AMP 2 & AMP 3 Power Amplifiers

PR O C E E D

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
Marking by the CE symbol (shown left) indicates compliance of this device with the EMC (Electromagnetic Compatibility) and LVD (Low Voltage Directive) standards of the European Community.
The information contained in the manual is subject to change without notice. The most current version of this manual will be posted on our web site at http://www.madrigal.com.
Important Safety Instructions
Please read all instructions and precautions carefully and completely before operating your Proceed power amplifier.
ALWAYS disconnect your entire system from the AC mains before connecting or disconnecting any cables, or when cleaning any component. This product is equipped with a three-conductor AC mains power cord which includes an earth ground connection. To prevent shock hazard, all three connections must ALWAYS be used. If your electrical outlets will not accept this type of plug, an adapter may be purchased. If an adapter is necessary, be sure it is an approved type and is used properly, supplying an earth ground. If you are not sure of the integrity of your home electrical system, contact a licensed electrician for assistance. AC extension cords are not recommended for use with this product. If an extension cord must be used, be sure it is an approved type and has sufficient current-carrying capacity to power this product. NEVER use flammable or combustible chemicals for cleaning audio components. NEVER operate this product with any covers removed. NEVER wet the inside of this product with any liquid. NEVER pour or spill liquids directly onto this unit. NEVER block air flow through ventilation slots or heatsinks. NEVER bypass any fuse.

4. 5. 6. 7. 8. 9.

10. NEVER replace any fuse with a value or type other than those specified. 11. NEVER attempt to repair this product. If a problem occurs, contact your Proceed retailer. 12. NEVER expose this product to extremely high or low temperatures. 13. NEVER operate this product in an explosive atmosphere. 14. ALWAYS keep electrical equipment out of the reach of children. 15. ALWAYS unplug sensitive electronic equipment during lightning storms.
From all of us at Madrigal Audio Laboratories, thank you for choosing the Proceed power amplifier. A great deal of effort went into the design and construction of this precision device. Used properly, it will give you many years of enjoyment.

Table of Contents

Unpacking and Placement.. 6
Unpacking.... 6 Placement.... 6 Ventilation.... 6

Operating Voltage... 7

AMP bottom-panel label... 7
A Quick Start... 8 Special Design Features...10

Multiple monaural design... 10 Low impedance power supply... 10 Balanced inputs.... 10 Robust output stage.... 10 Extensive protection.... 10 Home THX Audio System certification.. 1 1
Front Panel... 12 Rear Panel... 13
Remote turn-on tip polarity... 14

Bridged Operation... 17

Bridging Explained.... 17 Balanced Bridging.... 17 Balanced Bridging Kit... 17 Balanced Bridged Input Connection... 18 Single-Ended Bridging... 19 Single-Ended Bridging Kit... 20 Single-Ended Bridged Input Connection.. 21

Biamplification... 22

Balanced Y-adapter... 22 Biamping wiring diagram... 23
Care & Maintenance... 24 U.S. and Canadian Warranty... 25
90-Day Limited Warranty.... 25 Five Year Extended Warranty... 25
Obtaining Service... 26 Specifications.... 27 Dimensions: AMP 2... 28 Dimensions: AMP 3... 29

Unpacking and Placement

Unpacking
Unpack your Proceed AMP 2 or AMP 3 power amplifier and keep all packing materials for future transport. Shipment of the amplifier without the original packing material is not recommended. Locate and remove the heavy gauge AC power cord, which is tucked into a cardboard slot within the box.

Placement

Y our Proceed AMP may be placed either near the preamplifier/control center or near the loudspeakers. It may be placed on a shelf or in a cabinet where it is convenient to operate. Note that adequate clearance for the AC cord and connecting cables must be left behind your AMP We suggest leaving at least. three inches of free space behind your AMP to allow all cables sufficient room to bend without crimping or undue strain.

Ventilation

Be sure to allow 2 to 3 inches of clearance above your AMP to allow heat dissipation through air circulation. The vents on both the bottom and the top of the AMP must be kept free from any obstruction which would reduce the flow of air through the unit. The best rule of thumb is this: if the top of your AMP is too hot to touch when idle, it needs better ventilation. If so, consider drilling holes in the supporting shelf under the AMP to promote flow-through ventilation, or use fans to increase air circulation. Open equipment racks are generally best for power amplifiers, as they allow ample ventilation. If your amplifier must be located inside a cabinet which restricts airflow, consider using some fans to increase ventilation. Avoid placement on soft surfaces such as carpeting. If you prefer to have the AMP on the floor near your loudspeakers, be sure to place it on a firm surface. (A piece of tempered glass under the amplifier is aesthetically unobtrusive while providing firm support and allowing the required ventilation.) Mechanical drawings are included in this manual to facilitate special installations and custom cabinet work (see Dimensions at the end of this manual).

PRECAUTION

For your protection, review Important Safety Instructions before you install your AMP.

Operating Voltage

The Proceed AMP 2 and AMP 3 are factory-set for 100V 120V 220V or 240V AC , , , mains operation at either 50 or 60Hz, according to the country for which the unit was manufactured. (230V in European Union countries, in compliance with CE regulations.) Make sure that the label on the bottom of the AMP indicates the correct AC operating voltage for your location. The operating voltage cannot be changed by the user, and any attempt to do so will void the warranty. If the voltage indicated does not match the service in your area, see your Proceed dealer.

AMP bottom-panel label

WARNING: BEFORE ATTEMPTING TO OPERATE THIS DEVICE, REFER TO OWNERS MANUAL FOR PROPER OPERATING INSTRUCTIONS AND SAFETY PRECAUTIONS. HAZARDOUS VOLTAGE AVAILABLE INSIDE; DISCONNECT AC MAINS CABLE BEFORE OPENING UNIT.

PR O C E E D amp

MADRIGAL AUDIO LABORATORIES, INC.
d e s i g n e d a n d m a n u f a c t u re d i n U S A No User Serviceable Components Inside. For service, contact Madrigal Audio Laboratories or an Authorized Dealer. Any modification to this equipment will void all warranties.
Manufactured under license from Lucasfilm Ltd. Additionally licensed under the following patents: U.S. number 5,043,970; 5,189,703; and 5,222,059. Foreign patents pending. Lucasfilm THX Audio, Lucasfilm, and Home THX Cinema are registered trademarks of Lucasfilm Ltd.

A Quick Start

We recognize that many people are understandably eager to begin listening to their new components, and that reading the manual is often done (if at all) at a later timeperhaps while listening to music through the new product itself. We strongly recommend that you read this manual thoroughly. Fortunately, we can help you get some music up and running on your system quickly, so that you may begin enjoying your new amplifier while reading more about it. The goal here is simply to make some music as quickly as possible. The following procedure assumes that the rest of your system is already connected (e.g., source components to preamplifier).

TURN DOWN THE VOLUME ON YOUR PREAMPLIFIER Turning the volume on the preamp all the way down minimizes the opportunity for unpleasant surprises when first powering up your new amplifier. It does not need to be turned offmerely turned down.
SELECT XLR OR RCA WITH THE INPUT SELECT SWITCHES Each channel of the Proceed AMP 2 and AMP 3 has both balanced (XLR) and single-ended (RCA) inputs, with a small switch between the two connectors to select between them. Using these switches, select the appropriate input for each channel, given your interconnecting cables and preamplifiers capabilities.
CONNECT YOUR PREAMP TO THE AMP Having selected the appropriate inputs in Step 2, now connect the outputs of your preamplifier to the corresponding inputs on the power amplifier.
CONNECT YOUR SPEAKERS TO THE AMP Each channel of the Proceed AMP 2 and AMP 3 is supplied with two sets of binding posts to facilitate bi-wiring. Using either the top or the bottom set of red and black binding posts, connect speaker wire from the AMP to your loudspeakers. Be sure to maintain consistency in polarity, e.g., the red post on the amplifier to the red connector on the speaker, and likewise black to black. (Getting the wires mixed up wont damage anything, but the sound will be lacking in bass and the imaging will be quite poor and unstable.)
CONNECT THE AC CORD TO THE AMP AND TO YOUR AC OUTLET The AC receptacle for the power cord is located on the right side of the rear panel, as seen from the front. The AMP will initially power up in standby mode.
TURN ON THE AMP BY PRESSING THE POWER BUTTON Pressing the latching power button on the front panel of the AMP 2 and AMP 3 will connect the amplifier to the AC mains. If the indicator light does not light, the amplifier is either not receiving AC power or its protection circuitry has been engaged.
SLOWLY RAISE THE VOLUME ON YOUR PREAMPLIFIER Congratulations! Y should now be able to enjoy your favorite music while ou reading the rest of this manual. (Please, do read the rest of this manual. It contains much valuable information about your new amplifier which we could not possibly fit onto these two pages.)

Special Design Features

Congratulations on your purchase of a Proceed AMP! While your new amplifier is straightforward in its use, it includes several design features which are responsible for its outstanding performance. A few of these are given below.

Multiple monaural design

Consistent with the finest amplifiers, your Proceed AMP is a true multiple monaural design. Each audio channel has its own, dedicated power supplyincluding a separate 300VA toroidal transformer for each channel. This approach reduces crosstalk between audio channels for superior imaging and reproduction of acoustic space. The demands placed on one channel have virtually no effect on the performance of the other channel(s).
Low impedance power supply
A critical factor in the ultimate performance of an amplifier is its power supply impedance, which can be loosely thought of as the freedom with which the audio circuitry has access to the power it needs, when it needs it. The design of your Proceed AMP has addressed this important characteristic in a comprehensive fashion. For example, the power supply capacitors (which act as reservoirs of power for the amplifier circuitry) are mounted directly to the printed circuit board, immediately adjacent to the output transistors (which require the greatest amount of current). The layout of the circuitry uses short, thick traces for high current paths. Internal current capability is further enhanced with high purity copper buss bars. This attention to detail yields an optimal environment in which the amplifier may operate to its maximum potential.

Balanced inputs

Each channel of your AMP is individually configurable to receive either balanced or single-ended inputs. This approach allows you to take full advantage of the greater immunity from noise, RFI, and EMI which balanced transmission of audio signals offers on any preamp-to-amplifier connection where it is supported. At the same time, any or all channels of the amplifier may be configured for singleended inputs to maintain compatibility with the majority of preamplifiers available today. The gain structure of the AMP adjusts automatically when you select different inputs to facilitate this mix and match approach.

Robust output stage

Each channel of your Proceed AMP uses eight 150 watt power transistors. These transistors are all individually tested and sorted, and are used in matched sets to ensure that no one transistor bears a disproportionate part of the overall load. The combination of an overbuilt design specification and extraordinary attention to detail in manufacturing improves performance, reliability, and longevity.

Extensive protection

Y our Proceed amplifier will shut itself down if it senses either the presence of DC (direct current) at the output or an unsafe operating temperature. In either case, a power relay will cause the amplifier to be disconnected from the AC mains. In addition, the AC input to each transformer is fused to protect against excessive current conditions such as driving shorted outputs. Finally, inrush limiting prevents premature aging of power supply components during power-up, and switches off-line once the power supply has been charged.

Home THX Audio System certification
Lucasfilm, Ltd. has established minimum standards for the performance of various components which may be used in their Home THX Audio System. With respect to power amplifiers, the standards address such things as: a low electrical noise floor to allow low-level information to be fully appreciated; the absence of any mechanical noise (fans noise, transformer winding buzzes), for the same reason; adequate power to meet the demands of modern films (which can be quite dynamic); flat frequency response for accurate reproduction of timbre; stability into relatively extreme loudspeaker loads, to ensure that the amplifier will perform well with a wide range of loudspeakers. As you can see from this list, there is nothing about the Home THX amplifier specification that is particularly radical. It simply ensures a certain minimum standard of performance. In particular, there is nothing in the nature of the amplifier specification which prevents anyone from going above and beyond the minimum performance levels required by THX certification. Both the Proceed AMP 2 and AMP 3 are certified for use in Home THX audio systems. In these products, Madrigal engineers have created powerful, versatile and extraordinarily musical power amplifiers, using the technology and design methodology for which they have become so well known. Equally suited to the rigors of film soundtracks and the finesse of high end music reproduction, the Proceed amplifier serves both needs quite well. In todays growing market for multi-purpose systems, they represent an extraordinary value.

channel power amplifier

3 channel power amplifier

Front Panel

1 POWER BUTTON Pressing the latching power button connects the amplifier to the AC mains, turning it on. Power consumption when fully on and at idle is approximately 140 watts for the AMP 2 and 210 watts for the AMP 3. At your option, you may also toggle the AMP between a standby mode and fully on by connecting its remote turn on jack to the corresponding remote turn on output on a Proceed control unit such as the PAV PRE, or , even the CDP Power consumption in standby mode is extremely small. just a few watts for the circuitry which controls the turn-on procedure. Note that if the amplifier has been disconnected from the AC mains power by depressing the front panel power button, it cannot respond to a remote turn-on command from a control unit.

INDICATOR LIGHT The indicator light glows either amber or red, depending on the operational status of your AMP Amber indicates that the AMP is on and ready. to be used. When the indicator light is glowing red, the unit is in standby (see 1 above). If the indicator light is completely off, the amplifier is not receiving power. Check your AC connections and the rearpanel AC fuse.
when viewed from the front
remote turn-on mains fuse
100-120VAC: 8A 3AG fast acting 200-240VAC: 4A 3AG fast acting

+ outputs

~ ac mains

input select

remote turn-on

(right)

when viewed from the front when viewed from the front

channel 2

channel 1

(left)

mains fuse
100-120VAC: 12A 3AB fast acting 200-240VAC: 6A 3AG fast acting

channel 2 (center)

Rear Panel

Caution!

Turn the volume on your preamplifier all the way down before attempting to connect anything to your Proceed AMP 2 or AMP 3.
AC MAINS RECEPTACLE Connect the AC power cord (included in the accessory pack) to the I.E.C.standard AC receptacle on the rear panel of the AMP then to the AC mains , outlet.

Warning!

The Proceed AMP has been safety-tested and is designed for operation with a three-conductor power cord. Do not defeat the third pin or earth ground of the AC power cord.

channel 3

REMOTE TURN-ON JACK A 18" mini jack above the AC mains receptacle on the rear panel allows remote-controlled turn-on (that is, toggling between operate and standby) of the Proceed AMP This remote trigger will be operated by a. 312 volts DC positive-polarity pulse, of at least 100 milliseconds duration, with tip polarity as shown below:
Remote turn-on tip polarity
3-12 volts for at least 100 mS
Y our Proceed dealer can help you take advantage of these design features to maximize your systems versatility.
AC MAINS FUSE One fast-blow fuse is located on the rear panel of the AMP If it should be. come necessary, replace the fuse with the same type only. Refer to the following table for replacement values. AMP amp 4 amp AMP amp 6 amp
100V to 120VAC 200V to 240VAC
ALWAYS remove the AC cord before removing the fuse!
SPEAKER BINDING POSTS The Proceed AMP is equipped with gold-plated, high-current binding posts for output termination to a loudspeaker system. To take full advantage of the AMPs sonic quality, we recommend using high-quality speaker cable; see your Proceed dealer.
NEVER connect the Proceed AMP output terminals to any device other than a loudspeaker. NEVER short-circuit the amplifier's output terminals. NEVER connect the left-channel output terminals to the rightchannel output terminals.

There are two recommended methods for connecting speaker cables to the Proceed AMP A high-quality spade lug or hook lug, soldered to the cable. (or crimped with extremely high pressure), is best.

Spade lug

Hook lug
Connect the left-channel + (positive or red) output post of the Proceed AMP to the + (positive or red) input terminal of the appropriate loudspeaker. Connect the left-channel (negative or black) output post of the AMP to the (negative or black) input terminal of the appropriate loudspeaker. Repeat this procedure for the remaining channel(s).
BALANCED AUDIO INPUTS Accepts right-channel and left-channel signals from preamplifiers with balanced outputs via high quality XLR connectors. The pin assignments of these XLR-type female input connectors are:
Pin 1: Signal ground Pin 2: Signal + (non-inverting) Pin 3: Signal (inverting) Connector ground lug: chassis ground
These pin assignments are consistent with the standards adopted by the Audio Engineering Society Refer to the operating manual of your balanced. output preamplifier to verify that the pin assignments of its output connectors correspond to your Proceed AMP If not, wire the cables so that the ap. propriate output pin connects to the equivalent input pin. If you are planning to use balanced connections between your preamplifier and any particular channel of the AMP select the balanced input by sliding , the input select switch (see Item 6, below) toward the XLR input. Then connect the balanced outputs of your preamplifier to the corresponding balanced inputs on the AMP.
INPUT SELECT SWITCH This small switch is found between the balanced XLR input and the singleended RCA input on each channel of the AMP Use it to select which of the. two inputs you plan to use. The input select switch disables the unselected input in order to avoid any pickup of stray noise from an open input. It also causes the effective gain of that channel to be adjusted (either 23 dB balanced or 29 dB single-ended, to compensate for the 6 dB difference in signal level in these two connection standards). Should you use your AMP in a home theater system, this adjustment allows you to use any combination of balanced and single-ended connections without having to worry about going outside the adjustment range of your Dolby Pro Logic decoders output calibration circuitry.
SINGLE-ENDED INPUTS These RCA connectors accept single-ended inputs from preamplifiers with single-ended (RCA) outputs. Connect the left-channel single-ended outputs of your preamplifier to the left-channel single-ended input on the AMP Repeat for the remaining. channel(s).

Bridged Operation

Y our Proceed amplifier has been designed to be extremely versatile. Should your needs change or grow over time, you may wish to add additional power by one of two means: Bridging, or Biamping. We will discuss bridged operation first.

Bridging Explained

Bridging refers to the act of reconfiguring the circuitry in both the left and right channels of your amplifier to act as though it were a single, much larger amplifier. (Of course, you will need a second bridged amplifier for stereo; more for multichannel sound, as in home theater applications.) Bridging is accomplished by sending a normal signal to one channel and an inverted signal to the other. In this configuration, one channel will always be pushing when the other is pulling. By connecting the loudspeaker leads across the left and right red output terminals, the amplifier can now deliver twice the normal voltage to the loudspeaker. Working together this way, the two amplifier channels can deliver almost four times the power to a speaker that a single channel could deliver on its own. Bridged operation is particularly beneficial with low sensitivity, high-impedance loudspeakers (8 or higher) that have a greater need for voltage than for current. It is not recommended for low-impedance loudspeakers, as the speakers impedance is split by the two halves of the amplifier. Thus the bridged amplifier sees a 2 load when connected to a 4 loudspeaker. Delivery of high power into such a low impedance creates a great deal of heat that needs to be dissipated. (Of course, your amplifier is protected against overheating, but having an amplifier shut itself down even temporarily can put a damper on the evenings entertainment.)

Balanced Bridging

If your preamplifier has balanced outputs, you should use them. For this discussion, we will assume that you are using a Madrigal Balanced Bridging Kit for each channel to be bridged. (Alternatively, you may have custom cables built using your preferred wire and connectors, being careful to follow the wiring diagram below.)
Balanced Bridging Input Adapter (pin configuration)

Male XLR Output (normal) Pin 1: signal ground Pin 2: signal + (non-inverting) Pin 3: signal (inverting)

Balanced Bridging Kit

(shield not connected)
Female XLR Input Pin 1: signal ground Pin 2: signal + (non-inverting) Pin 3: signal (inverting)
Male XLR Output (inverted) Pin 1: not used (floated) Pin 2: signal (inverting) Pin 3: signal + (non-inverting)

Bridging Output Adapter

(not drawn to scale)
The normal leg of the Madrigal Balanced Bridging Input Adapter will be marked with a red stripe to indicate positive polarity, and the inverted leg will be marked with a black stripe to indicate inverted polarity (corresponding to the red and black terminals of your loudspeaker). The Balanced Bridging Output Adapter is simply a heavy-gauge copper bar (silver- and gold-plated) used to strap two of the output ground terminals together. This establishs a common reference for the amplifier and completes the circuit that includes the loudspeakers.

Important!

Do not attempt to operate your amplifier in a bridged mode without first strapping the black output terminals together. Failure to establish a common ground reference between the two channels can damage your amplifier by forcing significant currents to flow where they do not belong!
To bridge your Proceed amplifier using a balanced input signal, follow these steps:
DISCONNECT YOUR AMPLIFIER FROM EVERYTHING Start with your amplifier totally disconnected from inputs, outputs, and AC power. It is always best to power down an amplifier before changing connections; here you are also changing its basic configuration, making it essential.
CONNECT THE BALANCED BRIDGING INPUT ADAPTER TO THE AMPS INPUTS Connect the two male XLRs to the inputs of your amplifier, noting which XLR is marked red and which is black. The channel with the red, normal input will later be connected to the red, positive terminal of your loudspeaker. Dont forget to choose the balanced input on each channel using the switch located between the XLR and the RCA connectors.
Balanced Bridged Input Connection
Madrigal Bridging Output Adapter loudspeaker terminals

inverting

non-inverting

from preamplifier

Madrigal Balanced Bridging Input Adapter
CONNECT THE BALANCED BRIDGING OUTPUT ADAPTER TO TWO BLACK OUTPUT TERMINALS All Proceed amplifiers have two sets of output terminals per channel, wired in parallel (for convenience when biwiring). You may use either of the black output terminals. Connect one end of the Balanced Bridging Output Adapter to a black output terminal on one of the two channels to be bridged together, and then connect the other end of the Output Adapter to a black output terminal on the other channel. Make sure these connections are snug and secure.
CONNECT YOUR LOUDSPEAKER WIRE ACROSS TWO RED OUTPUT TERMINALS, ONE TO EACH OF THE TWO CHANNELS BEING BRIDGED Connect the positive/+/red binding post of your loudspeaker to the red output terminal associated with the red (normal) side of the Input Adapter. Connect the negative//black binding post of your loudspeaker to the red output terminal on the other side of the amplifier, the one associated with the black (inverted) side of the Input Adapter. Following this connection convention preserves the polarity of the signal sent to the loudspeaker. In practice, the most important thing is to be consistent throughout the system, as inconsistency will result in out-of-phase loudspeakers. In turn, this results in unstable imaging and poor bass reproduction. (The effect is not dangerous, but neither is it desirable.)
CONNECT ONE OUTPUT CHANNEL OF YOUR PREAMPLIFIER TO THE INPUT OF YOUR BRIDGED AMPLIFIER The female XLR at the junction of the Balanced Bridging Input Adapter is now the single input to this bridged pair of amplifier channels.
POWER UP YOUR AMPLIFIER Plug the amplifier back into the AC mains; press the power button to turn on the amplifier.
REPEAT THIS PROCESS WITH YOUR OTHER AMPLIFIER(S)

Single-Ended Bridging

If your preamplifier has only single-ended (RCA) outputs, a few details of bridged operation will differ from the discussion above, all pertaining to the connection of the preamp to the bridged amplifiers. For this discussion, we will assume that you are using a Madrigal Single-Ended Bridging Kit for each channel to be bridged. (Alternatively, you may have custom cables built using your preferred wire and connectors, being careful to follow the wiring diagram below.)
Single-Ended Bridging Kit
Male XLR Output (normal) Pin 1: signal ground Pin 2: signal + (non-inverting) Pin 3: signal ground
Single-Ended Bridging Input Adapter (pin configuration)
Female RCA Input Skirt: signal ground Center: signal + (non-inverting)

Male XLR Output (inverted) Pin 1: signal ground Pin 2: signal ground Pin 3: signal + (non-inverting)
The normal leg of the Madrigal Single-Ended Bridging Input Adapter will be marked with a red stripe to indicate positive polarity and the inverted leg will be , marked with a black stripe to indicate inverted polarity (corresponding to the red and black terminals of your loudspeaker). The Balanced Bridging Output Adapter is simply a heavy-gauge copper bar (silver- and gold-plated) used to strap two of the output ground terminals together. This establishs a common reference for the amplifier and completes the circuit that includes the loudspeakers.
To bridge your Proceed amplifier using a single-ended (RCA) input signal, follow these steps:
DISCONNECT YOUR AMPLIFIER FROM EVERYTHING Start with your amplifier totally disconnected from inputs, outputs, and AC power. It is always best to power down an amplifier before changing connections; here you are changing its basic configuration, making it essential.
CONNECT THE SINGLE-ENDED BRIDGING INPUT ADAPTER TO THE AMPS INPUTS Connect the two male XLRs to the inputs of your amplifier, noting which XLR is marked red and which is black. Y may want to standardize on ou Red is Right to avoid confusion, although it makes no difference to the amplifier. The channel with the red, normal input will later be connected to the red, positive terminal of your loudspeaker.
Single-Ended Bridged Input Connection
Madrigal Single-Ended Bridging Input Adapter
CONNECT ONE END OF THE SINGLE-ENDED BRIDGING OUTPUT ADAPTER TO TWO SIDE-BY-SIDE BLACK OUTPUT TERMINALS All Proceed amplifiers have two sets of output terminals per channel, wired in parallel (for convenience when biwiring). Y may use either of ou the black output terminals in each channel. Connect one end of the Balanced Bridging Output Adapter to a black output terminal on one side of the amplifier, and then connect the other end to a black output terminal on the other side of the amplifier. (The two connections should be sideby-side rather than one above the other.) Make sure these connection are snug and secure.

CONNECT YOUR LOUDSPEAKER WIRE ACROSS TWO SIDE-BY-SIDE, RED OUTPUT TERMINALS In this case, you may use either the upper or the lower red output terminals. Connect the positive/+/red binding post of your loudspeaker to the red output terminal associated with the red (normal) side of the Input Adapter. Connect the negative//black binding post of your loudspeaker to the red output terminal on the other side of the amplifier, the one associated with the black (inverted) side of the Input Adapter. Following this connection convention preserves the polarity of the signal sent to the loudspeaker. In practice, the most important thing is to be consistent throughout the system, as inconsistency will result in out-of-phase loudspeakers. In turn, this results in unstable imaging and poor bass reproduction. (The effect is not dangerous, but neither is it subtle.)
CONNECT ONE OUTPUT CHANNEL OF YOUR PREAMPLIFIER TO THE INPUT OF YOUR BRIDGED AMPLIFIER The female RCA at the junction of the Single-Ended Bridging Input Adapter is now the single input to this bridged amplifier.

Biamplification

In contrast to bridged operation (wherein a two channel amplifier is fooled into behaving as a single, larger amplifier), biamplification makes use of a two-channel amplifier to drive different portions of a single loudspeaker. As with bridging, it offers a modular way of increasing the overally performance of your system (if your loudspeakers support biamplification). Since each channel of the amplifier is delivering current into its load only over a limited range of frequencies (typically bass vs. mids and treble), several forms of distortion are reduced as compared to each channel handling the full range of musical information. For this reason, many loudspeaker companies are designing their products to include multiple speaker inputs (since using multiple amplifiers improves the performance of their products as well). Another common use of biamplification involves adding a subwoofer (along with an appropriate electronic crossover) to supplement and/or improve the deep bass performance of your system. Always refer to the specific directions provided by your loudspeaker manufacturer prior to setting up a biamplified speaker system. Any instructions contained herein cannot be substituted for those that are specific to the loudspeaker in question. In general, however, biamping is done in one of two ways: active biamplification, or passive biamplification. Active biamping refers to the presence of an active electronic crossover that divides the music into two (or sometimes more) bands of frequencies. These are then forwarded to separate power amplifiers, and sent on directly to the appropriate drivers in the speakers. The most common application of this approach is the use of a subwoofer crossover to separate the deep bass (below, say, 80 Hz) from the rest of the program material. It is then amplifed separately and sent to a dedicated subwoofer designed to handle those extremely low frequencies. Apart from adding a subwoofer, the next most common form of biamping (called passive biamplification) involves merely using a conventional Yadapter (either balanced or single-ended) to provide a full range signal to two channels.

Front Panel, CDP... 12

the extended pause mode... 13 displaying volume.... 15

Rear Panel, CDP... 18

IR input tip polarity... 20 AC power cord polarity... 21
Remote Control, CDP... 22
Conditions that Affect IR Performance... 25 Optimum IR reception window... 26

Basic Operation... 27

Loading a CD.... 27 Playing a CD.... 27 Pause..... 27 Random Play.... 27 Navigating the Disc.... 27 Direct Time Access... 28 Repeat Disc.... 28 Repeat Track.... 28 A-B Repeat... 29 Adjusting Balance... 29
Programming the CDP... 30
Introduction to Playlists... 30 Assembling a Playlist... 30
Programming by Omission... 30 Reviewing a Playlist.... 31 Deleting a Track from a Playlist.... 31 Adding a Track to a Playlist.... 31 Temporarily Ignoring a Program.... 31 Erasing a Program.... 31
Customizing the CDP... 32
Navigating the User Setup Menu... 32 Operation with Fixed or Adjustable Outputs... 32 Displaying Volume... 33 User-definable Mute Level... 33 Autostandby.... 35
Using Learning Remote Controls.... 36
Teaching CDP Front Panel Commands.... 36 Teaching Other CDP Commands.... 37 special commands table.. 38
Troubleshooting.... 40 Care and Maintenance... 41 U.S. and Canadian Warranty.. 42
90-Day Limited Warranty... 42 Five Year Extended Warranty... 42
Obtaining Service... 43 Specifications.... 44 Dimensions... 45 Installation Notes... 46

Unpacking and Placement

Unpacking the CDP
Unpack your CDP Compact Disc Processor and remove all accessories from the carton.

Important!

Keep all packing materials for future transport of your CDP. Shipping your new component in anything other than its purpose-designed packing material may result in damage that is not covered by the warranty.
Remove the Transport Screw
Place the CDP Compact Disc Processor upside-down on a soft, clean surface. Remove the transport screw from the bottom of the unit and save it with the packing materials for future use.

Warning!

The transport screw must be removed before operating the CDP, since it immobilizes the transport mechanism during shipping to prevent damage. This screw must also be replaced before shipping the unit.

Placement of the CDP

The CDP should be placed close to your preamplifier, thus keeping interconnect cabling reasonably short. It may be placed on a shelf or in a cabinet where it is convenient to operate. Drawings are included in this manual to facilitate special installations and custom cabinetry (see Dimensions).

Operating Voltage & Frequency
The CDP Compact Disc Processor is set at the factory (internally) for 100V, 120V , 200V 220V or 240V AC mains operation as appropriate for the country in which , , it is to be sold. (230V/50Hz only in European Union countries, in compliance with CE regulations.) Make sure that the label on the rear panel of the CDP (beside the AC input receptacle) indicates the correct AC operating voltage for your location. Attempting to operate the CDP at an incorrect voltage can damage the unit. Neither the voltage nor the line frequency setting may be changed by the user.

Voltage label

WARNING: BEFORE ATTEMPTING TO OPERATE THIS DEVICE, REFER TO OWNERS MANUAL FOR PROPER OPERATING INSTRUCTIONS AND SAFETY PRECAUTIONS. HAZARDOUS VOLTAGE AVAILABLE INSIDE; DISCONNECT AC MAINS CABLE BEFORE OPENING UNIT.

PR O C E E D cdp

MADRIGAL AUDIO LABORATORIES, INC.
d e s i g n e d a n d m a n u f a c t u re d i n U S A No User Serviceable Components Inside. For service, contact Madrigal Audio Laboratories or an Authorized Dealer. Any modification to this equipment will void all warranties.
If the AC mains voltage or frequency indicated on your CDP is incorrect, please contact your local, authorized Proceed dealer or distributor. The CDP can easily be powered by a normal 15-ampere AC mains line. If other devices are also powered from the same AC line, their additional power consumption should be taken into account.

A Quick Start

We recognize that many people are understandably eager to begin listening to their new components, and that reading the manual is often done (if at all) at a later timeperhaps while listening to music with the new product itself. We strongly recommend that you read this manual thoroughly, as the CDP Compact Disc Processor incorporates many unusual features that enhance its operation. Fortunately, we can help you get some music up and running on your system quickly, so that you may begin enjoying your new CD player while reading more about it. The goal here is simply to make some music as quickly as possible. The following procedure assumes that the rest of your system is already connected (e.g., preamplifier to power amplifier, to speakers), and that you are using the CDP as a CD player rather than as a digital preamplifier.

Digital Servo Control

The laser mechanism used in the CDP uses all digital servo controls of its operations. Critical functions such as focus and tracking are handled completely in the digital domain with mathematical precision. Whereas conventional, analog servos require periodic realignments for optimum performance (to compensate for the aging of various analog components), a digital servo remains stable over time, never needing readjustment under normal conditions.

Input/Output Versatility

The CDP incorporates two digital inputs, allowing two external digital sources such as a laserdisc player and a digital recorder to benefit from the excellent digi-
tal processor that is incorporated within. The two most common digital interfaces are supported for the widest compatibility: eiaj optical (sometimes called TosLink) and s/pdif electrical, via an RCA connector. A high quality S/PDIF digital output is also provided via an RCA connector. This digital output may be used to feed the selected source signal to the input of a digital recorder or to an outboard digital processor. (This output benefits from the closed-loop jitter reduction circuitry described above when the CD transport is the selected source.)

Fully balanced design

The CDP is fully balanced in both the analog and digital domains. The auxiliary, single-ended digital inputs are immediately converted to balanced signals before any further routing or processing of the signal. Conversion to analog is accomplished in two opposing polarity 18-bit converters per channel. This approach maintains the integrity of the signal, reducing the opportunities for music-destroying noise and digital artifacts to enter the signal path.
24 bit digital architecture and HDCD compatibility
All digital filtering and processing maintains a true 24-bit throughput capability, providing greater digital resolution than any existing source component. Even the most stringent requirements of professionals can easily be met with this design. In addition, the CDP also incorporates High Definition Compatible Digital decoding to take full advantage of the increased resolution available from HDCD encoded 16-bit CDs. The High Definition Compatible Digital format retains much of the resolution inherent in professional twenty bit recordings by encoding this information more efficiently within the sixteen bit space available within the Compact Disc format.

PREV/REW BUTTON Pressing this button momentarily will return you to the beginning of the current track. Pressing it repeatedly will move you backward through the available tracks, one at a time. Pressing and holding this button will instead perform a reduced-volume reverse scan of the music, reminiscent of the audible rewind function found on many cassette decks. This scanning mode allows you to quickly find a particular point within a track. (Note that if you press prev/rew within two seconds of the beginning of a track, the CDP will assume that you meant to go further back and take you to the beginning of the previous track rather than the current track.)
PLAY/PAUSE BUTTON Press this button in order to play a disc. If a programmed sequence of tracks exists for that particular disc, the program will be played from its beginning. Also, as you might expect, you may press the play button immediately after placing a disc in the CDPs drawer; the drawer will close and the CDP will enter the play mode as soon as it has read the discs table of contents. Pressing this button during play will pause the CDP at that point within the track; the time display will blink slowly as a reminder that you are in the pause mode.

the extended pause mode

After about two minutes in pause, the CDP will go automatically into an extended pause mode that stops the disc and turns off the laser against the possibility that you have been called away and may not return for some time. The extended pause mode is indicated by the display blinking more slowly than in normal pause. You may force the CDP to enter extended pause by pressing and holding the play/pause button for about five seconds. In effect, extended pause is much like stop, with the exception that pressing play will return you to the point on the disc where you had left off listening, after only a momentary hesitation to spin the disc back up to speed and scan to the appropriate point.
NEXT/F.FWD BUTTON Pressing this button momentarily will advance the CDP to the beginning of the next track. Pressing and holding this button will instead perform a reduced-volume fast forward scan of the music, reminiscent of the audible fast forward function found on many cassette decks. This scanning mode allows you to quickly find a particular point within a track.

NUMERIC KEYPAD The numbers 0, 1, 2, 3, 4, 5, 6, 7, 8, and 9 may be used to directly access individual track numbers of discs played by the CDP For example, to go di. rectly to track 13, press 1 followed by 3, and then press play. Y do not ou have to add a 0 before a single-digit track number: 7, followed by play, will take you directly to track number 7. (In fact, if the CDP is already in play, simply pressing the number button will be sufficient; pressing play while playing engages pause.) The CDP displays a certain amount of intelligence with respect to direct track access. If the first number entered identifies a particular track unambiguously (such as 2 on a 12-track disc), the CDP is smart enough to immediately move to that track. If the first number entered could be the first of two digits (such as 1 on a 12-track disc), the CDP will wait for a moment to determine whether you wish to enter a second number. If not, it will then go to the single-digit track you selected. These numbers may also be used in conjunction with other features, such as programming and direct access by time. For example, when in the stop mode, you may press 5 and press the prog button to delete track 5 from your playlist. In this case, the CDP would play that particular disc normally, except that it would automatically skip from track 4 to track 6. Selecting a particular track does not affect the operating mode. That is to say, pressing 7 while in play begins playing track 7; pressing 4 while in pause leaves you paused at the beginning of track 4.
OTHER BUTTONS The buttons used for programming and other functions on the CDP are grouped beside and below the numeric keypad with which they will be used. They include:
prog+: Press while the disc is stopped to add a selected track to
your programmed playlist (see Programming the CDP for more information). prog: Press while the disc is stopped to delete a selected track from your playlist, in omission programming (see Programming the CDP for more information). time: Pressing this button (followed by appropriate numbers from the numeric keypad) allows direct access to any particular time on a disc. Note that this is a context-sensitive controlthe time accessed will be according to the currently selected time display mode, e.g., 30:00 with the time remaining and time on disc LEDs lit will take you to that point where thirty minutes remains to the end of the disc. polarity: Pressing this button toggles between non-inverted and inverted polarity during playback, indicated by a P and a P, in the round display, respectively. Either opening the drawer or changing inputs will automatically reset the CDP to its normal, non-inverting polarity (although after cycling through the auxiliary inputs, returning to the CD will restore its previously-chosen polarity). disp off: Turns off the front panel display (except the standby and mute LEDs) to facilitate listening in a darkened room with minimal visual distractions. Pressing any key will cause the display to turn on to indicate the change made; after a few seconds it will turn off again.

repeat: Press once to enter disc repeat mode (repeating the entire
disc, or an entire playlist if one is entered). This action will illuminate the disc repeat LED. Press a second time to enter the track repeat mode (repeating a single track ad nauseam). A third press will cycle you back to normal operation, as will pressing stop. rpt a/b: Press once to establish a beginning point (point A) for an endless playback loop. The display will flash to indicate that it is ready to accept your designated ending point (point B). Once this has been done, the CDP will repeat the segment of the disc between points A and B until you press rpt a/b again, or stop. The display will continue to flash to remind you that the CDP is in its repeat A/B mode. (Note that A must precede B on the disc; if B precedes A, the A/B loop doesnt make sense and will be ignored.) rndm: By pressing rndm on the remote control, the CDP will enter a random play mode in which the order of the current discs playlist is scrambled, and then played. The random LED on the front panel will illuminate to indicate random play Moreover, placing. the CDP into random play mode while the disc repeat function is engaged will cause it to play the various tracks on the disc randomly indefinitely (until you stop it). This can be a great way to provide background music during a dinner party, for example. display: Pressing this button duplicates the function of pressing the display button on the CDP cycling through the four time modes , (time elapsed or time remaining, either on the track or on the disc). standby: Pressing this button places the CDP in standby, which turns the display off, turns off all outputs, disables the front-panel controls, and closes the drawer (if open). The internal circuitry remains powered up in order to maintain its thermal stability and optimum performance at all times. 5 DIGITAL PROCESSOR CONTROLS These four buttons control the digital processor portion of the CDP.
source: Pressing this button switches between the various inputs of
the CDP (CD, Input 1 and Input 2). If the CD is playing, it will stop two minutes after switching to either auxiliary input. If the CDP senses an active digital source on any input, it will ramp the volume down and up while changing sources. Pressing and holding this button will access the CDP balance feature (if in adjustable output mode); see Adjusting Balance, p. 29. up: Pressing this button raises the volume (if you have elected to use the variable output mode of the CDP during initial setup). It may also be used to shift the image to the right when using the CDPs Balance control.

mute: Pressing this button reduces the output level of the CDP by a
user-definable amount, and is indicated by the red mute LED above the round display window. The amount of volume reduction can be changed by pressing and holding the mute button until the display changes to show the current mute level (from the factory, this will be 36 which corresponds to about -20 dB; each step is equal to 0.55 dB). Once the display has changed to show the current mute level, use the up or down buttons to increase/decrease the size of the change in volume effected by pressing mute. (Example: changing 36 to 55 would result in a 30 dB change in volume when mute was pressed.) down: Pressing this button lowers the volume (if you have elected to use the variable output mode of the CDP during initial setup). It may also be used to shift the image to the left when using the CDPs Balance control. 6 BATTERY COMPARTMENT The two AA batteries used by the Remote Control must be placed inside the compartment on the back of the remotes housing (near the bottom). Carefully remove the battery compartment cover and insert the batteries, being careful to orient them as indicated inside the battery compartment. Then replace the cover, clicking it into place.
Conditions that Affect IR Performance
IR communication between the Remote Control and the CDP can be affected by: Direct sunlight Interior lighting Wall, window, ceiling, and floor treatments The angle of the Remote Control relative to the CDP
If the CDP will be subject to direct sunlight, place it no more than 10 feet from where youll normally operate the Remote Control. Where bright sunlight virtually floods the room, IR communication may be inconsistent. In a room lighted primarily with incandescent fixtures, place the CDP no more than 25-30 feet from where youll normally operate the Remote Control. In a room with fluorescent fixtures, this range will be reduced. Where bright fluorescent lighting virtually floods the room, IR communication may be inconsistent. IR, like visible light, reacts differently when it meets different surfaces. Carpeting and draperies, for example, tend to diffuse (scatter) IR and interfere with its transmission. Glossy or reflective surfaces, such as mirrors and smooth walls, bounce (reflect) IR and wont interfere with its transmission. When placing the CDP its , important to account for potential IR bounce and diffusion. For example, in a room with thick carpeting, heavy draperies, and many pieces of furniture, you may need to place the CDP closer to where youll normally operate the Remote Control than you would in a sparsely furnished room with bare walls and hardwood flooring. If possible, install the CDP directly opposite from where youll normally operate the Remote Control. In practice, the Remote Control will operate the CDP at up to 30 degrees to either side of this direct line. To either side of this line, successful IR communication will depend on bounce and ambient lighting. (Please refer to diagram on next page.)

As soon as you release the button, play resumes. (Unless you had begun your fast search in the stop mode, in which case the CDP will enter pause at your chosen location, allowing you to cue up a particular point on the disc.) If you search past the beginning or end of a track, the laser pickup will move on to the previous (or next) track. If you try to search forward past the end of a CD or program, the laser pickup will stop at the end of the last track. If you try to search backward past the beginning of a CD or program, the laser pickup will stop at the beginning of the first track of the disc (or playlist).

Direct Time Access

Y may use time on the Remote Control to begin play at a specific time on the ou disc. 1. Select the desired track using either next and previous or the numeric keypad on the Remote Control. 2. Press time, then press the numbered buttons corresponding to when you would like play to begin. (The numbers you select will appear in the time portion of the display.) 3. To begin play at that point, press play. Note: The time you select depends on the selection youve made with the display button: elapsed or remaining, CD or track. For example, if you want to begin play one minute and thirty seconds into track 2, select track 2 by pressing 2 on the remote control. Press time, enter 0, then press play. (This example assumes that the most recently used display mode was elapsed time on track.) If you do not press play, the CDP will time-out after ten seconds (that is, it will forget that you had begun to do something, and revert to normal operation). Alternatively, you might want to set the CDP to play music for a specific period of time. Say youd like to listen to music until the evening news begins in 30 minutes. Make sure both the time on disc and time remaining LEDs are on while playing a disc (indicating time remaining on disc); press time; enter 0 0; and press play. This sequence will direct the CDP to a point 30 minutes from the end of the disc, and engage play at that point. When the music ends, you will know it is time to turn on the news.

Repeat Disc

To repeat (continuously) all tracks on a CD, press repeat until the disc repeat LED is lit. To return to normal play, press repeat again two more times (to cycle through track repeat to normal play). Pressing stop will also restore the CDP to normal (non-repeating) operation.

Repeat Track

To repeat (continuously) the track in (normal) play, press repeat twice (to cycle through disc repeat to track repeat). While the track repeat function is active, the LED above the button is lit. This feature is helpful (for example) when trying to learn how to play a particular song by playing along with the disc. To learn sections of the song, you may want to use the Repeat A-B function described below. Once you have most of the sections learned, you can put them together with a track repeat.

Track repeat takes priority over other functions such as next and previous. (Specifically, they will merely return play to the beginning of the repeating track.) To return to normal operation, press repeat again.

A-B Repeat

To repeat (continuously) a specific phrase or passage on a CD (when learning how to play a favorite solo, for example), press rpt a/b on the remote at the beginning of the passage you would like to repeat. The display will blink while continuing to play to indicate that the CDP is waiting for you to define the end of your AB loop. At the end of your chosen passage, press rpt a/b on the remote again. The passage you selected will repeat continuously. (Note that B must follow A on the disc, or the AB loop is not meaningful and will be ignored by the CDP.) To return to normal play, press the rpt a/b button again.

Adjusting Balance

If you have elected to use the CDPs volume control circuitry (see Customizing the CDP), you may also adjust the relative balance between left and right channels. (Setting your CDP to a fixed output will automatically reset the balance control to its centered position.) To adjust the balance on the CDP (assuming it is already in its preamplifier or , volume controlled setting; see Customizing the CDP):
PRESS AND HOLD THE SOURCE BUTTON ON THE REMOTE CONTROL The display will change to show bAL 00 when the balance mode is activated. Fine adjustment of balance can only be made when sitting at the listening position, and relatively few people ever bother; therefore it makes sense to make balance a secondary function on the remote control, accessed by pressing and holding a button normally used for something more common. Think of pressing and holding a button as being like an emphatic press of a button. In this case, you want to adjust the way a particular source sounds, to correct for a balance problem. Hence, press and hold source.
ADJUST THE BALANCE WITH EITHER THE UP/DOWN OR THE PREV/NEXT BUTTONS Prev and next are associated with left and right by their arrows, and cause the image to shift in the indicated direction. On the remote control, you also have the option of using the up/down buttons (they are adjacent to the source button, and more convenient), where up moves the image to the right (in a positive direction). Remember that each step indicated in the display represents a change of about 12 dB. At its maximum setting, the display will change to l.off to indicate that the left channel is now turned off completely (leaving the image in the right speaker). The CDP will time-out automatically after a few seconds of no further adjustments, returning to normal operation. Alternatively, you may press and hold source again to leave the balance mode more quickly. The new balance setting is saved in nonvolatile memory, and will survive power outages.

Programming the CDP

Introduction to Playlists
Rather than playing an entire CD, you may choose to play only certain selections. To do this, you create a playlist for that particular CD. It may be used immediately upon being created, and will remain in memory until replaced by a different playlist. Before using your CDPs programming features, become familiar with its controls and their locations, as well as their basic functions. Note: During the playing of a playlist, the CDPs basic functions operate as described in Basic Operation, except that they affect the playback of the program, not the entire CD. For instance, pressing next during play skips to the next track in the playlist, whether or not it is the next track on the CD. In the same way, engaging disc repeat will repeat the entire playlist, not the entire disc. The CDP allows up to 99 selections per playlist, with any given track appearing once only. In practical terms, the only limitation on the length of your playlist is the number of tracks on your disc.

Important Note:

Assembling a playlist is possible only when the disc is stopped.

Assembling a Playlist

To assemble a new playlist: 1. Load a CD, and wait for the display to show the number of tracks and their total playing time. 2. Using the next and previous buttons (or the numbered buttons on the Remote Control), select the first track in your playlist. 3. Add the first selection to your playlist by pressing program +. The CDP will acknowledge your command by lighting the green program LED on the front panel to indicate that the track currently displayed has been added to the playlist. 4. Assemble the rest of your playlist by repeating steps 2 and 3. Make sure to press program + after each selection.

Programming by Omission

If you want to play most of a CD, and just omit a few tracks, you may want to use this shortcut: 1. Load a CD, and wait for the display to show the number of tracks and their total playing time. 2. Using the next and previous buttons (or the numbered buttons on the Remote Control), select the first track you want to eliminate from your program. 3. Omit the track by pressing program. This action both places the CDP in its program mode and deletes the track from the current playlist. The display will advance to the next available track

PRESS AND HOLD THE P+ BUTTON TO CONFIRM YOUR CHANGE The CDPs display will show done when it has saved your choice to nonvolatile memory You may either allow the CDP to time-out (return to nor. mal operation), or press program + again to advance to user setting #3: autostandby (see next section).

Autostandby

The CDP can be set to automatically enter standby after a period of inactivity. Specifically, you may elect to have the CDP enter standby after 5, 15, 30, or 60 minutes without a signal (e.g., CD in stop, or pause, or extended pause, or lacking an active digital signal in one of the external digital inputs). Y may also ou elect to leave this autostandby feature in its default off setting (meaning that the CDP will go into standby only when explicitly told to do so). To change your autostandby preference: 1 PRESS AND HOLD P+ UNTIL THE LEFT DISPLAY SHOWS U1 This gets you into the User Setup menu (U1 stands for User setting #1).
PRESS P+ TWICE MORE TO ADVANCE TO U3 ou User Setting #3 is the for autostandby. Y will notice either dashes or a number displayed in the round display, corresponding to the number of minutes selected (as shipped from the factory, you will see two dashes to indicate autostandby off: --).
PRESS THE PREV OR NEXT BUTTON TO SELECT YOUR PREFERENCE Y may select autostandby off (--), or 5, 15, 30, or 60 minutes. (Alternatively, ou you may use up or down on the remote control.)
PRESS AND HOLD THE P+ BUTTON TO CONFIRM YOUR CHANGE The CDPs display will show done when it has saved your choice to nonvolatile memory You may either allow the CDP to time-out (return to nor. mal operation), or press program + again to return to user setting #1: fixed or adjustable outputs.
Using Learning Remote Controls
The CDP includes both an infrared receiver and an infrared transmitter. With this capability, it can teach a learning remote control any commands that might be needed for remote operation. Specifically, the CDP can send all of the necessary IR commands from its display window, enabling you to teach a learning remote any or all of its pre-programmed commands, as well as some optional special commands that are available to solve specific installation-related problems. The CDP has two special modes of operation into which it may be placed in order to facilitate the teaching of remote control commands to a learning remote control. The first allows you to easily teach the commands for which there are corresponding front panel buttons. The second allows you to teach special commands to the remote control for which there are no corresponding front panel buttons.

Teaching CDP Front Panel Commands
PRESS AND HOLD THE REPEAT BUTTON TO ENTER THE FRONT PANEL TEACHING MODE The display will show L 0 to indicate that the CDP is ready to teach a learning remote control the infrared commands that correspond to its front panel buttons. (The L 0 stands for Learn Zero; there are other IR code numbers for special functions, about which you will read shortly. The zero is used for any command for which there is a corresponding front panel button.) If you change your mind, simply dont touch any button for ten seconds and the CDP will return to normal operation. (Hint: you may remember that this special hidden feature of the CDP is accessed via a press-andhold of the repeat button by associating its use with the external IR repeaters so often used in custom installations; the functionality found here is of most value in such installations.)
PRESS ANY FRONT PANEL BUTTON TO CAUSE THE CDP TO SEND THE CORRESPONDING IR COMMAND Line up the IR window of your remote control with the left side of the CDP display, at a distance of approximately 2"-6". Select the to-be-learned button on the remote, then press the corresponding button on the CDP to fire the appropriate IR code. A decimal point will light for a few seconds to indicate the firing of the IR code, thus showing. L 0 in the display. Most learning remotes need to be held fairly still while they learn new IR commands; movement can garble the received IR. If you are uncertain as to how to prepare your remote control for learning new commands, refer to the instructions provided with the remote control.
REPEAT THE PROCESS OF TEACHING NEW COMMANDS TO THE VARIOUS BUTTONS ON YOUR REMOTE CONTROL UNTIL ALL APPROPRIATE OR DESIRED FRONT PANEL COMMANDS HAVE BEEN LEARNED BY YOUR REMOTE WHEN FINISHED, EXIT THE TEACH IR MODE BY ALLOWING THE CDP TO TIME-OUT Y may wish to teach your remote control some of the CDPs special comou mands (those for which there is no corresponding front panel button); in this case, you should go directly to the next section. Otherwise, simply avoid pressing any buttons for about ten seconds, and the CDP will automatically return to normal operation. At some point, however, you should test all your newly learned commands to ensure that they were learned correctly.
Teaching Other CDP Commands
As mentioned above, the CDP has the capability to teach learning remote controls commands for which there are no front panel counterparts, such as the numeric keypad functions. These commands can be especially helpful in solving problems in certain kinds of custom installations. These positive control commands in the CDP will place it into a certain mode of operation regardless of its current state. For example, a positive control command to enter standby will leave the CDP in standby if already there, or switch it to standby if it is currently operating. This type of positive control is especially helpful when you do not necessarily know the current status of the CDP as , might be the case in a multi-room home entertainment system (for example).

PLACE THE CDP IN ITS FRONT PANEL TEACHING MODE As explained on the previous page, you do this by pressing and holding the repeat button until the display reads L 0. If no further buttons are pressed within approximately ten seconds, the CDP will time out and return to normal operation.
RELEASE, THEN PRESS AND HOLD THE REPEAT BUTTON A SECOND TIME TO PLACE THE CDP IN ITS CUSTOM IR MODE After about three seconds, the display will change from L 0 to L 1. This indicates that the special IR codes that do not correspond to front-panel buttons are now available for teaching to a learning remote controlincluding some that are designed to solve problems unique to custom installations.
PRESS THE PROGRAM + BUTTON REPEATEDLY TO ADVANCE TO THE DESIRED FUNCTION The table on the next page lists the various commands that are available for the CDP for which there is no front-panel equivalent. In some cases, they represent positive control alternatives to commands which normally toggle between two settings (such as standby and operate). In other cases, they represent functions which exist only on the remote control. In the second column are the designations that will be displayed to indicate that the CDP is ready to fire the corresponding IR code. Pressing program + will advance you to the next command in the table; pressing program will back up to the previous command in the table.
When the last item has been reached, pressing program + will return you to the beginning of the table. If no button is pushed for more than ten seconds, the CDP will time out and return to normal operation.

special commands table

Command

Display

positive control for operate positive control for standby positive control for display on positive control for display off AB repeat Numeric Keypad: 1 Numeric Keypad: 2 Numeric Keypad: 3 Numeric Keypad: 4 Numeric Keypad: 5 Numeric Keypad: 6 Numeric Keypad: 7 Numeric Keypad: 8 Numeric Keypad: 9 Numeric Keypad: 0 Direct Access by Time display toggle random polarity toggle source toggle mute toggle up down positive control for mute positive control for unmute positive control for selecting CD positive control for selecting Input 1 positive control for selecting Input 2 positive control for play positive control for pause positive control for stop positive control for open drawer positive control for close drawer