But...installing the CP-650 was no bed of roses...

Mic/Mux pinout differs from that used on the CP-500...Why? Now I have to have two different XLR-to-D9 connectors instead of just one.

I don't like the display. I know that the old one (on the 500) became a problem but this one represents too much of a step backward for my taste.

Is it really necessary for the front panel to stick out of the rack like that?

The software is a little clunky...

Do you really have to disconnect/reconnect every time you want to "send changes" or am I missing something? I found this was the only way to ensure that my changes got sent. They were not automatically transmitted when I saved them or when I disconnected. I found that reconnecting was the only sure way to ensure that the changes got through.

What is up with the mic calibration? I got a dialogue box a couple of times that said "Mic level is too low or too high." Well, could it be any more vague? Which is it...too low...or too high? You'd think they should/could program it to determine that...

It also seems like I'm going to have to get some more Dolby parts if I want to tie the CA-21 (Automation) to the remote volume of the CP-650. Why did that need to change to involve a special part?

Bye,

(Sorry for my really BAD English)

For instance, even the format buttons only have the format numbers (something only the CP-200 has any meaning with). Try to explain to a newbie that the "04" button is Dolby-A and that they will almost never have to use it!

Then there are the three buttons for the menus that hang out there in the open...put them behind the cover (even if it is just the flip down cover)...out in the open means "press me!" And to add insult to injury, the first menu option is the "Fader, Local/Remote" so the prize for pressing the wrong button can be NO SOUND with a mysterious "0.0" staring at you until you realize what you did (yes I've been paged over this one).

Sound wise, it is fine though a bit noisy for my tasts (almost unusable for screening rooms with speakers in close proximity) though it is better than the CP-500 in that respect.

The CP-650 also seems a bit more reliable than the CP-500.

From an installation standpoint...it is a nightmare! Only the one "main output" with a DB25 connector so you are screwed on your monitor feed. If you buy or upgrade to "EX" then your output for the surrounds must move to the Option I/O connector (also a DB25)...rather dumb and inexcusable. So what is Dolby's answer...why call Odyssey products, of course...they make kludge boards...an example is shown below.

Again, in a typical mall theatre, a CP-650 will do just fine...in a special venue house with flexibility needs...it can prove to be inflexible.

Steve

Manny, look carefully at the difference between the two mic cables. You'll find it's possible to simply ad a link between two pins in the DB9 connector of you're CP500 cable to get it to work with both.

I've never used the CP650 on board RTA. I don't really have a problem with using the scope to display it, that's how we used to work with the Arta600, and very well it worked too. It's just that I carry an Arta80, so there really is no need for me to use the on board gadget.

BTW How tight are Dolby getting? I'm installing a pair of 650 with changeovers, there I am merrily wiring the cells etc, and find that in the bag of bits is ONE DB9 connector, I checked both 650s and had two connectors for two processors. This seems a bit 'scrooge' to me, as the cost of a DB9, relative to the cost of a CP650 is small to say the least.

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I also have a smaller wooden rack that does just the opposite. If I ground the equipment, it really "sings".

I crimp 99% of my DSubs so field installation of them is a breeze. If the CP-650 had two outputs (main and monitor) then things wouldn't be as bad. Though they NEED to fix havng the Ls and Rs channels be in different places when EX is implimented...that is a serious design flaw. And referring people to use Odyssey boards is a cop-out.

Whereas I've always crimpped my Dsubs, I've never noticed that Dolby isn't supplying a connector for each potential connection. That would be like not providing a fanning strip for each connector in the older Dolby gear...something that just wasn't done. Yes, Dolby does seem to be slipping here.

But this all goes to my previous statement...if you are building a typical mall theatre...that seems to be what they are targeting.

Pete...have you tried a Panastereo CSP-1200 yet? While certainly not perfect, they are MUCH more condusive to special venue and high-end.

I am working on an installation that has 2-35mm/16mm projectors (featuring optical, Dolby Digital DTS Digital), , Digital Video (Dolby-E, AC-3, PCM), Analog Video (your various Lt/Rt stuff like VHS), Analog Video 5.1...all controlled with an AMX (AMX can control the CSP-1200 via the RS232 port) and there are inputs to spare!

Again, nothing is perfect but it might be worth considering in your future special venue or high-end installations.

Steve

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"Old projectionists never die, they just changeover!"

Pete: About that cable...even though I am sure your modification would allow me to keep just one cable for use between CP-500s and CP-650s my argument was really that no modification to the mic/mux cable should have been necessary in the first place.

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