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Topic: CP-200
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Steve Guttag
We forgot the crackers Gromit!!!
![](http://www.film-tech.com/ubbmembers/268e.gif)
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 04-12-2011 07:18 PM
Really Dave? Have you seen the AFI/Silver Pictures on this web site...do you see what that CP200 is working with? TWO DTS XD10s, TWO DA20s, a DMA8, DP564, DP572, Dubbers, A/V sources...and the list goes on and on.
You should have the Cat 517/560 cards but that is about it. A DMA8 Plus is a drop in after that. The DTS board (D567, if memory serves) is great if you have an analog version of the audio...which the USL DAX602 can generate for you (with the right pinout on the DB25, if memory serves). The choices are a-plenty.
Now, if you are not going to have film anymore...I do tend to agree, replacing it with a dedicated DCinema sound processor (CP750, JSD100, DCP300...etc) (or even a DSP based A/V product, like the QSC basis) would be a more logical step into the future.
-Steve
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Steve Guttag
We forgot the crackers Gromit!!!
![](http://www.film-tech.com/ubbmembers/268e.gif)
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 04-16-2011 07:37 AM
Effectively, the system at the AFI/Silver is a rather extensive audio router. If you look at the pictures...you'll see Panastereo MP64s fitted with Line Amp cards to make 4x1 selectors (6 or 12-channel wide). The CP200 has complete control over them so it chooses what source feeds and eventually gets played. There are four film projectors connected and the primary source is indeed film, still, by a 90/10 margin.
As for antiquated...perhaps...there is a full CP200 sitting on the shelf at the AFI to guarantee it won't go down very easily and we can repair most of the cards. Then again, the CP200 has yet to be a source of problems...in fact, it is often the source of solutions to problems.
Economically, even today, it would be hard to set up a DSP system that has the the channel capacity that this system has (remember, everything is either 6-channels or 8 (12) channels wide and we rarely need that many outputs...a lot of DSP systems have equal inputs/outputs.
Sound wise...again, it will be hard to top it in a theatre environment. The Cat 517/560s use some of the best VCAs and output devices.
Theatres 2 and 3 DO use Panastereo CSP1200/CSP4600 combinations since neither 70mm nor 4-film projectors were required. However, they are not nearly as flexible as the CP200...even now. The Panas are indeed a little quieter though. Our power supply upgrade, however, significantly lowers the CP200's noise level (especially on the hum side but also on the hiss...we get a rock stable +/- 14V as well as 24V). We are even using an LED based pilot lamp so that won't burn out anytime soon. Despite what Tony said in another thread, the CP200, updated is quieter than the CP65. The CP65, unless you have the rare Studio version, does not use the best output section on L,C,R and Ls channels. Rs is actually quieter and lower distortion than Ls owing to the Cat 441 using the same output section as the CP200's Cat 517...the Cat 242 goes back to the CP55 and was effectively unchanged except on the "Mag/Aux" input stuffing of the Capacitors/resistors.
I reserve the CP200 now for 70mm (magnetic) and more than 2-projectors. I would not install one in a facility that does not meet the 70mm requirement, period.
-Steve
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