte i apparatet.
Sähköiskun ja palovaaran välttämiseksi yksikkö ei saa olla sateessa tai
kosteassa, eikä sitä saa käyttää märässä ympäristössä.
Apparatet må ikke udsættes for regn eller fugt og må ikke bruges i
nærheden af vand for at undgå risiko for elektrisk stød og brand.
Älä käytä yksikköä jos se on pudonnut, vaurioitunut, kostunut, tai jos sen
suorituskyky on huomattavasti muuttunut, mikä vaatii huoltoa.
Apparatet må aldrig bruges, hvis det er blevet stødt, beskadiget eller vådt,
eller hvis ændringer i ydelsen tyder på, at det trænger til eftersyn.
Yksikön saa avata vain laitteeseen perehtynyt huoltohenkilö. Kansien
poisto altistaa sinut vaarallisille jännitteille.
Dette apparat må kun åbnes af fagfolk. Hvis dækslet tages af, udsættes
man for livsfarlig højspænding.
Tämä kolmio, joka esiintyy komponentissasi, varoittaa sinua
eristämättömänvaarallisenjännitteenesiintymisestäyksikönsisällä.
Tämä jännite saattaa olla riittävän korkea aiheuttamaan
sähköiskuvaaran.
Dennemærkatpåkomponentenadvareromuisoleret,farligspænding
i apparatet ... høj nok til at give elektrisk stød.
Denne mærkat på komponenten advarer om vigtig drifts- og
vedligeholdsinformation i den tilhørende litteratur.
Tämä kolmio, joka esiintyy komponentissasi, kertoo sinulle, että
tässä tuotedokumentoinnissa esiintyy tärkeitä käyttö- ja ylläpito-
ohjeita.
Norsk
Svenska
Viktig informasjon om sikkerhet
Viktiga säkerhetsföreskrifter
Ta vare på denne veiledningen for senere bruk.
Spara dessa föreskrifter för framtida bruk.
Følg alle anvisningene og advarslene som er angitt på apparatet.
Följ alla anvisningar och varningar som anges på enheten.
Apparatet skal alltid anvendes med korrekt spenning. Produktbeskrivelsen
inneholder spesifikasjoner for strømkrav. Vær oppmerksom på at det ved
ulike driftsspenninger kan være nødvendig å bruke en annen ledning- og/
eller støpseltype.
Använd alltid rätt nätspänning. Se tillverkarens bruksanvisningar för infor-
mation om effektkrav. Märkväl, att andra matningsspänningar eventuellt
kräver att en annan typs nätsladd och/eller kontakt används.
Installera inte enheteni ettoventileratstativ, eller direkt ovanför utrustningar
som avger värme, t ex effektförstärkare. Se till att omgivningens temperatur
vid drift inte överskrider det angivna värdet i produktspecifikationen.
Apparatet skal ikke monteres i skap uten ventilasjon, eller direkte over
varmeproduserende utstyr, som for eksempel kraftforsterkere. Den
maksimale romtemperaturen som står oppgitt i produktbeskrivelsen, skal
overholdes.
Behållaren är försedd med hål och öppningar för ventilering. För att
garantera tillförlitlig funktionoch förhindraöverhettning får dessa öppningar
inteblockerasellertäckas.Ingaföremålfårskuffasingenomventilationshålen.
Inga vätskor får spillas på enheten.
Apparatet er utstyrt med ventilasjonsåpninger. For at apparatet skal være
pålitelig i bruk og ikke overopphetes, må disse åpningene ikke blokkeres
eller tildekkes. Stikk aldri noe inn i ventilasjonsåpningene, og pass på at det
aldri søles noen form for væske på apparatet.
Anslut aldrig audioeffektförstärkarutgångar direkt till någon av enhetens
kontakter.
Utgangsplugger fra audioforsterkere skal aldri koples direkte til apparatet.
För att undvika elstöt eller brandfara får enheten inte utsättas för regn eller
fukt, eller användas på ställen där den blir våt.
Unngå brannfare og elektrisk støt ved å sørge for at apparatet ikke utsettes
for regn eller fuktighet og ikke anvendes i nærheten av vann.
Använd inte enheten om den har fallit i golvet, skadats, blivit våt, eller om
dess prestanda förändrats märkbart, vilket kräver service.
Apparatet skal ikke brukes hvis det har blitt utsatt for støt, er skadet eller blitt
vått, eller hvis endringer i ytelsen tyder på at det trenger service.
Enheten får öppnas endast av behörig servicepersonal. Farliga spänningar
blir tillgängliga när locken tas bort.
Dette apparatet skal kun åpnes av fagfolk. Hvis dekselet fjernes, utsettes
man for livsfarlig høyspenning.
Denna triangel, som visas på din komponent, varnar dig om en
oisoleradfarligspänninginneienheten.Dennaspänningäreventuellt
så hög att fara för elstöt föreligger.
Komponenten er merket med denne trekanten, som er en advarsel
om at det finnes uisolert, farlig spenning inne i kabinettet ... høy nok
til å utgjøre en fare for elektrisk støt.
Komponenten er merket med denne trekanten, som betyr at den
tilhørende litteraturen inneholder viktige opplysninger om drift og
vedlikehold.
Denna triangel, som visas på din komponent, anger att viktiga
bruksanvisningar och serviceanvisningar ingår i dokumentationen i
fråga.
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Deutsch
Español
Wichtige Sicherheitsanweisungen
Instrucciones importantes de seguridad
Heben Sie sich diese Sicherheitsanweisungen auch für später auf.
Guarde esta instrucciones para uso posterior.
BefolgenSiealleaufderVorrichtungstehendenAnweisungenundWarnungen.
Utilice siempre el voltaje correcto. Diríjase a las instrucciones de operación
del fabricante para obtener las especificaciones de potencia. Esté al tanto
de que voltajes de operación distintos requieren el uso de cables y/o
enchufes distintos.
ImmernurmitderrichtigenSpannungverwenden!DieGebrauchsanweisungen
des Herstellers informieren Sie über die elektrischen Anforderungen.
Vergessen Sie nicht daß bei verschiedenen Betriebsspannungen ggf. auch
verschiedene Leitungskabel und/oder Verbindungsstecker zu verwenden
sind.
Noinstaleestaunidadenunestantesinventilación,nitampocodirectamente
encima de equipos que generen calor tales como amplificadores de
potencia. Fíjese en las temperaturas ambientales máximas de operación
que se mencionan en las especificaciones del producto.
Stellen Sie die Vorrichtung nicht in ein unbelüftetes Gestell oder unmittelbar
über wärmeerzeugende Geräte wie z.B. Tonverstärker. Halten Sie die in den
Produktspezifikationen angegebene maximale Umgebungstemperatur bei
Betrieb ein.
Las aperturas y ranuras del chasis sirven para proveer la ventilación
necesaria para operar la unidad con seguridad y para prevenir
sobrecalentamiento,y por lo tantonopuedenser obstruidas o cubiertas. No
introduzca objetos de ningún tipo a través de las ranuras de ventilación, y
nunca deje caer ningún líquido sobre la unidad.
Schlitze und Öffnungen im Gehäuse dienen der Belüfung; um verläßlichen
BetriebsicherzustellenundÜberheizenzuvermeidendürfendieseÖffnungen
nich verstopft oder abgedeckt werden. Stecken Sie nie irgend einen
Gegenstand durch die Belüftungsschlitze.VergießenSiekeineFlüssigkeiten
auf den Apparat.
Nuncaconecteningúntipodesalidadeamplificadoresdesonidodirectamente
a los conectores de la unidad.
SchließenSienieTonverstärkerunmittelbaraneinenAnschlußdesApparates
an.
Paraprevenirdescargaseléctricasoincendios,mantengalaunidadalejada
de la lluvia, humedad o cualquier lugar en el que pueda entrar en contacto
con agua.
Um elektrischen Schlag oder Feuer zu vermeiden, setzen Sie den Apparat
weder Regen noch Feuchtigkeit aus und betreiben Sie ihn nicht dort wo
Wasser eindringen könnte.
Notratedehacerfuncionarlaunidadsisehacaído,estádañada,haentrado
en contacto con líquidos, o si nota cualquier cambio brusco en su
funcionamiento que indique la necesidad de hacerle un servicio de
mantenimiento.
Versuchen Sie nicht den Apparat zu betreiben falls er fallen gelassen,
beschädigt, oder Flüssigkeiten ausgesetzt wurde, oder falls sich seine
ArbeitsweisederartändertdaßdarauseinBedarfnachRaparaturzuschließen
ist.
Estaunidaddeberá ser abierta únicamentepor personal calificado.Si usted
quita las coberturas se expondrá a voltajes peligrosos.
Dieser Apparat sollte nur von qualifizierten Fachleuten geöffnet werden. Das
Abnehmen von Abdeckungen setzt Sie gefährlichen Spannungen aus.
Este triángulo que aparece en su componente le advierte sobre la
existencia dentro del chasis de voltajes peligrosos sin aislantes ...
voltajes que son lo suficientemente grandes como para causar
electrocución.
Dieses Dreieck auf Ihrem Apparat warnt Sie vor nicht-isolierter,
gefährlicher Spannung im Gehäuse ... stark genug um eine
Berührungsgefahr darzustellen.
Dieses Dreieck auf Ihrem Apparat bedeutet daß wichtige Betriebs-
und Wartungsanweisungen in der mitgelieferten Dokumentation zu
finden sind.
Este triángulo que aparece en su componente lo alerta sobre las
instrucciones de operación y mantenimiento importantes que están
en los materiales de lectura que se incluyen.
Français
Italiano
Instructions de Sûreté Importantes
Importanti norme di sicurezza
Gardez ces instructions pour réference future.
Conservare le presenti norme per l’utilizzo futuro.
Observez toutes les instructions et tous les avertissements marqués sur
l’appareil.
Osservare tutte le istruzioni e le avvertenze apposte sull’unità.
Utilizzare esclusivamente con la tensione di rete corretta. Consultare le
istruzioni operative fornite dal fabbricante per i dati riguardanti la tensione e
l’assorbimento di corrente. Potrebbe essere necessario l’uso di cavi di rete
e/o di spine diverse a seconda della tensione utilizzata.
Branchez uniquements sur un réseau de tension indiquée. Consultez le
manuel d’instruction du fabriquant pour les spécifications de courant.
N’oubliez pas que différentes tensions peuvent nécessiter l’utilisation de
cables et/ou de fiches de connexion différents.
Noninstallarel’unitàinunoscaffaleprivodiventilazioneoppuredirettamente
sopraunafontedicalore,come,adesempio,unamplificatore.Nonsuperare
la temperatura ambientale massima di funzionamento riportata nei dati
tecnici del prodotto.
N’installez pas l’appareil en un compartiment non-aéré ou directement au-
dessus d’équipements générateurs de chaleur, tels qu’amplificateurs de
courants, etc. Ne dépassez pas la température ambiante maximale de
fonctionnement indiquée dans les spécifications du produit.
Le fessure e le altreaperture nella scatolaservonoalla ventilazione. Per un
funzionamento affidabile, e per evitare un eventuale surriscaldamento,
questeaperturenonvannoostruiteocoperteinnessunmodo.Evitareintutti
icasidiinserireoggettidiqualsiasigenereattraversolefessurediventilazione.
Non versare mai del liquido di nessun tipo sull’unità.
Des fentes et ouvertures sont prévues dans le boîtier pour l’aération; Pour
assurerlebonfonctionnementetpourprévenirl’échauffement,cesouvertures
ne doivent pas être couvertes ou bloquées. N’insérez pas d’objets dans les
fentes d’aération. Empêchez tout liquide de se répandre sur l’appareil.
Ne connectez jamais d’amplificateurs audio directement aux connecteurs
de l’appareil.
Evitare sempre di collegare le uscite dell’amplificatore audiodirettamente ai
connettori dell’unità.
Pourempêcherleschocsélectriquesetledangerd’incendie,évitezd’exposer
l’appareil à la pluie ou à l’humidité, et ne le mettez pas en marche en un
endroit où il serait exposé aux éclaboussures d’eau.
Per prevenire il pericolo di folgorazionee di incendio non esporre l’unità alla
pioggiaoadun’umiditàeccessiva;evitarediadoperarel’unitàdovepotrebbe
entrare in contatto con acqua.
N’essayez pas de faire fonctionner l’appareil s’il est tombé à terre, a été
endommangé, exposé à un liquide, ou si vous observez des différences
nettes dans son fonctionnement, indiquant la nécessité de réparations.
Evitare di adoperare l’unità se la stessa è stata urtata violentemente, se ha
subito un danno, se è stata esposta ad un liquido o in caso di un evidente
cambiamento delle prestazioni che indichi la necessità di un intervento di
assistenza tecnica.
Cet appareil ne doit être ouvert que par un personnel de service qualifié. En
enlevant les couvercles vous vous exposez à des tensions électriques
dangereuses.
Ogniinterventosull’unitàvaeseguitoesclusivamentedapersonalequalificato.
La rimozione della copertura comporta l’esposizione al pericolo di
folgorazione.
Ce triangle, sur votre appareil vous avertit de la présence de tension
dangereuse, non-isolée à l’intérieur du boîtier...une tension suffisante
pour représenter un danger d’électrocution.
Ilpresentetriangolo impressosulcomponente avverte della presenza
di tensioni pericolose non isolate all’interno della copertura... tali
tensioni rappresentano un pericolo di folgorazione
Ce triangle sur sur votre appareil vous invite de suivre d’importantes
instructions d’utilisation et d’entretien dans la documentation livrée
avec le produit.
Il presente triangolo impresso sul componente avverte l’utente della
presenzanelladocumentazioneallegatadiimportantiistruzionirelative
al funzionamento ed alla manutenzione.
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O wne r's Ma nua l
DC-1
Dig ita l Controlle r
Ba se , THX® a nd
Dolb y Dig ita l®
Ve rsions
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DC-1 Dig ita l Co ntro lle r
Contents
1
Introduction to the DC-1 ............................................. 1
Introduction.................................................................... 1
Unpacking and Inspection ............................................. 5
Using the Documentation .............................................. 5
System Overview .......................................................... 6
Glossary of Terms ..................................................... 6
DC-1 Block Diagram.................................................. 7
2
Installation and Calibration ........................................ 9
Controls and Indicators ................................................. 9
The Front Panel......................................................... 9
The Rear Panel ....................................................... 10
The Remote Control ................................................ 11
Remote Control ACCY Functions
Connection .................................................................. 13
Location Considerations .......................................... 13
AC Connections ...................................................... 13
Wiring Considerations ............................................. 14
Audio/Video Cables • Speaker Connections
Audio/Video Connections ........................................ 14
Connecting the DC-1 as a preamp .......................... 15
Video Connections .................................................. 16
Digital Audio Connections ....................................... 16
"AC-3 Ready" Laser Disc and
LD/DVD Players
Recording a Digital Source Using the DC-1
D/A Converter........................................................ 17
Digital Input Status Detection .................................. 17
RECORD/ZONE 2 Operation ...................................... 18
Zone 2 Remote Control • Exclusive Zone 2 Control
System Configuration .................................................. 21
Display Adjustment.................................................. 21
The Video On-Screen Display ................................. 22
System Setup .......................................................... 23
Input Configuration • Input Gain • Input
Level Meters • Input Name • Restore Input
Name • Input Effect Assignment • Digital
Audio Input Assignment • Video Input
Assignment • Record/Zone 2 Output
Blocking • Remote Trigger Assignment
Setting the Speaker Configuration .......................... 27
Front L/R • Center • Sides • Rears
Subwoofer Output
Setting Output Levels .............................................. 29
Subwoofer Peak Limiter (Dolby Digital
version) • Mute Level • Power On Volume
Zone 2 Volume
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Le xic o n
Contents, cont'd.
Setting Listener Position.......................................... 32
Surround Delay • Time Alignment (Dolby
Digital version) • Center Delay (Base and
THX versions) • A/V Sync Delay (Dolby
Digital version) • Calibrate Panorama
Customization.............................................................. 36
Locking Settings .......................................................... 36
Assign Custom Name.............................................. 36
Audio Bit Setting (Dobly Digital Version) ................. 36
Equalization (THX and Dolby Digital versions)............ 37
Bass and Trebel Level • Tilt (Dolby Digital
version) • Loudness
3
DC-1 Effects ............................................................... 39
Customizing Effects..................................................... 39
Comparing a modified Effect to the factory
preset version • Restoring the original
parameter values of an Effect • Naming your
custom Effect • Restoring the original Effect
Name • Listening to only the DC-1 Effect
Music Surround (THX and Dolby Digital versions) ...... 41
Pro Logic .................................................................... 42
THX Cinema (THX and Dolby Digital versions) ........... 43
Logic 7 (THX and Dolby Digital versions).................... 44
TV Matrix .................................................................... 46
Mono Logic .................................................................. 48
Panorama .................................................................... 49
Nightclub .................................................................... 51
Concert Hall................................................................. 52
Church
.................................................................... 53
Cathedral .................................................................... 54
Music Logic ................................................................. 55
Party
.................................................................... 57
Two Channel ............................................................... 57
AC-3 Status Display (Dolby Digital version) ................ 58
5.1 Music (Dolby Digital version) ................................. 59
Dolby Digital (Dolby Digital version) ............................ 60
THX 5.1 (Dolby Digital version) ................................... 61
5.1 Logic 7 (Dolby Digital version)............................... 62
5.1 Two Channel (Dolby Digital version) ..................... 64
4
5
Troubleshooting ........................................................ 65
Specifications ............................................................ 69
Installation Documentation
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Intro d uc tio n
to the DC -1
1
Introduction
More than just a surround processor, the DC-1 is a digital control center with
state-of-the-art performance and flexibility. A superb line level preamp, the
DC-1 provides 8 audio, 5 video (3 S-VHS), and 4 digital (2 coaxial, 2 optical)
inputs. The video and digital inputs can be assigned to any of the audio
inputs for custom configuration. The digital inputs are processed through
true 20-bit D/ A converters, providing a level of performance not found in
most stand-alone converters. Built-in digital crossovers make it possible to
tailor the output to match any speakers in a system. There is also a second
set of pre-outs with independent volume and source selection to accommo-
date music in a separate zone.
A great deal of effort went into designing an instrument which would be
flexible enough to satisfy the most critical listeners and yet be simple to
operate. Essentially, the DC-1 is a signal processing computer that can be
custom-programmed for any specific system. Once installed, it can be
operated easily via a remote, providing effects tailored for your specific
listening environment, and complete control of every aspect of operation.
The Lexicon DC-1 Digital Controller has a single goal: to draw you, the
listener, more deeply into a musical performance or film. For music the
DC-1 uses 5 or 7 channel digital processing to recreate the original recording
space, or true stereo synthesis to create a new one of your choosing. For
films, it offers Dolby Digital and Lexicon’s proprietary Logic 7™ enhance-
ments to Pro Logic® surround decoding, along with the enhancements of the
Lucasfilm® Home THX Cinema system. The increase in impact of a musical
performance or film heard with the DC-1 is incredible.
To recreate the experience of being at a live musical performance, the
DC-1 draws on ongoing studies of concert hall acoustics, and applies this
research to home listening rooms. Our auditory sense is quite adept at
interpreting clues about our physical environment. Even with your eyes
closed, it is possible to get a good mental picture of the room or hall you are
in by listening to the ambience, or reflected sound energy, in the room. We
are not aware of our auditory perception of space in everyday life because
it confirms what our eyes readily see. When we listen to recorded music,
however, there are no visual clues and we rely completely on our sense of
hearing.
More than thirty years ago, the introduction of two-speaker stereo systems
brought dramatic improvement to high fidelity music reproduction. With
a carefully designed system, and good recording, it became possible to
produce a sonic picture of the original event. But, like a photograph hanging
on a wall, conventional stereo is a two dimensional snapshot of the original
event. We can appreciate the likeness, but the picture stays in front of us
while we stay in our listening room. The DC-1 is designed to overcome this
fundamental limitation of two-speaker reproduction and bring us closer to
the ultimate goal of transporting ourselves to the original musical event.
1
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Intro d uc tio n
to the DC -1
Le xic o n
The key to our perception of the acoustic space we inhabit lies in the lateral
sound field – the sound which moves from side to side in the room. The two
front speakers used in conventional two channel stereo do not adequately
excite these lateral fields in a playback room. The speakers are too far
forward, and the ambient information in the recording is often masked by
the music itself. The DC-1 extracts or synthesizes the ambient information,
and uses additional speakers along the sides and rear of the room to create
a lateral field which closely emulates the original. If the system does not
have side or rear loudspeakers the DC-1 can use panorama technology to
simulate them.
The object is to generate signals for the sides and rear speakers which
recreate the lateral sound missing in conventional stereo. The most basic
approach to this is to analyze the incoming material and extract from it the
information which should be reproduced from the sides and the rear. As
this is also the object of any standard matrix film decoder, one might think
the technology for doing this was well understood, but it is not so easy.
Matrix film decoders evolved from early Quad decoders and are limited to
four decoded channels: front left, front center, front right, and rear. When
the single rear channel is reproduced from multiple speakers in a small
playback room, the sound from the different speakers interferes with itself,
creating a non-enveloping soundfield with an unpleasant timbre. Although
there have been decoders in the past with the ability to separate directionally
encoded effects into more than four directions, they have all suffered from
reduced separation of the rear channels during playback of music. The
DC-1 solves this basic problem with a new idea: a 5 or 7 channel decoder
which is completely compatible with a standard decoder for any directionally
encoded effect, but which maintains the maximum difference between the
left and right side/ rear channels at all times.
This new technology is available in the THX and Dolby Digital versions of
the DC-1 in several effects. The basic effect for films is Logic 7, and the basic
effect for music is Music Surround. All the new 5 and 7 channel effects
extract the spatial content hidden in two channel recordings and spread it
convincingly around the listener. All DC-1 matrix decoding algorithms also
include Lexicon’s patented correction circuits for balance and azimuth
errors in the original source material, which make our decoders the most
accurate in the industry. The difference between the new 5 or 7 channel
technology and the older 4 channel technology (also present in the DC-1 as
the Pro-Logic effect and the standard THX Cinema effect) is easily heard
through the increase in envelopment with music or the environmental
sound of any film, and through the increased listener area and spaciousness
on a music CD.
Logic 7 technology also lets us reproduce directionally encoded effects with
left/ right separation in the rear. Thus even with a conventional 4-2-4
matrix-encoded soundtrack (Dolby Surround, Ultra*Stereo, etc.) a sound
effect which pans from left to rear will decode in the DC-1 first from the left
front speaker, then from the left side speaker, and finally from both rear
speakers. The results on a film with a good soundtrack are spectacular.
2
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Intro d uc tio n
to the DC -1
DC-1 Dig ita l Co ntro lle r
The DC-1 also has the ability to create an acoustic environment which is not
present on the original recording. Using the Nightclub, Concert Hall,
Church and Cathedral effects, you can select the acoustics the digital
processor will simulate. Each of these effects has many adjustments to allow
you to generate just the right sound for a particular piece of music in your
room. In addition, the DC-1 includes the Panorama effect, which cancels the
crosstalk between the listener’s ears, and spreads the sound from just two
loudspeakers into a wide arc. A listener in the right spot is completely
enveloped by the original sound field of the recording.
The Dolby Digital version of the DC-1 opens a whole new world of lateral
sound. With AC-3 encoded source material the DC-1 plays 5 discrete
channels plus a low frequency effects (LFE) channel as the original sound
producer intended – from speakers all around the listener. When 7 speakers
are available, the 5.1 Logic 7 effect uses Lexicon matrix technology and
delay to differentiate between the side speakers and the rear speakers. The
improvement in envelopment over standard 5.1 channel decoding is not
subtle. Like Logic 7 for two channel matrix encoded film, we find the 5.1
Logic 7 effect gives the highest standard of 5.1 channel reproduction
currently available. Enhancements to Dolby Digital AC-3 are available in
the THX 5.1 effect, and some of these are included as parameters in 5.1 Logic
7. The Dolby Digital version of the DC-1 also includes effects for optimally
reproducing 5.1 channel encoded music, as well as the original Dolby
Digital 5.1 channel effect. The 5.1 Two Channel effect allows material
encoded in AC-3 with 5.1 channels to be downmixed to two channels while
preserving the encoded surround information. This version can then be
played back through a surround effect such as Pro Logic or Logic 7. The
DC-1 also provides effects for expanding monaural sources (Mono Logic),
general TV viewing (TV Matrix), background music (Party) and, of course,
Two Channel stereo playback.
Designed with an eye toward the future, the DC-1’s open architecture
allows upgrades via simple modifications which can be performed by any
Lexicon dealer. With its blend of performance and flexibility, the DC-1 will
deliver the full potential of music and movies for years to come.
About Dolby Digital AC-3 encoding
Because multichannel recordings are made up of so much information, new
ways of storing and transmitting it have had to be created. To this end,
Dolby Laboratories developed AC-3, a digital audio coding technique on
which the Dolby Digital surround format is based.
On a typical compact disc, 16-bit samples are taken 44,100 times per second
for each channel, which allows as much as 74 minutes of 2 channel audio on
a single CD. However, if a digital recording consists of 6 channels up to two
hours in length, storage or transmission becomes impractical due to the
immense amount of data. Because of this, new forms of digital audio coding
(sometimes referred to as “perceptual coding") have been developed to
allow the use of lower data rates with a minimum of perceived degradation
of sound quality.
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Intro d uc tio n
to the DC -1
Le xic o n
Designed specifically to handle multichannel audio, AC-3 takes advantage
of a psychoacoustic phenomenon known as auditory masking. It divides
the audio spectrum of each channel into narrow frequency bands of
different sizes optimized with respect to the frequency selectivity of human
hearing. This makes it possible to sharply filter coding noise so that it is
forced to stay very close in frequency to the frequency components of the
audio signal being coded. By reducing or eliminating coding noise wher-
ever there are no audio signals to mask it, the sound quality of the original
signal can be subjectively preserved. The result is multichannel sound that
is subjectively equal to 2 channel digital recordings, yet can be stored and
transmitted efficiently.
AC-3 can process at least 20-bit dynamic range digital audio signals over a
frequency range from 20Hz to 20kHz. The bass effects channel covers 20 to
120Hz. Data rates range from 32kb for a single mono channel to as high as
640 kb.
Dolby Digital source material has been released to date on many laser discs.
These discs, while able to deliver two channels of PCM digital audio, are not
capable of storing an additional six channels of digital audio information.
The AC-3 bitstream is, therefore, converted into a frequency modulated
signal (referred to as the AC-3 RF signal) and stored on the right channel
analog track of AC-3 encoded laser discs. This signal must be demodulated,
or turned back into a digital signal, before it can be decoded by the DC-1.
Several manufacturers provide equipment which will perform the neces-
sary demodulation. Lexicon’s LDD-1 is designed specifically to provide
external AC-3 RF demodulation and auto switching with minimal degrada-
tion of performance due to RF interference.
Other AC-3 formats, such as DVD, output AC-3 code as a digital signal, and
do not require demodulation.
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Intro d uc tio n
to the DC -1
DC-1 Dig ita l Co ntro lle r
Unpacking and
Inspection
After unpacking the DC-1, save all packing materials in case you ever need
to ship the unit. Thoroughly inspect the DC-1 and packing materials for
signs of damage. Remove the adhesive protective film from the DC-1 front-
panel lens and remote control. Report any shipment damage to the carrier
at once; report equipment malfunction to your dealer.
Because the DC-1 is designed to be customized for your system and your
listening space, the information required for installation is extensive.
Using the
Documentation
This manual describes the DC-1 base system, the THX version and the
Dolby Digital version, which incorporates all of the THX enhancements in
addition to the Dolby Digital features. Features which are available only in
certain versions are noted wherever appropriate. To upgrade a base or THX
system, contact your dealer, or Lexicon. In most cases, upgrading can be
accomplished very easily and rapidly.
The Owner's Manual is designed to assist you in installing, calibrating and
operating the DC-1. It should be used in conjunction with the remote
control when configuring the system to perform optimally in your environ-
ment. This manual was written with the underlying assumption that the
installer is familiar with audio/ video system installation.
An Installation Worksheet is provided at the end of this manual for
documentation of the settings arrived at during the calibration procedure.
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Intro d uc tio n
to the DC -1
Le xic o n
Although the DC-1 performs very complex signal processing, a great deal
of effort has gone into making the technology behind the effects as transpar-
ent as possible to the user. To understand the overall organization of the
unit, it is helpful to define those few terms which are unique to the DC-1.
System Overview
Glossary of Terms
Effect An effect is a configuration that determines how the DC-1 will
process an input signal. The base unit contains 11 effects: Pro Logic, TV
Matrix, Mono Logic, Panorama, Nightclub, Concert Hall, Church, Cathedral,
Music Logic, Party and Two Channel. The THX version of the DC-1 contains
these effects as well asMusic Surround, THX Cinema and Logic 7. The Dolby
Digital version contains all of the above effects as well as 5.1 Music, Dolby
Digital, THX 5.1, 5.1 Logic 7 and 5.1 Two Channel.
Parameter Each Effect has a set of parameters (controls) that uniquely
characterize it. The settings of the parameters can be changed to custom-
ize each Effect.
Effect Parameter values are stored/ recalled with each Effect. Some ex-
amples are: Rolloff, Subwoofer Level, etc.
System parameter values are not associated with a particular Effect and
their values do not change when a new Effect is loaded. Examples are:
display contrast, volume, etc.
Presets The DC-1 contains a set of Effects with factory-set parameters.
You can use these Effects as is, or make changes to the parameters to suit
your own needs. The factory parameter settings are permanently stored
in memory where they can be accessed for comparison with your own
versions, or restored.
Essentially, the DC-1 can be thought of as a line level preamp D/ A converter
with three audio-only, five audio/ video, and four digital inputs. It behaves
as the master processor for your system, controlling system volume, bal-
ance, source selections, output selections for audio and video, and acousti-
cal environments specifically designed for music and movies.
The remote control provided with the DC-1 is designed for simple daily use,
as well as for use in configuring the DC-1 to work optimally with your
system. The remote gives you access to setup controls and parameter menus
for all of the DC-1 Effects.
In many systems, a learning remote such as the Lexicon 500T may take the
place of the DC-1 remote. If you are using one of these, we strongly suggest
that the types of operating controls we have provided be adapted into the
universal remote. We have found these controls enhance the listening/
viewing experience while keeping the technology transparent.
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Intro d uc tio n
to the DC -1
DC-1 Dig ita l Co ntro lle r
DC-1 Block Diagram
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Insta lla tio n a nd
C a lib ra tio n
2
Controls and
Indicators
The Front Panel
1. ON/OFF
3. REC/ZONE 2
4. EFFECT
7. IR Receiver and LED
ON/OFF alternately puts the Selects and deselects the Displays the current effect, The IR receiver has an asso-
DC-1 into and out of standby current input source for the then steps through all avail- ciated activity LED that lights
mode. Turning the DC-1 off RECORD and ZONE 2 out- able effects.
with this button (or with the puts.WhentheREC/ZONE2
remote) deactivates the unit function is engaged, the red 5. BYPASS
green when valid IR signals
arereceived,andanLEDthat
lights red to indicate an over-
while leaving power to the LEDs are lit on the REC/ Toggles the selected effect loadconditionattheinputs or
signal processing circuitry to ZONE 2 button and on the onandoff. The stereoanalog within the DSP path. An IR
keep it at optimum operating selected source input button. or digital inputs are fed un- input jack is available on the
temperature. Turning the To change the REC/ZONE 2 processed to the front left, rear panel for a remote
DC-1 on with this button (or source, press and hold down frontrightandsubwooferout- mounted IR receiver. The
the remote) will restore the REC/ZONE 2 while pressing puts while all other amplifier green activity LED remains
previous operating state.
another input selector.
outputs are muted. A front illuminated when the unit is
panel LED will light yellow placed in Standby.
2. Input Selection
Somespecificrecordsources and screen messages indi-
Pressing any of these but- aredisallowedbecauseofthe cate bypass is engaged.
tons (VCR1, VCR2, V DISC, potential for feedback loops.
TV,AUX,CD,TUNER,TAPE) By default these are TAPE 6. MUTE
8. Display
A 2x20 backlit amber LCD
displays the result of user
selects the input at the corre- and VCR1. If a prohibited Attenuates all audio outputs actionand thecurrent status.
sponding rear panel connec- source is selected, an error exceptforRECORDorZONE
tor as the current input selec- message is displayed. The 2, lights a red LED, and dis- 9. VOLUME
tion and lights a green LED. prohibited REC/ZONE 2 plays a screen message to A position independent ro-
source choices can be indicatemuteisengaged.The taryencoderprovidesvolume
changed in the Setup menu. attenuationlevelcanbesetin adjustment of all outputs, ex-
the Setup menu.
cept for RECORDorZONE2.
Screen displays show a vol-
ume bar and level in dB.
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
The Rear Panel
1 = Ground
2 = Ground
3 = Power On
4 = Unused
CAUTION: Never make or break any connections to the DC-1 with the
rear-panel powerON. Makesureanyassociated amplifiershavebeen
turned off for at least one minute before turning this master power
switch on or off.
5 = Trigger (programmable)
1. AUDIO INPUTS
3. MAIN OUTPUTS
The Power Control port is a
5-Pin DIN connector. Pins 1
and 2 are ground, pin 3 is
high when unit is on, low in
standby or Off. High is indi-
cated by either +12VDC or
+5VDC, selectable via an in-
ternal jumper. (Factory con-
figuration is +12V.) Pin 5can
beenabled(high)ordisabled
(low) for specific input selec-
tionsin the Setupmenu. See
pinout diagram above.
7. VIDEO OUTPUTS
Eight stereo analog audio in-
puts are switched with corre-
spondingvideoinputsandfed
totheMonitor outputs. Inputs
arenominallylabeledasorigi-
nating from an audio tape
player, tuner, CD player, an
unspecified auxiliary source,
a TV tuner, a Laser or Video
Discplayer,asecondary,and
a primary VCR.
Three stereo amplifier out-
puts are provided for front,
side and rear speakers.
Single monaural outputs are
provided for the center
speaker and the subwoofer.
The audio outputs are muted
in standby.
RCA(composite)andS-video
connectors are provided for
monitor and record. If an S-
video input is used, both S-
video and composite are
available at each output. If
the video input is composite,
onlycompositeisavailableat
each output. The monitor
output incorporates the on-
screen video overlay. Unless
RECORD is enabled, the
record output follows the
monitoroutputselectionwith-
outtheon-screendisplayfea-
ture.Bothoutputsareblanked
in standby.
4. S/PDIF INPUTS
Twocoaxial RCA connectors
and two optical connectors
are provided for digital audio
inS/PDIFformatata44.1kHz
+1000 ppm sample rate. The
Dolby Digital version also
accepts 48kHz signals.
2. ZONE2 and RECORD
Each pair of stereo audio
outputs supplies the same
signalaccordingtotherecord
input selection. ZONE2 sig-
nal levels can be controlled
independently for use with a
second set of amplifiers and
speakers in another room.
ZONE2 can also be used as
asecondrecordoutput.When
theoutput for ZONE2is setto
0dB (unity gain), it has the
same output level as
RECORD. RECORD can be
expanded to two outputs us-
ing standard Y-connectors.
Both outputs are muted in
standby.
6. VIDEO INPUTS
Five video input sources are
provided. VCR1, VCR2 and
V DISC, have both compos-
ite and S-video capabilities.
(S-video is selected in pref-
erence to the composite sig-
nal.) AUX and TV accept
compositeonly.Videoinputs
are selected with their corre-
sponding audio inputs and
fed to the selected monitor
output jack. Record output
jacks can be selected inde-
pendently.
5. REMOTES:
IR IN, PWR CTL
8. Power On/Off
Master power switch discon-
nects the AC Mains. This
switch is intended to be left
Onduringregularuse.When-
ever cables are connected or
disconnected, or when the
unitisnot goingtobeusedfor
an extended period of time,
this switch should be set to
Off.
The IR input is a miniature
phone jack connector for in-
put of modulated IR receiver
data from an externally
mounted IR LED receiver.
Data is retransmitted by an
IR LED mounted near the
front panel IR receiver.
To prevent a feedback loop with the Record/Zone2 outputs, VCR1
and TAPE are normally blocked from assignment as REC/ZONE 2
outputs. TAPE, TUNER, and CD default to VCR1 as a video input.
Any input label and its default status can be changed in the Setup
menu.
9. POWER
AC power connector: 3-wire,
10 Amp, IEC 320.
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
The Remote Control
1. OFF and ON*
8. RECORD/ZONE 2
Separate OFF and ON but-
tonsareprovidedforlearning
remotes, so that an auto-
mated key sequence does
not require information re-
gardingthecurrenton/offsta-
tus of the unit. OFF puts the
unit into standby with audio
muted, video blanked, the
LCD and all LEDs, except for
IR activity, turned off. The IR
LED remains illuminatedand
the IR receiver remains ac-
tive. The selected input,
record status, current effect,
volumeandbalancesettings,
and bypass state are saved.
Selects and deselects the
current input source for
RECORD and ZONE 2 out-
puts.WhentheREC/ZONE2
functionisengaged,redLEDs
are lit at the front panel REC/
ZONE 2 button and at the
selected source input button.
To modify the ZONE 2output
withoutaffectingother output
levels, press and hold
RECORD/ZONE 2, then ad-
just VOLUME.
Press MUTE while holding
down RECORD/ZONE 2 to
fully attenuate the ZONE 2
outputs. The ZONE 2 mute
status will be indicated by a
screenmessage.Theattenu-
ation level of the ZONE 2
output mute is not user ad-
justable. Repeat to cancel
MUTE.
2. EFFECT Up* and Down*
Display the current effect,
then step through all avail-
able effects.
3. BYPASS*
Puts the front left/right and
subwoofer outputs into ste-
reo bypass. The stereo ana-
log or digital inputs are fed
unprocessed to the front left/
rightandsubwoofer amplifier
outputs while all other ampli-
fieroutputsaremuted.Afront
panel LED will light yellow
and screen messages indi-
cate bypass is engaged.
9. MENU*
SELECT, ▲ , ▼ and DONE
Allow access to and adjust-
ment of all displayed menu
items. (Volume,Bypass,Bal-
ance and Mute functions re-
main active in menu mode.)
MENU ▲ and ▼ step a dis-
play cursor through listed
menu items. SELECT dis-
plays submenus, or chooses
a menu item for adjustment.
The ▲ and ▼ buttons alter
the settings of selected pa-
rameters. DONE saves the
current changes.
6. BALANCE Front*/Rear*
and Left*/Right*
7. Input Selection*
Individualbuttonsselectfrom
Display,thenadjusttheFront/ 8 inputs and activate a corre-
Rear andLeft/Right level bal- sponding green LED on the
ances. Front and Rear con- frontpanel.Dependingonthe
trols change the level bal- Setupconfiguration,selection
ance between the front (Left, may also load a new effect.
Center, Right) and rear (L&R
Side, L&R Rear) outputs.
Left and Right controls
change the level balance be-
tweentheleft andrightFront,
4. MUTE*
Attenuates all audio outputs
except for RECORD/ZONE
2,lightsaredfrontpanel LED,
and displays a screen mes-
sage. Attenuation level can
be set in the Setup menu.
Press one of the EFFECT
buttons, any Input Selector,
RECORD/ZONE 2, or any
BALANCE button to exit.
Press OFF to exit the menu
and enter standby.
5. VOLUME Up* and Down*
Display the current volume
setting, then adjust all out-
puts, except RECORD and
ZONE 2. Screen displays
show a volume bar and level
in dB.
Side and Rear outputs.
10. ACCY
Providesaccessoryfunctions
when pressed in conjunction
with other remote buttons.
(See following page.)
*In standby, pressing turns the unit on.
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
Remote Control
ACCY Functions
Press and hold ACCY, then press DONE to activate a "You Are Here" mode which:
•
•
•
•
•
•
•
•
Disables mute
Sets volume to -30dB; sets Zone 2 volume to -20dB
Centers Balance controls
Loads the Pro Logic Effect
Selects the VCR1 input; does not affect the Rec/ Zone 2 input
Activates On-Screen display with 2 second timeout
Sets Remote Trigger ON
Sets all tone controls to 0dB or OFF
To assign an effect to the input buttons, the original assignment must be
cleared with the following procedure. Press and hold ACCY, then press
BYPASS. Press the input button. The display should show EFFECT AS-
SIGNMENT CLEARED.
Assign the effect to the input button by scrolling to the desired effect,
pressing and holding ACCY, then pressing the input button.
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
Connection
Location
Considerations
The DC-1 is a highly specialized signal processing computer and requires
special care during installation to ensure optimum performance.
The DC-1 may be installed on a shelf or in a standard 19" equipment rack,
using optional rack-mounting hardware available from Lexicon. Observe
the following precautions:
•
•
Select a dry, well-ventilated location out of direct sunlight.
Do not stack the DC-1 directly above heat-producing equipment such as
power amplifiers.
•
Avoid placing the DC-1 near unshielded TV or FM antennas, cable TV
decoders, or other receivers. The DC-1 may interfere with some FM
tuners if it is placed immediately above or below them. Some products,
particularly power amplifiers, may cause hum in the DC-1 if they are in
close proximity.
•
Make sure the DC-1 front panel IR receiver window is unobstructed. The
remote control must be in line-of-sight to this receiver for proper
operation. If line-of-sight is impractical, an infrared remote repeater can
be used with the rear panel IR connector. The DC-1 may be placed in a
glass-doored cabinet but smoked glass will make the front panel Liquid
Crystal Display (LCD) difficult to read and will reduce the sensitivity of
the IR receiver.
AC Connections
The DC-1 is designed to be connected to an uninterrupted AC power line in
the same manner as a VCR or a television. We recommend the use of an AC
line filter to protect against line surges, or the installation of a line condi-
tioner to protect against under voltage (brownouts) as well as overvoltage
conditions.
The DC-1 has a master power switch on the rear panel above the IEC
standard AC power receptacle. This switch may be left ON continuously
when the unit is in regular use. When the DC-1 will not be used for an
extended period of time, or whenever you are connecting or disconnecting
any cables to the unit, this switch should be turned OFF.
Connect the power cable to the DC-1, then plug the power cord into a wall
outlet or into an unswitched outlet on a surge protector. Be sure that the
power cord is firmly seated in the connector on the rear panel of the DC-1.
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
Wiring Considerations
Audio/Video Cables
There is controversy over the audible effects of different types of intercon-
nects. Good engineering practices have minimized the effect that cables
might have on the inputs and outputs of the DC-1 — but feel free to evaluate
different interconnects in your system. If you want to do some tweaking, be
conscious of the mechanical stress from repeated insertion and overly tight
connectors, and the possibly corrosive nature of some contact-enhancing
fluids.
Note that the use of standard audio cables for video or digital audio
applications may cause signal degradation, and is not recommended. For
these connections, please use only cables that are designed for the applica-
tion — these have different impedance characteristics than cables approved
for analog audio applications.
Both audio and video cables should be kept as short as possible.
In general, speaker cables should be kept short, and low-impedance wire
should be used throughout to assure efficient power transmission and
avoid audible distortion. Recommended wire lengths are given in the table
below. Although these examples can be used as a general guide, your
system manuals should provide detailed information specific to your
components.
Speaker Connections
Wire Lengths
Length
AWG Size
16 gauge
14 gauge
12 gauge
10 gauge
up to 12 feet
up to 18 feet
up to 29 feet
up to 51 feet
Before making any connections, turn off ALL audio and video components,
including individual power amplifiers. (Unplug any preamps and power
amps that don’t have power switches.)
Audio/Video
Connections
The DC-1 is designed to function as the control center of the system,
selecting inputs and controlling the volume of all speakers in the system.
There are several ways to integrate the DC-1 into the system, but they
basically fall into two categories: those where the DC-1 is connected directly
to all of the amplifiers in the room, and those where the DC-1 is connected
into a tape or signal processor loop of a preamp or receiver.
You may choose to connect the DC-1 in the tape monitor, or external
processor loop of a preamp, allowing you to completely bypass the DC-1.
This, however, will make the system somewhat more complicated to
operate, and adds a gain stage (the preamp) that is not necessary.
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
Connecting the
DC-1 as a preamp
Input sources can each be connected directly to the DC-1 inputs. A typical
system might use the TV, VCR1, V-DISC and CD and TUNER (output
through a preamp). Since TAPE, TUNER and CD are audio only, the video
output will default to the video signal fromVCR 1. This feature allows TV
or other video source viewing while different audio is playing, but can be
defeated in the Setup menu.
Connect your main stereo amplifier to the DC-1 FRONT outputs. Connect
any additional amplifier/ speaker combinations to the remaining outputs
on the DC-1: side amplifiers to the SIDE outputs, rear amplifiers to the
REAR outputs, center-channel amplifier to the CENTER output and the
subwoofer amp to the SUBWOOFER output. If you are using THX-type
dipolar surround speakers, the amplifier driving them should be connected
to the DC-1 SIDE outputs.
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
Whenever possible, connect both analog and digital outputs of digital
sources. This enables use of a digital input for the main zone, and the
corresponding analog input for the Record/ Zone 2 outputs.
Note the use of Y-connectors to feed the DC-1 Record output to both the
VCR and the tape deck. In this example, Y-connectors are also used to direct
the VCR audio output to both the TV and VCR inputs on the DC-1, so that
the VCR can also be used as a TV tuner.
Video Connections
The DC-1 has five composite video inputs, three of which also support S-
Video. Connection to an S-Video input will override the composite signal
connected via the RCA-type connector. Note that an S-Video input will be
output on both the composite and S-Video outputs. The reverse is not true
— composite input signals will not be output as S-Video.
You can assign any video source to any (or all) of the eight DC-1 inputs via
the Input Configuration submenu of the Setup menu. This can be very
useful in systems which use a VCR as the tuner for TV viewing, as the video
feed from the VCR can be assigned to both the VCR and TV inputs. The
VCR's audio signals can be fed to both inputs with Y-connectors. (Do not use
Y-connectors on video signals.) This allows the audio and video signals
from the VCR to be used for both TV and VCR viewing.
You can also assign any video source to audio-only sources such as an AM/
FM tuner, to enjoy music from another source while viewing a video source.
It is important to remember that the impedance characteristics of composite
video and digital audio are different from analog audio. You should only
use cables specifically designed for video and digital audio. Consult your
dealer for recommendations.
Digital Audio Connections
The digital inputs can be set up to be selected with any (or all) of the eight
inputs via the Setup menu. Two coaxial (RCA) and two optical (TOSLINK™)
inputs are provided. Using the digital inputs will always provide better
performance.
The Base and THX versions of the DC-1 will accept digital signals sampled
at 44.1kHz. The Dolby Digital version of the DC-1 accepts sample rates of
either 44.1 or 48kHz.
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
When using a 48kHz digital connection from a source (DSS, DAT), the
following effects are available:
THX Cinema
Logic 7
Pro Logic
Two Channel
Music Logic
TV Matrix
Music Surround
"AC-3 Ready" Laser Disc and
LD/DVD Players
Note that current "AC-3 ready" laser disc and LD/ DVD players do not
output a single digital audio bitstream that incorporates the Dolby Digital
(AC-3) data. Instead, the AC-3 data from laser discs is output on a separate
RCA jack in Radio Frequency (RF) form. To maintain the exceptional
performance of the DC-1, an outboard demodulator is required to turn this
RF signal back into a digital bitstream. By performing the necessary de-
modulation outside the DC-1, the potential for RF interference is elimi-
nated. The Lexicon LDD-1 is an excellent example of one such device. An
outboard demodulator is not required for DVD players.
Recording a Digital
Source Using the
DC-1 D/A Converter
For recording purposes, it is advisable to connect both the analog and digital
outputs of your digital sources, as the record outputs do not have dedicated
D/ A converters. It is possible, however, to use the internal D/ A converters
in the DC-1 for recording. Select the input you want to record, then press the
REC/ ZONE 2 button until red LEDs above the REC/ ZONE 2 and the
corresponding input button light.
NOTE: Effect Bypass is engaged
whenDIGITALisselectedforREC/
ZONE 2 in theInputConfiguration
menu.
If a digital audio input is selected without a valid signal, or if a digital error
which affects audio performance is detected, all audio outputs are muted
and an error message is displayed. The associated input on the front panel
will display a blinking red LED while the error condition persists. When
valid data is restored, the error message is cleared and the unit returns to
normal operation. The display indicates the sample rate and AC-3 (if
appropriate) when a valid digital signal is being received. Whenever
Emphasis is detected within the incoming digital audio channel status bits,
de-emphasis is automatically applied.
Digital Input Status
Detection
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RECORD/ZONE 2
Operation
The DC-1 is designed to be the control center of any system. As such, there
are separate outputs for easy integration of external recording devices as
well as additional “zones” in multi-room installations.
The Record and Zone 2 outputs on the DC-1 are wired in parallel so that the
input selection will always be the same for both. For example, if the CD input
is selected for Record, the CD input is also output to Zone 2. The only
difference between the Record and Zone 2 outputs is that Zone 2 has its own
volume control, while the Record output level is fixed. When the DC-1 is
powered up, the Zone 2 output is muted.
The DC-1 normally assigns any input selected for the Main zone (indicated
by a lit green LED at the front panel input button), to the Record and Zone
2 outputs as well. Although this will be appropriate for installations where
the same input is desired for all three outputs, a different input can easily be
assigned to the Record and Zone 2 outputs. This allows any input to be
selected for the Main zone, while leaving the Record/ Zone 2 outputs
unaffected. The procedure for assigning these outputs is described below.
To assign the current input to the Record/ Zone 2 outputs, press and hold
REC/ ZONE 2 until the red LEDs at the appropriate front panel input button
and at the front panel REC/ ZONE 2 button light.
To clear the assignment, press and hold REC/ ZONE 2 until the LEDs turn
off.
For Example:
VCR2 is selected for the Main output (and its front panel green LED is lit).
Pressing and hold ing d ow n the rem ote control or front p anel
REC/ ZONE 2 button will light the red LED above the front panel
REC/ ZONE 2 button as well as the red LED above the currently selected
input (VCR2).
You have now assigned VCR2 to the Record/ Zone 2 outputs. In this state,
new input selections will not affect the Record/ Zone 2 outputs.
Now, suppose you want to change the Record/ Zone 2 assignment to the CD
input. To do this, press CD and press and hold REC/ ZONE 2 until the red
front panel LEDs turn off.
You have now cleared the previous Record/ Zone 2 assignment. To assign
CD to the Record/ Zone 2 outputs, press and hold REC/ ZONE 2 again. The
red LED above the front panel REC/ ZONE 2 button as well as the red LED
above the CD input will light.
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As protection against feedback, the TAPE and VCR1 inputs are normally
blocked from being used as sources for the Record and Zone 2 outputs. This
default condition can be changed in the Input Configuration menu as
follows.
Use MENU ▲ and ▼ to select REC/ ZONE 2, then press SELECT. The
MENU ▲ and ▼ buttons will select ANALOG, DIGITAL, or BLOCKED
as the state of the input.
ANALOG allows maximum flexibility by utilizing both the digital and
analog connections of a digital source component (provided both are
connected). The DC-1 processes the digital input signal for the main zone,
and simultaneously routes the analog input signal to the Record and Zone
2 outputs. Since no D/ A converters are necessary for the analog input
signal, the functionality in the Main zone is not compromised.
DIGITAL routes the digital signal, assigned to the input, to the DC-1’s 20-
bit Digital to Analog (D/ A) converters. After conversion, the signal is sent
to the Record and Zone 2 outputs. As this setup bypasses the D/ A convert-
ers in the source component, and utilizes the 20-bit D/ A converters in the
DC-1, sound quality can be dramatically improved when recording or
listening in Zone 2. This setup automatically engages Effect Bypass in the
main zone.
NOTE: Removing the block from
any input which has both an input
and output attached may cause
damaging feedback.
BLOCKED simply blocks the input from being sent to the Record and Zone
2 outputs. This prevents feedback from occurring with devices that have
both an input and output attached to the DC-1 (Tape deck, VCR, etc.).
The remote control can be placed into an exclusive Record/ Zone 2 control
mode during normal operation by holding down ACCY and pressing
RECORD/ ZONE 2. This will display the message:
Zone 2 Remote Control
ZONE 2 IR REMOTE
MODE ENABLED
In this mode, the Volume, Mute, Input selection and L/ R Balance controls
will directly control the Zone 2 outputs with no effect on the Main outputs.
Pressing any other keys will display the message:
ZONE 2 MODE ENABLED
KEY INVALID
To exit Zone 2 Remote mode and return the remote control to normal
operation, press and hold ACCY, then press SELECT. The message:
NORMAL IR REMOTE
MODE ENABLED
will be displayed to confirm that normal operation has been restored.
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The DC-1 can also be used as an exclusive Zone 2 controller, allowing
remote use of the system while the local room(the room in which the
DC-1 is located) remains muted. To use the DC-1 in this manner, turn on the
DC-1 by pressing the RECORD/ ZONE 2 key on the remote. The unit will
power up with the System Mute and Effect Bypass activated. The remote
will default to Zone 2 IR Remote mode as described above, with Volume,
Mute, Input Selection and L/ R Balance controlling only the Record and
Zone 2 outputs. To return to normal operation, simply press OFF, then ON.
Exclusive Zone 2 Control
Digital audio inputs can be selected for the Record/ Zone 2 outputs
under the following conditions:
•
•
The digital input must be assigned to an input via the Setup: Input
Configuration menu.
The input must have REC/ ZONE 2 set to DIGITAL. (TAPE and
VCR1 are normally "BLOCKED", but can be changed in the Input
Configuration menu.)
•
The input must be selected for Main outputs.
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System
Configuration
Although the DC-1 memory is cleared before it leaves the factory, it is good
practice to reset the unit before programming it. The following procedure
resets the unit to factory condition:
Turn the DC-1 OFF with either the front panel switch or the remote. Turn
the unit back ON and immediately press and hold the BYPASS button on the
remote. (Make sure you do not block the infrared receiver on the DC-1 front
panel.) The display will read:
FACTORY PRESETS MENU
EXIT
RESTORE DEFAULTS
Use MENU▲ or▼ to highlight RESTORE DEFAULTS, then press SELECT.
This will clear and reload all preset effects and all factory settings of
Volume, Balance, Contrast, Configuration, etc. When the message FAC-
TORY DEFAULTS RESTORED is displayed, press DONE to return to
normal operation.
Depending on the location of the DC-1 in your room, you may need to adjust
the front panel display for optimum viewing. To adjust this display, press
the MENU ▲, ▼ or SELECT buttons on the Remote to enter the Main Menu.
Press MENU ▼ twice to select DISPLAY ADJUST.
Display Adjustment
Press SELECT to highlight the Display Adjust Menu. Press MENU ▼ to
select FRONT PANEL DISPLAY.
To adjust contrast, use SELECT to highlight CONTRAST ADJUSTMENT,
and MENU ▲ or ▼ to set the contrast of the display to its maximum as seen
from your listening position. Press DONE twice to return to the main menu.
If you want to turn the front panel display off, use SELECT to highlight
STATUS, then use MENU ▲ or ▼ to select OFF. Press DONE twice to return
to the main menu.
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The Video
On-Screen Display
In addition to the front-panel display, the DC-1 contains a character genera-
tor for a video overlay display on monitors. Since the on-screen display is
capable of showing the full menu of options available at any point, calibra-
tion of the system is faster and easier if the DC-1 video output is connected
to a video input on a video monitor. This display will also show any
dynamic adjustments to controls such as volume, contrast, etc.
Adjustments to the on-screen display are made from the Display Adjust
menu. To display this menu, press the MENU ▲, ▼ or SELECT buttons on
the Remote to enter the Main Menu. Press MENU ▼ tw ice to select
DISPLAY ADJUST.
Press SELECT to enter the Display Adjust menu. Press SELECT to open the
On-Screen Display menu.
This menu allows you to choose the position and duration of items dis-
played on-screen during normal operation, as well as the options of color or
black and white display and conformance to local broadcast format.
Adjusting the position allows you to move the DC-1 display items to a
location where they will not interfere with any other video overlays your
system may generate.
Video Input Selection and the
On-Screen Display
The STATUS option allows you to choose to have the on-screen display
always off, always on, or on for a two-second duration. Note that if you
choose to have the display "time out", this will not affect the display of the
main menu. Note also that parameter changes will still be performed when
you make adjustments with MENU ▲ or ▼, even if the display is inactive.
If you choose ALWAYS OFF, you will not be able to use the video overlay,
and even setup will have to be done using only the front-panel display.
When using the Video Monitor
output with the On-Screen Dis-
play, theDC-1automatically puts
up a blue or grey background
when no video signal is present.
Occasionally, an incoming video
signal may be so weak that it is
recognized as essentially no sig-
nal, triggering the background
overlay. If this occurs, simply
reselect the input.
COLOR allows you to have the on-screen display presented in mono-
chrome or color. FORMAT allows you to select NTSC, PAL or SECAM
formats. (Note that SECAM format is available only in monochrome).
Press DONE twice to return to the main menu.
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System Setup
The DC-1 Setup menu allows you to customize the system defaults to suit
a wide range of possible system configurations. Each of the five entries in
the Setup menu will be discussed in detail in this section.
Select SETUP from the main menu to display the Setup menu. Use MENU
▲ and ▼ to step the cursor through the Setup menu selections. Once an item
is highlighted, pressing SELECT will display a sub-menu for that item.
With the sub-menu displayed, MENU ▲ and ▼ once again highlight menu
items. Press SELECT, then use MENU ▲ and ▼ to adjust the settings of any
item over its available range. Press DONE to exit any sub-menu; press
DONE again to return to the Setup menu.
Input Configuration
The DC-1 has eight analog stereo audio inputs, each of which can be
associated with any of the five video and four digital audio inputs. Selecting
Input Configuration from the Setup menu displays a sub-menu which lists
these inputs and allows you to select them individually for adjustment.
Each input has an identical parameter sub-menu. VCR 1 is shown below as
an example.
For optimal performance, the unit must be driven to its full input level
without overloading. Despite industry attempts at standardization, differ-
ent sources have a wide range of output levels. To compensate for this, each
of the eight DC-1 analog inputs can be assigned a different input gain,
assuring optimum performance and consistent volume, regardless of the
source. For use with a calibration tone, the Dolby reference point is indi-
cated by an enlarged tick mark on the on-screen level meters.
Input Gain
The DC-1 has an auto level function which monitors the analog input level
and automatically optimizes the input gain (AUTO). When activated, this
feature controls the input gain. If the signal level is too high and causes an
input overload, input gain is automatically decreased to a point which does
not cause an overload. When the signal level remains low (>12dB below
clipping for 2.5 minutes), the input gain is incremented in 1dB steps to
maximize dynamic range.
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Although you are given the option of defeating the auto level system by
selecting MANUAL, this is not recommended. When MANUAL is selected,
the display shows the last auto level setting. (If the auto level feature has not
been used, the display shows the last manually entered level.) The auto level
setting indicates the optimum input level value as determined by the unit.
The MENU ▲ and ▼ buttons increase or decrease the input gain in 1dB
increments for the selected input over a range of -18dB to +12 dB. The setting
is displayed in dB along with horizontal bargraph meters on the on-screen
display to indicate incoming signal level.
When GAIN is selected, two on-screen horizontal bar meters display peak
incoming signal level. The highest peak level is shown in dB in a separate
text line, and as an arrow in the the meter display. White, yellow and red
sections of the bar meter show increasing levels. The white portion is shown
in 3dB increments, the yellow and red portions are shown in 1.5dB incre-
ments. An enlarged block at -21dB indicates the reference level used with a
Dolby calibration tone source.
Input Level Meters
The peak level display can be refreshed by pressing DONE to exit, then
pressing SELECT to return to the display.
The input level meters are displayed when
you select the GAIN parameter for an
active input which has been selected in
the Setup menu.
Input Name
Each input has an associated name which is displayed during normal
operation whenever the input is selected. The default names correspond to
the labels on the DC-1 remote control and the front and rear panels. These
names can be customized to more accurately reflect your system configura-
tion.
To assign a new name (up to 8 characters) for an input, select NAME from
the Input Configuration menu, and EDIT INPUT NAME from the sub-
menu. The display will show the current name with a cursor marking the
character position to be modified. Use the MENU ▲ and ▼ buttons to select
a new character for that position, and SELECT to move the cursor to another
position. Press DONE twice to return to the Input Configuration menu.
This control allows you to restore the factory name for the currently selected
input. Pressing SELECT displays the message PRESS SELECT TO RE-
STORE INPUT NAME. Pressing SELECT again restores the name and exits
to the Input Configuration menu.
Restore Input Name
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Input Effect Assignment
The DC-1 has the ability to load an effect whenever an input is chosen. For
example, if you primarily listen to CD’s with the CONCERT HALL effect,
the DC-1 can be set to load this effect when the CD input is chosen. (You can
listen to any effect using the EFFECT button on the front panel or the remote
control.) If you select USE LAST, the DC-1 will load the last effect used for
the selected input. Any effect can be assigned to any or all of the eight inputs.
The Dolby Digital version of the DC-1 will automatically switch to an
AC-3 effect whenever AC-3 encoded material is detected at the input. This
allows one input to be used for different formats. For example, in the factory
default state, the V-DISC input will automatically load the THX 5.1 effect
when an AC-3 signal is present, and the THX CINEMA effect when a non-
AC-3 signal is present. The default selections for input effect assignment are
shown below for all three versions of the DC-1.
Base
THX
Dolby Digital
Effect
Effect
non AC-3 Effect AC-3 Effect
VCR1
VCR2
V-DISC PRO LOGIC
TV
AUX
CD
PRO LOGIC
PRO LOGIC
THX CINEMA
PRO LOGIC
THX CINEMA
TV MATRIX
PARTY
THX CINEMA
PRO LOGIC
THX CINEMA
TV MATRIX
PARTY
USE LAST
USE LAST
THX 5.1
USE LAST
USE LAST
TV MATRIX
PARTY
MUSIC LOGIC
MUSIC SURROUND MUSIC SURROUND USE LAST
TUNER NIGHTCLUB
TAPE CHURCH
CONCERT HALL
CHURCH
CONCERT HALL
CHURCH
USE LAST
USE LAST
* V-DISC is the only input which has an AC-3 effect assigned as a factory default.
The DC-1 remote control can be set up for direct access of as many as eight
effects. To assign these, first press the EFFECT button on the remote to scroll
to the effect you want to assign. Hold down the ACCY button on the remote
and press any one of the eight input buttons. The display will confirm your
selection.
EFFECT
ASSIGNED TO ACCY+ INPUT KEY
To directly access this effect (regardless of input), simply hold down the
ACCY button and press the corresponding input button.
To clear an effect from an INPUT button, press and hold ACCY. Press
BYPASS, then press the appropriate input button. The display will show:
EFFECT ASSIGNMENT
CLEARED
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Digital Audio
Input Assignment
The four DC-1 digital audio inputs include two coaxial (RCA) and two
optical connectors (TOSLINK™). For maximum configuration flexibility,
each of the four digital inputs can be assigned to any (or all) of the source
selections.
NOTE: Some older laser discs do
notcontaindigitalaudiotracks.You
will not hear audio when playing
these discs if you have selected a
digital input as the V-DISC source.
Video Input Assignment
The inputs labeled VCR1, VCR2, V-DISC, TV, and AUX normally have
corresponding video inputs. The inputs labeled CD, TUNER, and TAPE do
not have associated video inputs, and default to the video input VCR1. For
maximum configuration flexibility, each of the five video inputs can be
assigned to a different source selector. If the assigned video input has both
S-Video and composite jacks, the S-video signal takes priority whenever a
cable is plugged into the appropriate S-video connector.
NOTE:S-Videoinput signals will be
output on both the composite and
S-Video jacks. However, if you are
only connecting to the monitor via
the
S-Video output, composite
video input sources will not be dis-
played.
Record/Zone2 Output
Blocking
This feature provides feedback protection when selecting a record source.
BLOCKED input sources cannot be selected for the record outputs, thus
disabling the record function. Normally, the record outputs are disabled for
only the TAPE and VCR1 inputs. This sub-menu allows you to alter these
defaults for other configurations.
ANALOG allows maximum flexibility by utilizing both the digital and
analog connections of a digital source component (provided both are
attached). The DC-1 processes the digital input signal for the main zone, and
simultaneously routes the analog input signal to the Record and Zone 2
outputs. Since no D/ A converters are necessary for the analog input signal,
the functionality in the Main zone is not compromised.
DIGITAL routes the digital signal, assigned to the input, to the DC-1’s 20-
bit Digital to Analog (D/ A) converters. After conversion, the signal is sent
to the Record and Zone 2 outputs. As this setup bypasses the D/ A convert-
ers in the source component, and utilizes the 20-bit D/ A converters in the
DC-1, sound quality can be dramatically improved when recording or
listening in Zone 2. This setup automatically engages Effect Bypass.
BLOCKED simply blocks the input from being sent to the Record and Zone
2 outputs. This prevents feedback from occurring with devices that have
both an input and output attached to the DC-1 (Tape, VCR, etc.).
This menu item assigns the status for the remote trigger that appears on pin
5 of the Power Control DIN jack on the DC-1 rear panel. +12VDC is
provided for controlling ancillary equipment or functions. This signal can
be ENABLED or DISABLED for the selected input. The factory default is
ENABLED (high) for A/ V inputs and DISABLED (low) for audio only
inputs. (+5VDC is available via internal jumper. Contact your dealer or
Lexicon Customer Service to perform this change.)
Remote Trigger Assignment
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Setting the Speaker
Configuration
The Speaker Configuration menu allows a wide range of choices in speaker
placement and room setups to provide optimal performance in almost any
room with virtually any speaker system. The menu allows you to set the
system for performance with center, sides, rear or subwoofer speakers. An
adjustable crossover is provided for systems with small center speakers,
and an adjustable lowpass filter is available for the subwoofer, as well as a
complementary highpass filter for all other speakers.
Press SELECT to access the selections for any highlighted menu item.
Select LARGE for full-range front speakers to deliver full frequency re-
sponse to the front outputs. Selecting SMALL activates a 12dB per octave
highpass filter and automatically routes low frequency information to the
subwoofer output. Choices of 80, 100 and 120 Hz are available for the -3dB
point. The 80Hz filter should be used if you are using THX-certified
speakers. You may also want to turn this control ON if you are using small
satellite, or in-wall speakers. Consult your dealer to determine their low
frequency capability.
Front L/R
The high pass filter attenuates low fre-
quencies at 12dB per octave. The values
given are for the -3dB point.
Systems that utilize a full-range center speaker should select LARGE to
direct center information to the center output with a full frequency re-
sponse. Select SMALL for installations where the center speaker is smaller
than the two main stereo speakers. This will automatically engage the Bass
Split feature which takes the low frequency content from the center, and
distributes it to the left and right front speakers, reducing the risk of damage
to a small center speaker without loss of bass information. When SMALL is
highlighted, press SELECT to display and adjust the crossover point for the
low frequency redistribution. Available crossover points are: 80, 100, and
120Hz. Press DONE to return to the Speaker Configuration menu.
Center
Bass Split rolls off frequencies at 12dB
per octave. The values given are at the -
3dB point of attenuation from the center
speaker.
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This menu sets the system for your particular side speaker configuration.
Systems with side speakers should be designated as STANDARD (LARGE
or SMALL) or DIPOLE (LARGE or SMALL). DIPOLE indicates a THX
speaker configuration, and causes the unit to mute the rear outputs when
either THX effect is used. When STANDARD SMALL or DIPOLE SMALL
is highlighted, press SELECT to display and adjust the highpass filter for the
side outputs. Choices are: OFF, 80, 100 or 120Hz.
Sides
Selecting NONE mutes the side outputs and disables any effect parameters
related to side speakers.
In the Dolby Digital version of the DC-1, the active selections are LARGE
and SMALL. Systems that utilize full-range rear speakers should select
LARGE to direct a full-range signal to them. SMALL should be selected
when filtering is desired. (Off, 80, 100 and 120Hz are available as settings for
the -3dB point).
Rears
Selecting NONE mutes the rear outputs and disables any effect parameters
related to rear speakers.
Use of the subwoofer output is specified here. Selecting YES, then pressing
SELECT allows you to display and adjust the crossover frequency for the
subwoofer output. The subwoofer output is created by summing the front,
left, center and right outputs, followed by a 24dB/ octave lowpass filter. For
5.1 effects in the Dolby Digital version, the two surround channels and the
LFE channel are also summed. Both the summing and filtering are per-
formed in the digital domain. You can select three different crossover points
(80, 100 or 120Hz) for the subwoofer. Although you can also elect to bypass
the crossover and run a full range output if your subwoofer has an internal
crossover, it is generally best to use the crossover in the DC-1.
Subwoofer Output
NO mutes the subwoofer output and disables the Subwoofer Level param-
eter.
Subwoofer Frequency Response
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Setting Output Levels
When DC-1 input and output levels are set properly, the entire system will
be calibrated to play films at the level intended by the director. Setting the
output levels is easy, particularly if a Sound Pressure Level (SPL) meter is
used. Using an external source, such as the "Video Essentials" laser disc
(ID3487ISF) or "The Surround Spectacular" disc from Delos (DE-3179), or
the DC-1’s internally generated calibration signal, adjust the level of each
output to the same relative level.
Select INTERNAL NOISE TEST or EXTERNAL NOISE TEST from the
Output Levels menu. The INTERNAL NOISE TEST automatically discon-
nects all audio and video inputs, disables any EQ functions, centers the
Balance controls, loads the Pro Logic effect, and sets the system volume to
0dB. The test signal circles the room according to the speaker configuration
you have defined in the Speaker Configuration menu. For a full comple-
ment of speakers, the order is: Left Front, Center, Right Front, Right Side,
Left Side, Subwoofer, Right Rear, Left Rear. The EXTERNAL NOISE TEST
loads the Pro Logic or Dolby Digital effect and uses the signal from the
currently selected input for calibration.
Once a test source is selected, a sub-menu showing each output level is
displayed. Use the MENU ▲ and ▼ buttons to highlight an output for
adjustment. Press SELECT to stop the cycling of the noise signal, then use
MENU ▲ and ▼ to adjust the selected output level in precise 0.5dB
increments from -10dB to +10dB.
NOTE: If any of the amplifiers in
your system have gain (volume)
controls, their level settings will af-
fect the balance of the DC-1 out-
puts. Generally, the gain controls
of these amps should be set at or
near maximum. You should record
the values of these controls for
later reference.
Using a Sound Pressure Level Meter such as Radio Shack model 33-2050 or
33-2055, set the weighting to C and the response to Slow. Adjust all output
levels to achieve 75dB at the listening position.
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In the absence of an SPL meter, it is possible to set the output level by ear.
Use the internal noise generator in the DC-1 to adjust all volumes to be the
same as they cycle around the various speakers. Depending on timbre
variations between your speakers, this may be difficult to judge — get as
close as you can. The system should be reasonably well balanced, although
not actually calibrated for precise playback and level matching. With the
system volume at 0dB, the internal noise source should be at the same level
at which film dialog sounds comfortable.
Subwoofer Peak Limiter
(Dolby Digital version)
Dolby AC-3 encoded soundtracks can produce low frequency peaks that
are 15dB higher than those in matrixed Dolby Surround decoding. These
higher levels may be troublesome in the home listening environment, either
because they disturb non-listeners in nearby rooms, or because of the
inability of the subwoofer and its associated amplifier to reproduce these
levels without clipping.
The Dolby Digital version of the DC-1 provides a Subwoofer Peak Limiter
that prevents the subwoofer signal level from exceeding a preset value. The
limiter is factory preset to a level of +25dB. This setting can be changed
within the limiter’s operating range of -5dB to +35dB, with -5dB providing
maximum limiting.
To turn off the limiter or to change its setting, select the SUB PK LIMITER
parameter in the Output Levels menu.
If you want to turn the limiter off, first turn the system volume down in order
to prevent the subwoofer from overloading.
Press MENU ▼ to select LIMITER, then press SELECT. Press MENU ▼ to
select OFF. Press DONE twice to return to the Output Levels menu. While
readjusting the system volume back to a comfortable listening level, check
to be sure the subwoofer or its amplifier is not overloading on passages with
low frequency effects.
30
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
Selecting LIMITER ADJUST in the Sub Peak Limiter menu invokes a
calibration routine for setting the optimal peak level for your installation.
Pressing SELECT routes low frequency calibration noise to the subwoofer
output of the DC-1. A two-line display indicates the LIMITER LEVEL
setting in dB on the top line with a bar at the bottom to indicate relative noise
level. Press MENU ▲ and ▼ to adjust the noise level to the highest level that
your equipment can reproduce without overload.
Keep in mind that the Sub Peak
Limiter is separate from the
Subwoofer levelcontrolintheEffect
Adjust menus — one setting does
not affect the other.
Be sure the limiter is set to ON before exiting. Press DONE to exit and
automatically set the limiter to the level you have selected.
Mute Level
This menu allows you to set the level of attenuation used whenever the
DC-1 MUTE function is engaged. In the Output Levels menu, attenuation
levels of -10dB, -20dB, -30dB, -40dB, and FULL are available.
This control in the Output Levels menu allows you to select the volume at
which the DC-1 will power on. You can choose from a range of -80 to +12dB,
or elect to have the system power on at the last level used (LAST LVL).
Power On Volume
This control in the Output Levels menu allows you to select the initial
volume level for Zone 2. You can choose from a range of -80 to +12dB, or
elect to have Zone 2 power on at the last level used (LAST LVL).
Zone 2 Volume
31
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
Setting Listener Position
The Listener Position menu is used for setting the surround and center
delays and calibrating the Panorama effect.
Surround Delay
(Base and THX Versions)
Note that the Time Alignment parameter replaced the Surround Delay
parameter in Base and THX versions of the DC-1. The Surround Delay
parameter is described below.
When presented with several similar sounds (as in the case of surround
sound) we tend to localize on the first sound we hear. Because surround
speakers are often closer to the listening area than the main speakers,
occasional leakage of the front channel sound into the surround speakers
can be audible and distracting. Delaying the sound from the surround
speakers gives the sound from the front speakers a chance to reach the
listener before the surrounds kick in. The SURROUND DELAY control in
the Listener Position menu allows the user to set the surround delay
between 15 and 30 milliseconds in one millisecond increments. The best
setting will depend on the distance between the main listening area and
the front speakers as well as the distance between the main listening area
and the surround speakers. This global surround delay setting is used by
surround effects that do not have their own surround delay setting.
Surround Delay Settings
In the Dolby Digital version of the DC-1, the Time Alignment control
electronically aligns all of the loudspeakers in a system. Although this
adjustment is not a substitute for proper speaker placement, it will help to
ensure accurate signal arrival times at the listening position.
Time Alignment
(Dolby Digital version)
To set up Time Alignment, you must physically measure the distance from
the primary listening position to the front baffle of each individual speaker
in your system. An easy and accurate way to accomplish this is to have a
person sit in the primary listening position, holding the end of a measuring
tape, while a second person extends the tape measure to the front baffle of
each speaker in turn.
To enter these values, select TIME ALIGNMENT in the Listener Position
menu and press SELECT. Use MENU ▲ and ▼ to highlight feet or meters
and press SELECT. The display will change to show the Speaker Range
menu. Use SELECT to highlight NEAREST SPKR and use MENU ▲ and ▼
to enter the actual distance. Press DONE.
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
Once you have entered the distance to the nearest speaker, the DC-1 will
automatically calculate the maximum distance it can handle.
After the distance of the nearest speaker is entered, highlight TIME ALIGN-
MENT and press SELECT. A display will list all of the speakers, each with
a default distance setting equal to your nearest speaker. Use SELECT and
MENU ▲ and ▼ to highlight and enter actual distances for each speaker.
The DC-1 rounds off distance settings into discrete steps – choose the closest
step to the actual distance in these cases. If a speaker distance is further than
the DC-1 can accommodate, set it to the maximum allowable distance. (This
will vary, depending on your intial entry.)
Center Delay
(Base and THX versions)
Note that the Time Alignment parameter replaced the Center Delay
parameter in Base and THX versions of the DC-1, which allowed
electronic alignment of the center and left and right speakers.
The Center Delay parameter compensates for unequal distances be-
tween the center speaker and the listening position and the distance from
the listening position to the left and right speakers. The delay (relative to
the main left and right channels) can be adjusted between -5.0ms and
+9.5 ms in 0.5 ms increments. To get the correct setting by ear, listen for
a strong improvement in the imaging and stability of the soundstage.
Alternatively, you can measure the path length difference, and calculate
the correct setting. To do this, measure the distance (in feet) from the
tweeter(s) of your main speakers to your primary listening position.
Average these two numbers. Measure the path length from the center
speaker to your listening position, and subtract this distance from the
average path length of the main speakers. Set CENTER DELAY to the
same number of milliseconds as the number of feet of path length
difference. For example, if the path length of your main speakers is 14',
and the path length of your center speaker is 12', set the delay to +2ms.
If the path length of the center speaker is 15.5', set the delay to -1.5ms.
This adjustment globally affects all modes which use a center channel.
Set CENTER DELAY to 2ms.
Set CENTER DELAY to -1.5ms.
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
A/V Sync Delay
A/ V Sync Delay compensates for the delay that occurs when a video
enhancing processor, such as a line doubler, is being utilized with the
DC-1. Most of these enhancers alter the original audio/ video timing rela-
tionship by adding processing delay to the video signal as it is passed
through. A/ V Sync Delay applies a corresponding delay to the audio signal
to restore the original audio/ video timing relationship. It can also be used
to compensate for poorly mastered source material.
If your video material appears to be out of sync, add A/ V Sync Delay in the
LISTENER POSITION menu. With a video source running, adjust the delay
along its 1-30ms range with MENU ▲ and ▼.
Panorama works by canceling the sound going from each speaker to the
opposite ear. Its effectiveness is highly dependent on the geometry of your
front loudspeakers, the room and your listening position. The correct
timing of the canceling signal varies with the relative angle between your
main speakers.
Calibrate Panorama
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 DC-1’s input balance controls. (The more centered the
monaural image, the better Panorama will work.)
Select CALIBRATE PANORAMA from the Listener Position menu to
display a sub-menu that allows you to turn on a calibration noise source,
configure the speaker angle, and adjust the listener position.
CAL NOISE is a special digitally generated signal to aid in calibrating the
Speaker Angle and Listener Position parameters. Note that in all cases,
sound will actually be produced by both front loudspeakers. The adjust-
ments affect the perceived directionality of the sound.
The SPEAKER ANGLE, displayed in degrees, adjusts for wide or narrow
speaker spacing (relative to the listening position). For the two canceling
signals to arrive at both ears at the same time you must be centered precisely
between the speakers. It will be easiest to calibrate this parameter if you
start equidistant from the two front speakers, even if this is not your normal
listening position. Once you have heard the effect and set the speaker angle,
the Listener Position parameter will allow you to “move” the effect to your
customary listening position.
SPEAKER ANGLE is the angle between
the main speakers as seen from the listen-
ing position — here it is about 60°. LIS-
TENER POS allows you to adjust for an
offset listening position.
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Insta lla tio n a nd
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DC-1 Dig ita l Co ntro lle r
To set the Speaker Angle, center yourself symmetrically between the two
front speakers. Turn CAL NOISE on and select LEFT ONLY. The test signal
should sound as though it is coming from off to your left side, well beyond
the left speaker, with near-total silence in your right ear. Still facing forward,
move your head from side to side until the effect is strongest. When you
have found this sweet spot you will notice an almost physical sensation of
silence in your right ear.
Now, select RIGHT ONLY. Again, shift your head from side to side to find
the sweet spot, this time looking for the point where the sound is strongest
in your right ear. Select LEFT AND RIGHT to determine if the sweet spots
from the left and right tests coincide. If they do not coincide, return to the
SPEAKER ANGLE display. If the first sweet spot is to the left of the second,
press MENU ▲ ; if it is to the right, press MENU ▼.
Move your head from side to side to find
the position where the noise is full left,
and the right ear hears near total silence.
If your normal listening position is not centered between your two front
speakers, once you have corrected the speaker angle setting, you can
"move" the sweet spot to that position. To do this, select LISTENER POS and
use MENU ▲ and ▼ to move the effect. As you adjust the position, the
display will indicate motion to the left of center (L001,L002,L003...L127),
CENTER, or to the right of center (R001,R002,R003...R127). The numbers
represent approximately 1/ 3", but are provided primarily as a general
reference.
Panorama is now calibrated. Press DONE repeatedly to step back to the
main setup menu.
When calibrating right, if your left ear is
in the silent band, the speaker angle is
correct.
If the two silent bands are too close, lower
the Speaker Angle; if they are too far
apart, raise the Speaker Angle.
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Insta lla tio n a nd
C a lib ra tio n
Le xic o n
Customization
After you have calibrated and customized the DC-1, there are two addi-
tional steps recommended to safeguard the settings. First, document your
adjustments using the table found at the end of this manual. Second,
consider locking the settings so that they cannot be inadvertently changed.
The last item in the Setup menu allows you to lock the DC-1 settings, as well
as to change the name displayed during power up.
Locking the settings allows full operation of the unit but prohibits the ability
to change effect parameters or setup values. Specifically, with the settings
locked, the unit will allow any Parameter or Setup menu to be displayed, but
attempting to select any item for adjustment will display the message:
SETTINGS ARE LOCKED.
Locking Settings
In order to prevent accidental changes, select the SETTINGS parameter and
use MENU ▲ to select LOCKED. A higher level of security can be achieved
by simultaneously pressing the ACCY and DONE keys on the remote after
selecting LOCKED. To release lock, select SETTINGS and hold down ACCY
and DONE. MENU ▲ and ▼ will once again select LOCKED or UN-
LOCKED.
When the DC-1 is first turned on, it displays a copyright notice with the
current software version. You can choose to have it display CUSTOMIZED
FOR DEMONSTRATION with the word DEMONSTRATION scrolled in
from right to left, or you can replace the word DEMONSTRATION with a
custom name of as many as 20 characters. To assign a new name, use MENU
▲ and ▼ to highlight CUSTOM NAME. Press SELECT and press MENU▲
to turn this function ON, then press DONE.
Assign Custom Name
You will return to the Lock Settings menu with ASSIGN CUSTOM NAME
highlighted. Pressing SELECT will display the current name with a cursor
indicating which character position can be modified. Use MENU ▲ and ▼
to select a new character. Use SELECT to move the cursor to a new position.
Press DONE to save the new name.
The DC-1 is designed to automatically detect and decode Dolby Digital and
PCM stereo digital bitstreams. This auto-detection feature can be manually
defeated in order, for example, to play Dolby Digital bitstreams from a DAT
player by changing the Audio Bit setting from AUTOMATIC to AUDIO or
NON-AUDIO. To play Dolby Digital data from a DAT, set this control to
NON-AUDIO.
Audio Bit Setting
(Dolby Digital Version)
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Insta lla tio n a nd
C a lib ra tio n
DC-1 Dig ita l Co ntro lle r
The THX and Dolby Digital versions of the DC-1 provide Equalization
controls as a selection in the Main Menu.
Equalization
(THX and Dolby
Digital versions)
Press SELECT to open the Equalization menu which contains Bass and
Treble level controls and a Loudness parameter. The Dolby Digital version
also contains a Tilt parameter.
Bass and Treble level controls are provided to compensate for inconsisten-
cies in source material, rather than variations in room conditions. The BASS
LEVEL control allows a boost or cut of as much as 6dB below 250Hz. The
TREBLE LEVEL control allows a boost or cut of 6dB above 1.5kHz.
Bass and Treble Level
To select either control for adjustment, use MENU ▲ or ▼ to select the
control, press SELECT, and use MENU ▲ or ▼ to adjust the setting.
These controls do not affect the sound of rear or side speakers.
Bass Tone Control Frequency Response
Treble Tone Control Frequency
Response
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Insta lla tio n a nd
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Le xic o n
Tilt (Dolby Digital version)
The Tilt parameter can be thought of as a straight line that pivots on a
fulcrum at 1kHz to correct the overall tonal balance of source material. The
range is -3.0dB to +3.0dB, referenced to the Treble level. This control,
adjustable in 0.2dB increments, is useful on many older recordings, or when
the desired tonal balance cannot be achieved using the Bass, Treble and
Loudness controls. The Tilt control does not alter the tonal balance of the
rear or side speakers.
Tilt Control Frequency Response
Loudness
A Loudness Contour parameter which boosts bass information, provides
more balanced reproduction at low volume listening conditions. Once you
have calibrated DC-1 output levels, you can assume a specific acoustic level
for a given volume setting and set the LOUDNESS parameter ON to provide
the ideal amount of boost for any given volume setting. This parameter does
not affect the sound in rear or side speakers.
Loudness vs DC-1 Volume control
(front left)
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DC -1 Effe c ts
3
DC-1 Effects
When EFFECT ADJUST is selected from the Main menu, the on-screen
display shows a list of parameters specific to the current effect, as well as the
current value of each parameter. (The front panel display shows one
parameter at a time). Press the MENU ▲ and ▼ buttons to move through
the displayed list. Press SELECT to activate a two-line display which allows
you to use the ▲ and ▼ buttons to alter the selected parameter’s value. Press
DONE to confirm the change and move on to the next menu item. Each
DC-1 Effect and its parameter menu is described in the following section.
Customizing Effects
Although the list of available parameters will vary with different effects, the
last item in each menu is always CUSTOM. Selecting CUSTOM calls up a
sub-menu which allows you to name your custom effects, to compare your
version with the original preset, or to restore the preset versions of the Effect
name and parameter values.
When first shipped, the DC-1 has a set of default values assigned to each
Effect. These values have been determined to be generally suitable for initial
listening. As every installation has its own unique characteristics, and
listeners have distinctly different preferences, you will want to tailor the
Effects to suit your own requirements. To allow easy cutomization, any
parameter changes you make take effect instantly, and automatically be-
come a part of the Effect. You can even change the name that appears on-
screen. Once you have made the changes you want, the Effect will remain
as you have set it unless you alter it again, or deliberately restore the factory
preset parameter values.
Selecting CUSTOM from any Effect Adjust menu will give you access to the
controls listed to the side and described below. Use MENU ▲ and ▼ to
highlight any menu item, then press SELECT to open the submenu.
ComparingamodifiedEffect
to the factory preset version
LISTEN CUSTOM/ PRESET lets you compare your edited version of an
Effect with the original version as set at the factory. When this control is
selected, MENU ▲ and ▼ allow you to alternate between the "preset" and
your modified version ("custom"). The display will confirm whether you
are LISTENING TO CUSTOM or PRESET.
Note that this function is available, even if you have not made any changes
to an Effect. Until you make parameter changes to create a custom version
of a preset, the LISTEN TO CUSTOM option will contain an exact duplicate
of the preset Effect.
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DC -1 Effe c ts
Le xic o n
Restoring the original
The RESTORE PARAMETERS function allows you restore the currently
selected Effect to its factory preset state.
parameter values
of an Effect
When you select this function, you will be prompted to reconsider erasing
your changes. — If you don’t want to erase your versions, press DONE to
exit the menu. Pressing SELECT in response to the displayed query will
restore all of the factory preset values to the Effect.
Naming your custom Effect
EDIT EFFECT NAME allows you to assign a new name, of as many as 13
characters, to your Effect. With EDIT EFFECT NAME highlighted, press
SELECT to display the current name with a cursor indicating which
character position can be modified. SELECT moves the cursor to a new
position. MENU ▲ and ▼ scroll through the available character set. Press
DONE to save the new name.
Restoring the original
Effect name
RESTORE EFFECT NAME allows you to restore the original factory name
of an Effect, without changing any of your modified parameter settings.
When you select this function, the message PRESS SELECT TO RESTORE
EFFECT NAME allows you to reconsider erasing your custom name. — If
you don’t want to erase your version, press DONE to exit the menu. Pressing
SELECT in response to the displayed query will restore the factory preset
name.
Selecting EFFECT ONLY allows you to listen to only the effects added by the
DC-1 to the currently loaded program. With this function selected, use
MENU ▲ and ▼ to turn this function on or off.
Listening to only
the DC-1 Effect
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DC -1Effe c ts
DC-1 Dig ita l Co ntro lle r
Music Surround, available in the THX and Dolby Digital versions of the
DC-1, is a surround effect developed specifically for music listening. It
makes full use of additional loudspeakers placed at the center, sides and
rear of the room. This effect passes unprocessed left and right information
directly to the front left and right speakers.
Music Surround
(THX and Dolby
Digital versions)
Music Surround Parameters
Parameter
Initial Value
Range
CENTER LEVEL
SURROUND LEVEL
SIDE ROLLOFF
REAR DELAY OFFSET
REAR ROLLOFF
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
15
0-30
+0dB
4.0kHz
5ms
4.0kHz
+0dB
+00dB
-5 to +5dB
453Hz20.0kHz
0-20ms
453Hz20.0kHz
-5 to +5dB
-30 to +05dB
CENTER LEVEL attenuates the level of the center channel and can turn it
off completely.
SURROUND LEVEL controls the volume level of the side and rear speakers.
Although we have selected a default value, the correct setting will vary with
each recording, the room, and your personal taste.
SIDE ROLLOFF provides a high frequency cutoff for the side speakers. The
optimal setting for this control will vary widely with the source material.
REAR DELAY OFFSET is an additional delay added to the rear channels.
This delay increases the apparent size of the listening space by increasing
the rear delay time. Feel free to experiment to find the setting that works
best.
REAR ROLLOFF sets the cutoff frequency of a low pass filter in the rear-
channel. Frequencies above this setting are attenuated. This control should
be set high enough to give presence and airiness to the rear sound without
placing distracting instrumental overtones or other sounds behind you. In
systems configured without rear speakers, the settings affect the side out-
puts.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
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DC -1 Effe c ts
Le xic o n
This Effect provides Dolby Pro Logic Surround decoding designed for any
Dolby Surround encoded movies, music, or television programs. The Pro
Logic effect is an industry standard. Lexicon's proprietary auto azimuth
correction makes it an improvement over other versions. (Even more
dramatic improvement has been implemented in more recent effects, such
as Logic 7 or TV Matrix.)
Pro Logic
Parameter
Initial Value
Range
Pro Logic Parameters
AUTO AZIMUTH
DIALOG ENHANCE
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
ON
ON/OFF
0.0dB, +3.0dB, +6.0dB
-5 to +5dB
0.0dB
+0dB
+00dB
-30 to +05dB
AUTO AZIMUTH is short for auto azimuth error correction/ automatic
input balance. Auto Azimuth should be set to ON for films, and OFF for
music. When ON, special patented algorithms continually monitor the
input signal and adjust both the relative level and time offset of the two
channels to keep the dialog properly centered and special effects properly
localized. This automatic feature is the reason the unit does not need an
input balance control for Dolby Surround decoding.
DIALOG ENHANCE boosts dialog in the center channel. By targeting
specific frequencies, it boosts dialog without raising the entire center
channel level (which would alter the output balance achieved during
calibration).
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
EFFECT LEVEL adjusts the loudness of all speakers except the center
channel. This can be extremely useful in compensating for soundtracks in
which the dialog level is too low (decrease EFFECT LEVEL) or when you
want to make the surround presentation more spectacular (increase EF-
FECT LEVEL).
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DC -1Effe c ts
DC-1 Dig ita l Co ntro lle r
THX Cinema
(THX and Dolby
Digital versions)
This Effect, available only in DC-1’s equipped with THX or Dolby Digital
processing, provides Home THX Cinema surround decoding for any Dolby
surround encoded movies, music or television programs. The effect is
similar to Pro Logic, but includes the features of re-equalization, timbre
matching and decorrelation. The surround channels are monaural, but can
be decorrelated. This effect can be reset to use the Logic 7 stereo surrounds
with the Stereophonic setting of Surround Mode, although full separation
between the sides and the rear speakers is not available.
THX Cinema Parameters
Parameter
Initial Value
Range
AUTO AZIMUTH
SURROUND MODE
RE-EQUALIZER
SUBWOOFER LVL
CUSTOM
ON
DECORR
ON
ON/OFF
STEREO, DECORR
ON/OFF
+0dB
-5 to +5dB
AUTO AZIMUTH is short for auto azimuth error correction/ automatic
input balance. Auto Azimuth should be set to ON for films, and OFF for
music. When ON, special patented algorithms continually monitor the
input signal and adjust both the relative level and time offset of the two
channels to keep the dialog properly centered and special effects properly
localized. This automatic feature is the reason the unit does not need an
input balance control for Dolby Surround decoding.
SURROUND MODE selects the type of surround decoding used by the
DC-1. STEREOPHONIC provides extraction of five channels of surround
information from a standard 4-2-4 matrix-encoded soundtrack (Dolby
Surround, Ultra*Stereo, etc.) The drama of this effect is dependent on the
source material and is most noticeable with strong stereo music soundtracks.
The DECORRELATED setting electronically scrambles the monaural sur-
round channel to provide added spaciousness and envelopment.
RE-EQUALIZER equalizes the left, center, and right channel outputs to
match the overall frequency balance of the original recording. Without this
re-equalization, many films and some television programs will sound too
bright.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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DC -1 Effe c ts
Le xic o n
Logic 7
(THX and Dolby
Digital versions)
Available only in the THX and Dolby Digital versions of the DC-1, this film
sound mode reproduces musical material with maximum separation at all
times, whether or not directional material is being steered. In addition,
Logic 7 uses intelligent steering to extract wide bandwidth stereo surround
channels. If both side and rear speaker pairs are available, signals may be
steered between the left side and left rear, or between the right side and right
rear. It is also possible for a signal to be steered fully to the rear speakers,
with the side surround speakers 6dB lower than the rears to provide
subjective rear imaging.
Logic 7 contains the re-equalizer feature of the THX Cinema effect, as well
as Lexicon's proprietary dialog enhancement feature. The combination of
stereo surround information during music and decorrelated effects, with
discrete steering to the sides and rears, gives Logic 7 unrivaled performance
on surround encoded films.
Logic 7 Parameters
Parameter
Initial Value
Range
AUTO AZIMUTH
DIALOG ENHANCE
REAR ROLLOFF
REAR DELAY OFFSET
RE-EQUALIZER
SIDE ASSIGN
SURROUND LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
ON
0.0dB
8.2kHz
5ms
ON/OFF
0.0dB, +3.0dB, +6.0dB
453Hz-20.0kHz
0-20ms
ON/OFF
Front/Side, Front/Rear*
-5 to +5dB
ON
SIDE
+0dB
+0dB
+00dB
-5 to +5dB
-30 to +05dB
* Dependent on speaker configuration
AUTO AZIMUTH is short for auto azimuth error correction/ automatic
input balance. Auto Azimuth should be set to ON for films, and OFF for
music. When ON, special patented algorithms continually monitor the
input signal and adjust both the relative level and time offset of the two
channels to keep the dialog properly centered and special effects properly
localized. This automatic feature is the reason the unit does not need an
input balance control for Dolby Surround decoding.
DIALOG ENHANCE boosts dialog in the center channel. By targeting
specific frequencies, it boosts only dialog, without raising the entire center
channel level (which would alter the output balance achieved during
calibration).
REAR ROLLOFF sets the cutoff frequency of a low pass filter in the rear-
channel. Frequencies above this setting are attenuated. This control should
be set high enough to give presence and airiness to the rear sound without
placing distracting instrumental overtones or other sounds behind you. In
systems configured without rear speakers, the settings affect the side out-
puts.
44
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DC -1Effe c ts
DC-1 Dig ita l Co ntro lle r
REAR DELAY OFFSET is an additional delay added to the rear channels.
This delay increases the apparent size of the listening space by increasing
the rear delay time. Feel free to experiment to find the setting that works
best.
RE-EQUALIZER equalizes the left, center, and right channel outputs to
match the overall frequency balance of the original recording. Without this
re-equalization, many films and some television programs will sound too
bright.
SIDE ASSIGN determines whether the information fed to the side speakers
is from the front, side or rear outputs. Availability of selections varies
according to your speaker configuration. Choosing FRONT will give a
much larger front sound stage. Choosing SIDE or REAR will provide a more
enveloping surround field.
SURROUND LEVEL controls the volume level of the side and rear speakers.
Although we have selected a default value, the correct setting will vary with
each recording, the room, and your personal taste. Raising the level will
provide a more enveloping surround field.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
EFFECT LEVEL adjusts the loudness of all channels except for the center.
THX versions of the DC-1 contained a version of the LOGIC 7 effect with
the menu items described below:
DOLBY B NR is used in Pro Logic and THX effects for the surround
channels according to Dolby specifications. Because Dolby Surround
encoded program material is generally listened to with the unit set for Pro
Logic or THX, this parameter is normally off.
FRONT STEERING adjusts the amount of steering in the front channels.
At FULL, the steering is identical to Dolby Pro Logic. At 1/ 2, steering is
reduced to accommodate the wide range of television programming.
Selecting OFF steers the center signal to both the left and right channels.
This parameter is automatically set to OFF for systems configured with-
out a center speaker.
Note that these systems did not contain DIALOG ENHANCE and REAR
DELAY OFFSET, which were made available as LOGIC 7 parameters as
of the release of the Dolby Digital version of the DC-1.
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The TV Matrix effect provides surround effects for television viewing of
monaural, stereo, and stereo synthesized programs.
TV Matrix
TV Matrix Parameters
Parameter
Initial Value
Range
AUTO AZIMUTH
FRONT STEERING
REAR ROLLOFF
DOLBY B NR
ON
FULL
8.2kHz
OFF
ON/OFF
1/4, 1/2, Full, Off
453Hz-20.0kHz
ON/OFF
RE-EQUALIZER
SIDE ASSIGN
SURROUND LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
OFF
ON/OFF
Front/Side, Front/Rear*
-5 to +5dB
SIDE
+0dB
0dB
-5 to +5dB
-30 to +05dB
+00dB
* Dependent on speaker configuration
AUTO AZIMUTH is short for auto azimuth error correction/ automatic
input balance. Auto Azimuth should be set to ON for films, and OFF for
music. When ON, special patented algorithms continually monitor the
input signal and adjust both the relative level and time offset of the two
channels to keep the dialog properly centered and special effects properly
localized. This automatic feature is the reason the unit does not need an
input balance control for Dolby Surround decoding.
FRONT STEERING The essence of the TV MATRIX Effect is that dialog,
music, and surround effects are dynamically directed to the output chan-
nels, a process called steering. The FRONT STEERING control allows you
to adjust the amount of steering in the front channels. When this control is
set to FULL, the steering is identical to Dolby Pro Logic. At 1/ 2, steering is
reduced to accommodate the wide range of television programming. Select-
ing OFF will steer the center signal to both the left and right channels. This
parameter is automatically set to OFF for systems configured without a
center speaker.
REAR ROLLOFF sets the cutoff frequency of a low pass filter in the rear-
channel. Frequencies above this setting are attenuated. This control should
be set high enough to give presence and airiness to the rear sound without
placing distracting instrumental overtones or other sounds behind you. In
systems configured without rear speakers, the settings affect the side out-
puts.
DOLBY B NR is used in Pro Logic and THX effects for the surround channels
according to Dolby specifications. Because Dolby Surround encoded pro-
gram material is generally listened to with the unit set for Pro Logic or THX,
this parameter is normally off.
RE-EQUALIZER equalizes the left, center, and right channel outputs to
match the overall frequency balance of the original recording. Without this
re-equalization, many films and some television programs will sound too
bright.
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SIDE ASSIGN determines whether the information fed to the side speakers
is from the front, side or rear outputs. Availability of selections varies
according to your speaker configuration. Choosing FRONT will give a
much larger front sound stage. Choosing SIDE or REAR will provide a more
enveloping surround field.
SURROUND LEVEL controls the volume level of the side and rear speakers.
Although we have selected a default value, the correct setting will vary with
each recording, the room, and your personal taste. Raising the level will
provide a more enveloping surround field.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
EFFECT LEVEL adjusts the loudness of all channels except for the center.
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Mono Logic
Mono Logic takes a monaural soundtrack and sends music and sound
effects to the sides and rear through a room simulator mode while keeping
the dialog in the center.
Mono Logic Parameters
Parameter
Initial Value
Range
ROLLOFF
ACADEMY FILTER
MAIN LEVEL
3.3kHz
ON
453Hz to 20.0kHz
ON/OFF
8
0-16
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
+0dB
-04dB
-5 to +5dB
-30 to +05dB
ROLLOFF regulates the treble cut in the side and rear channels. The optimal
setting for this parameter will vary widely with the age, quality, and
condition of the source material.
ACADEMY FILTER is provided to recreate the proper tonal balance of
older monaural films that were recorded with much narrower and duller
frequency response than current films.
MAIN LEVEL controls the level of the mono signal that is reproduced by the
main speakers. When a center speaker is part of the configuration many
films may sound better when this control is set between 6-12. This spreads
the film sound out around the screen and can be more pleasant than
restricting the dialog and much of the other film sound to the center speaker.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
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Panorama
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. This mode 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.
The location of the front speakers and the listening position are crucial to
Panorama’s effectiveness and for best results your system and the DC-1
together should be set up and calibrated according to the procedure in
Chapter 2. 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 usable effect over a somewhat wider area than set-ups with a
large included angle between the speakers.
Panorama Parameters
Parameter
Initial Value
Range
INPUT BALANCE
LOW FREQ WIDTH
REAR LEVEL
REAR ROLLOFF
REAR DELAY
CENTER LEVEL
BASS CONTENT
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
(Centered)
0
Full Left-Full Right
-25 to +25
25
0-32
453Hz-20.0kHz
0-32ms
4.9kHz
10ms
4
MONO
+0dB
62
0-15
STEREO, MONO, BINAURAL
-05 to +05dB
0-62
INPUT BALANCE allows you to compensate for the occasional source with
audible channel imbalance. When selected, screen graphics indicate the
relative left/ right position.
LOW FREQ WIDTH allows you to apply low-frequency spatial correction
to the signal. Positive values of LOW FREQ Width indicate that thedifference
signal (L-R) has additional energy below 500Hz, while the sum (L+R) has
correspondingly less. Negative settings of LOW FREQ WIDTH can com-
pensate for recordings with too much of this property. This control can add
needed spaciousness and warmth to classical recordings made with coin-
cident or near-coincident microphones.
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. Numerical values and screen graphics are displayed
during adjustment. In systems configured without rear speakers, the
settings affect the level of the side outputs.
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REAR ROLLOFF sets the frequency above which the rear-channel sound is
attenuated. The appropriate setting will vary with the program material. It
should be set high enough to give presence and airiness to the rear sound
without placing distracting instrumental overtones or other sounds behind
you. In systems configured without rear speakers, the settings affect the side
outputs.
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 be low enough so
that the rear sound does not become identifiable as a distinct source. In
systems configured without rear speakers, the settings affect the side out-
puts.
CENTER LEVEL adjusts the output level from the center speaker.
BASS CONTENT allows you to modify the bass content for Mono, Stereo or
Binaural recordings. The BINAURAL setting turns the rear level parameter
off and activates special low-frequency compensation. This feature is
offered specifically for true binaural recordings made with a dummy head.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
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Nightclub
The Nightclub Effect generates the appropriate early reflections for stereo
simulation of many different intimate spaces, and sends the reflections to
the front, side and rear speakers.
Nightclub Parameters
Parameter
Initial Value
Range
HALL SIZE
LIVENESS
4 Meters
4
4-17 Meters
0-6
ROLLOFF
9.7kHz
OFF
9
+0dB
+02dB
453Hz-20.0kHz
ON/OFF
0-15
-5 to +5dB
-30 to +05dB
SPEECH DETECT
CENTER LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
HALL SIZE allows you to select room sizes of lengths ranging from 4-17
meters.
LIVENESS adjusts the amount of recirculation within the effect. Higher
values mimic more reflective surfaces in the simulated space and increase
the amount of time it takes the sound to decay. At very high values, the
decay is audibly less smooth than in the Church and Cathedral Effects,
which are more effective at simulating very live spaces.
ROLLOFF mimics the absorption of the air in the hall and, typically, should
begin with a low frequency to simulate large spaces.
SPEECH DETECT activates a circuit that distinguishes monaural speech
from other inputs. Essentially, this control turns down the effect to make
speech clearer. Whenever stereo signals are present, the right and left input
channels are used independently as inputs to the ambience synthesis. If
there is a strong monaural speaking voice present at the same time, this
component of the input to the Nighclub effect is reduced while the stereo
component is increased.
If the input signal is pure monaural speech the reverb is almost entirely
attenuated. SPEECH DETECT is a real benefit to some popular music
(where spoken voice, such as rap, occurs along with the music), stereo
television and early stereo movies. Any stereo material which was not
carefully mixed for Surround is a good candidate for playing through the
Nightclub Effect with speech detect on.
CENTER LEVEL adjusts the output level from the center speaker.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
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Concert Hall
The Concert Hall Effect generates the appropriate early reflections for
stereo simulation of many different halls, and sends the reflections to all
channels in addition to the direct signal in the main speaker. This Effect is
not appropriate for highly percussive music.
Concert Hall Parameters
Parameter
Initial Value
Range
HALL SIZE
LIVENESS
30 Meters
4
20-30 Meters
0-6
ROLLOFF
3.3kHz
ON
453Hz-20.0kHz
ON/OFF
0-15
-5 to +5dB
-30 to +05dB
SPEECH DETECT
CENTER LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
8
+0dB
-01dB
HALL SIZE allows you to select room sizes of lengths ranging from 20-30
meters (in increments of 4 meters).
LIVENESS adjusts the amount of recirculation within the effect. Higher
values mimic more reflective surfaces in the simulated space and increase
the amount of time it takes the sound to decay. At very high values, the
decay is audibly less smooth than in the Church and Cathedral Effects,
which are more effective at simulating very live spaces.
ROLLOFF mimics the absorption of the air in the hall and, typically, should
begin with a low frequency to simulate large spaces.
SPEECH DETECT activates a circuit that distinguishes monaural speech
from other inputs. Essentially, this control turns down the effect to make
speech clearer. Whenever stereo signals are present, the right and left input
channels are used independently as inputs to the ambience synthesis. If
there is a strong monaural speaking voice present at the same time, this
component of the input to the Concert Hall effect is reduced while the stereo
component is increased.
If the input signal is pure monaural speech the reverb is almost entirely
attenuated. SPEECH DETECT is a real benefit to some popular music
(where spoken voice, such as rap, occurs along with the music), stereo
television and early stereo movies. Any stereo material which was not
carefully mixed for surround is a good candidate for playing through the
Concert Hall effect with Speech Detect on.
CENTER LEVEL adjusts the output level from the center speaker.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
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Church
The Church Effect uses a reverberation algorithm, which differs from
ambience in that it does not simulate the reflections of specific halls, but
emphasizes rich, smooth reverberant decay in small and medium spaces. It
works well for simulating a space with a long reverberation time relative to
its size, such as a reverberant chamber, or a church.
Church Parameters
Parameter
Initial Value
Range
MID RT
BASS RT
HALL SIZE
PRE-DELAY
ROLLOFF
SPEECH DETECT
CENTER LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
1.89 sec
2.36 sec
30 Meters
24ms
2.6kHz
ON
.89-13.42 sec
0.7, 1.0, 1.25xMID RT
4-30 Meters
0-88ms
453Hz-20.0kHz
ON/OFF
0-15
-5 to +5dB
7
+0dB
-01dB
-30 to +05dB
MID RT (midrange reverberation time) is the time required for midrange
sounds to decay 60dB in level.
BASS RT (low frequency reverberation time) depends on MID RT and is
expressed as a multiplier. BASS RT should be set to 1.0 x MID RT for a more
natural effect in smaller spaces.
HALL SIZE allows you to select hall sizes of lengths ranging from 4-30
meters (in increments of 2 meters).
PRE-DELAY increases the delay between the direct sound and the onset of
reverberation. Because some pre-delay is inherent in the program material,
a value of 0 is usually a good starting point. Increasing the pre-delay value
will make the hall sound larger.
ROLLOFF mimics the absorption of the air in the hall and, typically, should
begin with a low frequency when simulating larger spaces.
SPEECH DETECT activates a circuit that distinguishes monaural speech
from other inputs. Essentially, this control turns down the effect to make
speech clearer. Whenever stereo signals are present, the right and left input
channels are used independently as inputs to the ambience synthesis. If
there is a strong monaural speaking voice present at the same time, this
component of the input to the Church effect is reduced while the stereo
component is increased.
If the input signal is pure monaural speech the reverb is almost entirely
attenuated. SPEECH DETECT is a real benefit to some popular music
(where spoken voice, such as rap, occurs along with the music), stereo
television and early stereo movies. Any stereo material which was not
carefully mixed for surround is a good candidate for playing through the
Church effect with Speech Detect on.
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CENTER LEVEL adjusts the output level from the center speaker.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
EFFECT LEVEL adjusts the loudness of the Effect.
Cathedral
The Cathedral Effect uses a reverberation algorithm which emphasizes
rich, smooth reverberant decay in large spaces. As its name indicates, it
works well for simulating a space with a long reverberation time relative to
its size, such as a cathedral.
Cathedral Parameters
Parameter
Initial Value
Range
MID RT
BASS RT
HALL SIZE
PRE-DELAY
ROLLOFF
SPEECH DETECT
CENTER LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
3.90 sec
4.87 sec
38 Meters
40ms
2.6kHz
ON
1.14-17.04 sec
0.7, 1.0, 1.25xMID RT
20-38 Meters
0-88ms
453Hz-20.0kHz
ON/OFF
0-15
-5 to +5dB
7
+0dB
-01dB
-30 to +05dB
MID RT (midrange reverberation time) is the time required for midrange
sounds to decay 60dB in level.
BASS RT (low frequency reverberation time) depends on MID RT and is
expressed as a multiplier. BASS RT should be set to 1.0 x MID RT for a more
natural effect in smaller spaces.
HALL SIZE allows you to select hall sizes of lengths ranging from 20-38
meters (in increments of 2 meters).
PRE-DELAY increases the delay between the direct sound and the onset of
reverberation. Because some pre-delay is inherent in the program material,
a value of 0 is usually a good starting point. Increasing the pre-delay value
will make the hall sound larger.
ROLLOFF mimics the absorption of the air in the hall and, typically, should
begin with a low frequency when simulating larger spaces.
SPEECH DETECT activates a circuit that distinguishes monaural speech
from other inputs. Essentially, this control turns down the effect to make
speech clearer. Whenever stereo signals are present, the right and left input
channels are used independently as inputs to the ambience synthesis.
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If there is a strong monaural speaking voice present at the same time, this
component of the input to the Cathedral effect is reduced while the stereo
component is increased.
If the input signal is pure monaural speech the reverb is almost entirely
attenuated. SPEECH DETECT is a real benefit to some popular music
(where spoken voice, such as rap, occurs along with the music), stereo
television and early stereo movies.
CENTER LEVEL adjusts the output level from the center speaker.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
Music Logic is a surround effect developed specifically for music listening.
It makes full use of additional loudspeakers placed at the center, sides and
rear of the room and provides a slight degree of steering for the front
channels. (Music Surround, available in the THX and Dolby Digital
versions of the DC-1, passes unprocessed left and right information directly
to the front left and right speakers.)
Music Logic
Music Logic Parameters
Parameter
Initial Value
Range
CENTER LEVEL
FRONT STEERING
SURROUND LEVEL
SIDE ROLLOFF
REAR ROLLOFF
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
16
FULL
+0dB
4.0kHz
4.0kHz
+0dB
0-30
1/4, 1/2, Full, Off
-5 to +5dB
453Hz20.0kHz
453Hz20.0kHz
-5 to +5dB
+00dB
-30 to +05dB
CENTER LEVEL attenuates the level of the center channel and can turn it
off completely.
FRONT STEERING (available only in Music Logic) allows you to adjust the
amount of steering in the front channels. When this control is set to FULL,
the effect is identical to Dolby Pro Logic. At the 1/ 2 and 1/ 4 settings,
steering is reduced to accommodate the wide range of television program-
ming. Selecting OFF steers the signal to both the left and right channels.
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SURROUND LEVEL controls the volume level of the side and rear speakers.
Although we have selected a default value, the correct setting will vary with
each recording, the room, and your personal taste.
SIDE ROLLOFF provides a high frequency cutoff for the side speakers. The
optimal setting for this control will vary widely with the source material.
REAR ROLLOFF sets the cutoff frequency of a low pass filter in the rear-
channel. Frequencies above this setting are attenuated. This control should
be set high enough to give presence and airiness to the rear sound without
placing distracting instrumental overtones or other sounds behind you. In
systems configured without rear speakers, the settings affect the side out-
puts.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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.
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Party
The Party effect allows unprocessed stereo signals to be played over all
speakers for background music or for maximum acoustical output of the
system.
Parameter
Initial Value
Range
Party Parameters
HIGH PASS
40Hz
15
+0dB
+00dB
OFF, 40-735Hz
0-15
-5 to +5dB
-30 to +05dB
CENTER LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
HIGH PASS sets the level of a filter which removes low frequencies from the
center, side, and rear outputs. This is useful if the system is being used at
high volumes where low frequencies might damage smaller speakers.
CENTER LEVEL attenuates the level of the center channel as much as 15 dB.
A numerical value and horizontal bar are shown by the front panel and on-
screen displays during adjustment.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
EFFECT LEVEL adjusts the loudness of the center, side and rear speakers.
The Two Channel effect allows you to use your system for two channel
stereo playback.
Two Channel
Parameter
Initial Value
Range
Two Channel Parameters
SUBWOOFER LVL
CUSTOM
+0dB
-5 to +5dB
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
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AC-3 Status Display
(Dolby Digital version)
The following five effects are available only in the Dolby Digital version of
the DC-1. Each of these effects provides an AC-3 Status Display in the
parameter menu. This display contains the following information.
MATRIX ENCODED: YES indicates a Dolby Digital input is matrix en-
coded; No indicates it is not.
DOWNMIX: YES indicates material is being downmixed for speaker con-
figuration, or because a two-channel effect is being utilized; NO indicates no
downmixing is taking place.
DATA RATE: 32-640kb, depending on the data rate of the incoming signal.
SAMPLE RATE: 44.1kHz or 48kHz depending on the incoming signal.
PGM CONTENT: shows you the actual spatial characteristics of the incom-
ing soundtrack. The information appears as F/S.LFE where F=the number
of front channels and S=the number of surround channels.LFE=.1 if the LFE
channel is on.
For example, a given source may display 3/2.1, indicating that the source
was recorded with 3 front channels, 2 surround channels, and the LFE
channel. When the designation .1 indicates that the LFE channel is on, as in
our example, a level meter at the bottom of the display will show LFE
channel activity. (Note, that there are instances where the LFE channel is on,
but no activity shows in the meter display. This is normal and should not
cause concern.)
REF OFFSET indicates the Dialog Normalization value that is present in
AC-3 bitstreams. In AC-3, dialog is reproduced at -31dBFS (31dB below full
scale). If the program material was mixed so that dialog is at -31dBFS, then
REF OFFSET=0dB. If the dialog was mixed at a "hotter" level, for example,
-21dBFS, then REF OFFSET = -10dB and the DC-1 would adjust the levels
down 10dB to bring dialog back to -31dB.
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5.1 Music
(Dolby Digital)
This Effect, available only in DC-1’s equipped with Dolby Digital process-
ing, enhances playback of Dolby Digital music recordings, or Dolby Digital
film soundtracks with strong musical content. This effect contains many of
the features found in 5.1 LOGIC 7, with settings that are more appropriate
for music.
5.1 Music Parameters
Parameter
Initial Value
Range
AC-3 STATUS (display only — not user adjustable)
COMPRESSION
RE-EQUALIZER
SURROUND LEVEL
REAR DLY OFFSET
LFE MIX LEVEL
SUBWOOFER LVL
CUSTOM
Off
Off
0dB
0ms
+0.0dB
+0dB
Off, On, AUTO
On, Off
-5 to +5dB
0-20ms
-10dB to 0dB
-5 to +5dB
AC-3 STATUS displays the current status of incoming AC-3 data. The
displayed items are not user adjustable.
COMPRESSION enhances the intelligibility of Dolby Digital material at
low volume levels (-6dB or lower). When set to AUTO, this control auto-
matically limits peak signals and boosts low level signals. The amount of
compression increases proportionately as volume is decreased. This is quite
useful when listening to Dolby Digital soundtracks at low output levels.
When set to ON, full compression is applied, regardless of volume.
RE-EQUALIZER equalizes the left, center, and right channel outputs to
match the overall frequency balance of the original recording. Without this
re-equalization, many films and some television programs will sound too
bright.
SURROUND LEVEL controls the volume level of the side and rear speakers.
Although we have selected a default value, the correct setting will vary with
each recording, the room, and your personal taste.
REAR DELAY OFFSET is an additional delay added to the rear channels
when listening to LOGIC 7 and MUSIC SURROUND. This delay increases
the apparent size of the listening space by increasing the rear delay time.
Feel free to experiment to find the setting that works best.
LFE MIX LEVEL allows separate level attenuation of the LFE channel,
which is ultimately mixed to the subwoofer output. As the bass from as
many as five other channels is added to the LFE, it can significantly raise
subwoofer output levels — and create the risk of damage to a system.
Careful adjustment of this parameter will allow you to achieve proper tonal
balance and reduce the risk of damage.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
59
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DC -1 Effe c ts
Le xic o n
Dolby Digital
(Dolby Digital version)
Available only in the Dolby Digital version of the DC-1, the Dolby Digital
effect decodes Dolby AC-3 encoded soundtracks. Unlike analog Dolby
surround decoding, Dolby Digital uses five discrete full-range channels and
a sixth dedicated, Low Frequency Effect (LFE) channel. In this effect, any
rear speakers present are connected in parallel with the side speakers. This
is the basic Dolby AC-3 effect. It does not include the enhancements by
Lexicon or LucasFilm which are available with other AC-3 effects in the
DC-1.
Dolby Digital Parameters
Parameter
Initial Value
Range
AC-3 STATUS (display only — not user adjustable)
COMPRESSION
DIALOG ENHANCE
LFE MIX LEVEL
SUBWOOFER LVL
CUSTOM
Off
Off, On, AUTO
+0.0dB, +3.0dB, +6.0dB
-10.0db to +0.0dB
-5 to +5dB
+0.0dB
+0.0dB
+0dB
AC-3 STATUS displays the current status of incoming AC-3 data. The
displayed items are not user adjustable.
COMPRESSION enhances the intelligibility of Dolby Digital material at
low volume levels (-6dB or lower). When set to AUTO, this control auto-
matically limits peak signals and boosts low level signals. The amount of
compression increases proportionately as volume is decreased. This is quite
useful when listening to Dolby Digital soundtracks at low output levels.
When set to ON, full compression is applied, regardless of volume.
DIALOG ENHANCE boosts dialog in the center channel. By targeting
specific frequencies, it can boost only dialog, without raising the entire
center channel level (which would alter the output balance achieved during
calibration).
LFE MIX LEVEL allows separate level attenuation of the LFE channel,
which is ultimately mixed to the subwoofer output. As the bass from as
many as five other channels is added to the LFE, it can significantly raise
subwoofer output levels — and create the risk of damage to a system.
Careful adjustment of this parameter will allow you to achieve proper tonal
balance and reduce the risk of damage.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
60
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DC -1Effe c ts
DC-1 Dig ita l Co ntro lle r
THX 5.1
(Dolby Digital version)
This Effect, available only in DC-1’s equipped with Dolby Digital process-
ing, provides THX 5.1 Cinema enhancements for film soundtracks recorded
in the Dolby Digital format. This processing compensates for the acoustical
differences between large mixing theaters and the typically smaller home
environment. In this effect the side and rear speakers are driven in parallel
when you designate side speakers as STANDARD (LARGE or SMALL) in
the Speaker Configuration menu.
Parameter
Initial Value
Range
THX 5.1 Parameters
AC-3 STATUS (display only — not user adjustable)
COMPRESSION
RE-EQUALIZER
LFE MIX LEVEL
SUBWOOFER LVL
CUSTOM
Off
On
+0.0dB
+0dB
Off, On, AUTO
On, Off
-10.0dB to 0.0dB
-5 to +5dB
AC-3 STATUS displays the current status of incoming AC-3 data. The
displayed items are not user adjustable.
COMPRESSION enhances the intelligibility of Dolby Digital material at
low volume levels (-6dB or lower). When set to AUTO, this control auto-
matically limits peak signals and boosts low level signals. The amount of
compression increases proportionately as volume is decreased. This is quite
useful when listening to Dolby Digital soundtracks at low output levels.
When set to ON, full compression is applied, regardless of volume.
RE-EQUALIZER equalizes the left, center, and right channel outputs to
match the overall frequency balance of the original recording. Without this
re-equalization, many films and some television programs will sound too
bright.
LFE MIX LEVEL allows separate level attenuation of the LFE channel,
which is ultimately mixed to the subwoofer output. As the bass from as
many as five other channels is added to the LFE, it can significantly raise
subwoofer output levels — and create the risk of damage to a system.
Careful adjustment of this parameter will allow you to achieve proper tonal
balance and reduce the risk of damage.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
61
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DC -1 Effe c ts
Le xic o n
5.1 Logic 7
(Dolby Digital version)
5.1 Logic 7 combines all the features of Dolby Digital AC-3 with enhance-
ments by Lexicon and LucasFilm. This effect uses Logic 7 matrix technology
to enhance the steering between the side speakers and the rear speakers, so
sounds intended to come from behind the listener actually do come from
behind. This effect also includes the adaptive decorrelation and re-equalizaer
features of THX 5.1.
5.1 Logic 7 provides the ultimate in film reproduction. It brings out all the
increased excitement and spaciousness a 7 channel speaker system can
produce.
Parameter
Initial Value
Range
5.1 Logic 7 Parameters
AC-3 STATUS (display only — not user adjustable)
COMPRESSION
DIALOG ENHANCE
RE-EQUALIZER
REAR DELAY OFFSET
SURROUND LEVEL
LFE MIX LEVEL
SUBWOOFER LVL
EFFECT LEVEL
CUSTOM
Off
+0.0dB
Off
Off, On, AUTO
+0.0dB, +3.0dB, +6.0dB
On, Off
0ms
0-20ms
-5 to +5dB
-10.0db to0.0dB
-5 to +5dB
-30dB to +05dB
+3dB
+0.0dB
+0dB
0dB
AC-3 STATUS displays the current status of incoming AC-3 data. The
displayed items are not user adjustable.
COMPRESSION enhances the intelligibility of Dolby Digital material at
low volume levels (-6dB or lower). When set to AUTO, this control auto-
matically limits peak signals and boosts low level signals. The amount of
compression increases proportionately as volume is decreased. This is quite
useful when listening to Dolby Digital soundtracks at low output levels.
When set to ON, full compression is applied, regardless of volume.
DIALOG ENHANCE boosts dialog in the center channel. By targeting
specific frequencies, it can boost only dialog, without raising the entire
center channel level (which would alter the output balance achieved during
calibration).
RE-EQUALIZER equalizes the left, center, and right channel outputs to
match the overall frequency balance of the original recording. Without this
re-equalization, many films and some television programs will sound too
bright.
REAR DELAY OFFSET is an additional delay added to the rear channels.
This delay increases the apparent size of the listening space by increasing
the rear delay time. Feel free to experiment to find the setting that works
best.
62
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DC -1Effe c ts
DC-1 Dig ita l Co ntro lle r
SURROUND LEVEL controls the volume level of the side and rear speakers.
Although we have selected a default value, the correct setting will vary with
each recording, the room, and your personal taste.
LFE MIX LEVEL allows separate level attenuation of the LFE channel,
which is ultimately mixed to the subwoofer output. As the bass from as
many as five other channels is added to the LFE, it can significantly raise
subwoofer output levels — and create the risk of damage to a system.
Careful adjustment of this parameter will allow you to achieve proper tonal
balance and reduce the risk of damage.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
EFFECT LEVEL adjusts the loudness of the center, side and rear speakers.
63
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DC -1 Effe c ts
Le xic o n
This Effect mixes Dolby Digital 5.1 information for two-channel playback.
These soundtracks can be recorded onto two-channel formats, or played
back through left and right front speakers. The mix is designed to play back
with full surround when decoded through Logic 7. In mixing a film with
very heavy use of the Low Frequency Effects Channel, it may be desirable
to lower LFE MIX LEVEL.
5.1 Two Channel
(Dolby Digital version)
Parameter
Initial Value
Range
5.1 Two Channel Parameters
AC-3 STATUS (display only — not user adjustable)
LFE MIX LEVEL
SURROUND MIX
SUBWOOFER LVL
CUSTOM
+0.0dB
+2dB
+0dB
-10dB to 0dB
-5 to +5dB
-5 to +5dB
AC-3 STATUS displays the current status of incoming AC-3 data. The
displayed items are not user adjustable.
LFE MIX LEVEL allows separate level attenuation of the LFE channel,
which is ultimately mixed to the subwoofer output. As the bass from as
many as five other channels is added to the LFE, it can significantly raise
subwoofer output levels — and create the risk of damage to a system.
Careful adjustment of this parameter will allow you to achieve proper tonal
balance and reduce the risk of damage.
SURROUND MIX allows independent adjustment of the level of the sur-
round channels. Many AC-3 encoded soundtracks sound better when
down-mixed to two channels with the surround level increased by approxi-
mately 2-3dB.
SUBWOOFER LVL boosts or cuts the subwoofer output level. Although the
normal subwoofer level is set during the calibration procedure, with some
recordings it may be desirable to increase or decrease this deep bass level.
64
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Tro ub le sho o ting
4
Troubleshooting
If you encounter a problem, please review the items in the following
checklist. Also be sure to thoroughly check all other connected components
such as speakers, receiver/ amplifier/ preamp, VCR, TV, CD player, etc.
Problem
Possible Cause and Solution
Power does not come on
Check line cord to ensure good connection to the AC outlet and to the
receptacle on the DC-1 rear panel. Check to make sure that the DC-1 rear
panel power switch is ON.
No audio
Check input and output connections. They may be reversed relative to
the IN and OUT jacks of your receiver/ amplifier/ preamp or other
source.
Remote control not working
No output
Check batteries to be certain that they are inserted correctly with proper
polarity. Make sure that the infrared sensor on the DC-1 front panel is
not obstructed. See "If all else fails..." on the following page.
Make sure that signal is coming into the DC-1. Increase VOLUME using
the remote control and check Front/ Back and Left/ Right BALANCE.
Check the DC-1 MUTE controls to make sure they are not engaged.
Check all other equipment settings and connections and verify that the
amplifiers being fed by the DC-1 are operational.
Remember that the DC-1 mutes the output to any speakers which are
not configured in the Setup menu. If speakers are added to (or removed
from) your system, the Speaker Configuration menu must be altered
accordingly.
Center Channel only plays
Check to see if your HiFi VCR has dropped out of tracking — readjust.
Your VCR Stereo/ Mono/ L-R switch may be in the wrong position —
set it to Stereo.
Muffled sound in L&R channels
Center channel sound muffled
No Input Level Meters
When no center channel is used, CENTER must be configured for
NONE in the Setup Speaker Configuration menu.
The center channel amp may be connected to the subwoofer jack on the
DC-1 rear panel. Reconnect to Center Output jack.
The meters will only appear when adjusting the Gain parameter of a
selected, active input.
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Tro ub le sho o ting
Le xic o n
Problem
Possible Cause and Solution
Hum
Finding and eliminating audio hum in a complex installation can be a
very frustrating task. Often, the easiest way to identify the culprit(s) is
to systematically eliminate devices from the audio chain. If Cable TV is
connected to any component in the system, start by unplugging the
Cable completely, preferably right at the wall jack. If this eliminates, or
greatly reduces the hum, it is worth a call to your Cable company. A
quick fix, assuming your cable is round 75Ω wire, is to attach a 75-300Ω
transformer to the end, then attach a 300-75Ω transformer to that, so
that the end is back to a round 75Ω wire. There are commercially
available antenna lead isolators which may provide additional insula-
tion from electrical surges.
Interference with Radio or TV
The DC-1 does generate minimal amounts of RF energy and is in
compliance with FCC rules and CE standards. If some interfering noise
is noted, move AM loop and FM "T" type antennas away from the
DC-1 and reorient them as necessary. Use shielded cable for FM and TV
antenna feeds.
Erratic recall of modes
If all else fails…
Severe power surges or sags can confuse the DC-1 memory. To correct,
or if you simply want to start over, restore the factory defaults with the
procedure described at the end of this section.
Turn off all amplifiers. Turn the master power switch on the DC-1rear
panel OFF, wait 10 seconds, then turn it ON again. This causes the unit
to run a diagnostic self-test routine which takes a couple of seconds. If
the DC-1 LCD displays normally at the end of this test, no problems
have been found with the DC-1 circuitry. If the internal tests fail, the
LCD may display an error message, or no message at all. If this happens,
contact Lexicon.
If you find that your custom settings are routinely being corrupted, the
lithium battery in the DC-1 may be faulty. This part is not field -
replaceable — contact Lexicon.
If the unit is still behaving erratically, perform the Restore Defaults
procedure described on the following page.
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Tro ub le sho o ting
DC-1 Dig ita l Co ntro lle r
Routine Maintenance
Other than occasional replacement of the batteries in the remote control
units, the DC-1 requires minimal maintenance. Use a soft, lint-free cloth
slightly dampened with warm water and a mild detergent to clean the
exterior surfaces of the unit.
Do not use alcohol, benzene or acetone-based cleaners
or any strong commercial cleaners.
Avoid using any abrasive materials such as steel wool or metal polish. If the
unit is exposed to a dusty environment, a vacuum or low-pressure blower
may be used to remove dust from the DC-1 exterior.
If severe power surges or sags cause problems with DC-1 memory storage,
or you simply want to start with a clean slate, you can restore all of the
factory defults with the following procedure.
Restoring Defaults
This will erase any programs you have stored,
as well as all setup and calibration values.
Note any settings you want to re-use before proceeding.
Turn the DC-1 OFF with either the front panel switch or the remote. Turn
the unit back ON and immediately press and hold BYPASS on the remote.
(Make sure you do not block the infrared receiver on the DC-1 front panel.)
The on-screen display will read:
FACTORY PRESETS MENU
EXIT
RESTORE DEFAULTS
If you want to resume normal operation without restoring all defaults, this
is your last chance. Use MENU ▲ or ▼ to highlight EXIT, then press
SELECT.
To restore defaults, use MENU ▲ or ▼ to highlight RESTORE DEFAULTS,
then press SELECT. This will clear and reload all preset effects and all
factory settings of Volume, Balance, Contrast, Configuration, etc.
When the message FACTORY DEFAULTS RESTORED is diplayed, press
DONE to return to normal operation. All of the adjustable parameters in the
DC-1 have now been reset to the values assigned when it cleared final
Quality Control at the factory.
If you cannot solve functional problems through these procedures, consult
your dealer or Lexicon/ Customer Service Department.
DO NOT OPEN THE UNIT.
DOING SO WILL VOID YOUR WARRANTY,
AND MODIFICATIONS MAY RENDER THE UNIT UNSERVICEABLE.
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Sp e c ific a tio ns
5
Specifications
Inputs: Audio: 8 stereo (RCA) pairs
Minimum Input Level: 500 mVrms for maximum output
200 mVrms for Dolby level (Input Gain=0dB)
Input Impedance:
100 kΩ in parallel with 150pF
Video: 5 composite (RCA), 3 S-video, NTSC, PAL, SECAM compatible
Input Level and Impedance: 1Vpp, 75Ω
Digital: 4: 2 coaxial (RCA), 2 optical (TOSLINK™),
conforms to S/ PDIF standard
Outputs: Audio: 8 outputs:Left, Center,Right, L&R Sides, L&R Rears, Subwoofer (RCA)
Maximum Output Level: 6 Vrms (System Volume=+12dB)
Output Impedance:
100 Ω in parallel with 150pF
Video: 2 composite (RCA), 2 S-video, NTSC, PAL, SECAM compatible
Output Level and Impedance: 1V p-p, 75Ω
PWR CTL:
Minimum
Output
12 volts (default) 11.5 volts
Maximum
Output
15.3 volts
5.1 volts
Maximum
Current Out
140mA
5 volts
3.3 volts
200mA
D/A Conversion: 20-bit Delta-Sigma
Frequency Response: 10 Hz-20 kHz, +0.5dB, Ref. 1kHz
THD+Noise: Less than 0.01% @1kHz, maximum output level
Dynamic Range: 90dB minimum, 22kHz bandwidth,
Ref. 1kHz@ -60dB below maximum output level
Signal to Noise Ratio: 90dB minimum, 22kHz bandwidth, Ref. 1kHz at maximum output level
Power Requirements: 100-240 VAC, 50-60Hz 35Watts (universal input)
IEC detachable power cord provided per country of destination
Dimensions: 17.3"W x 11.5"D x 3.6"H (440 x 292 x 92mm)
19.0"W x 11.5"D x 3.5"H (483 x 292 x 89mm) with rack mounting brackets
Weight: 10.5 lbs. (4.8kg)
Environment: Operating Temperature: 32° to 95°F (0° to 35°C)
Storage Temperature: -22° to 167°F (-30° to 75°C)
Relative Humidity: 95% maximum without condensation
Remote Controls: 1 hand-held, battery-powered remote control unit uses 2 AAA alkaline batteries
Specifications subject to change without notice.
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Installation Worksheet
Model/Serial #________/____________
Installed by________________________________Phone____________________Date______________
Inputs
VCR1
Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
V-DISC Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
TUNER Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
Rec/Zone2: ■ Analog ■ Digital ■ Blocked Trigger: ■ enabled ■ disabled
Gain _______ Name ___________ Effect _______ AC-3 FX _______ Digital _______ Video _______
■ enabled ■ disabled
Video _______
VCR2
TV
AUX
CD
TAPE
Rec/Zone2:
■ Analog
■ Digital ■ Blocked
Trigger:
OSD Position
Display Time
■ bottom
■ center
■ top
■ always off
■ always on
■ 2 sec. time out
Speaker Configuration (circle selection)
FRONT
LG
SM
SM NONE
LG SM
80
100
80
120
Listener Position (Panorama)
CENTER LG
100 120
Speaker Listener Angle _______°
Listener Position_____________
SIDES
LG
SM NONE 80
DIP
100 120
STD DIP STD
REARS
LG SM NONE
80
80
100 120
100 120
SUBWFR YES
NO
OFF
Output
Levels
Speaker
Distance
Wiring
Comments
Output
Levels
Speaker
Distance
Wiring
Comments
L. Side _____dB
Sub _____dB
______ _________________
______ _________________
______ _________________
______ _________________
L. Front _____dB
Center _____dB
R. Front ____dB
R. Side _____dB
______ _________________
______ _________________
______ _________________
______ _________________
R. Rear _____dB
L. Rear _____dB
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Lexicon, Inc.
3 Oak Park,
Bedford MA 01730-1441 USA
Telephone: 781-280-0300
Fax: 781-280-0490
Lexicon Part #070-11787 Rev 1
Printed in the United States of America
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