BRYSTON SP-4 (17"") Black SP4 Owner's Manual 34R1-2 web.pdf

Download

Page 1

SP4 Immersive Surround Processor

Owner’s Manual

Firmware Version 3.4r1

Page 2

Important Safety Instructions

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 product’s 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 product.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15. Do not open. NO USER SERVICEABLE PARTS INSIDE

an electrician for replacement of the obsolete outlet.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. DO NOT EXPOSE THIS EQUIPMENT TO DRIPPING OR SPLASHING AND ENSURE THAT NO OBJECTS FILLED WITH LIQUIDS, SUCH AS VASES, ARE PLACED ON THE EQUIPMENT. TO COMPLETELY DISCONNECT THIS EQUIPMENT FROM THE AC MAINS, DISCONNECT THE POWER SUPPLY CORD PLUG FROM THE AC RECEPTACLE. THE MAINS PLUG OF THE POWER SUPPLY CORD SHALL REMAIN READILY OPERABLE.

BRYSTON LIMITED WARRANTY

Bryston analog audio products are warranted to be free from manufacturing defects for twenty (20) years from the original date of manufacture. The warranty includes parts and labour. Bryston digital products and cables are warranted for five years from the original date of manufacture. The warranty includes parts and labour. Bryston products having motorized moving parts, excluding motorized volume controls, are warranted for three years from the original date of manufacture. The warranty includes parts and labour. Bryston will remedy the problem by repair or replacement, as we deem necessary, to restore the product to full performance. Bryston will pay return shipping only for the full length of the specific product's warranty. In the event of a defect or malfunction, contact Bryston’s repair centers for return authorization. Products must be returned using original packaging material only. Packing material may be purchased from Bryston if necessary. This warranty is considered void if the defect, malfunction or failure of the product or any component part was caused by damage (not resulting from a defect or malfunction) or abuse while in the possession of the customer. Tampering by persons other than factory authorized service personnel or failure to fully comply with Bryston operating instructions voids the warranty. This warranty gives you specific legal rights and you may also have other rights which may vary from province to province and country to country. As of 2006-02-22 Bryston will only warranty Bryston products purchased through authorized Bryston dealers. Bryston products with a date code of 0608 or higher (date code format is “yyww”, where “yy” is the two least significant digits of the year and “ww” is the week of the year) must be accompanied by a copy of the bill-of-sale from a Bryston authorized dealer to qualify for warranty service. The warranty is transferable from the original owner to a subsequent owner as long as a copy of the bill-of-sale from the original authorized Bryston dealer accompanies the re-sale. The copy of the bill of sale to any subsequent owner need ONLY include the Name of the Bryston Authorized Dealer and the Model and Serial number of the Bryston product The warranty will only be honored in the country of the original purchase unless otherwise pre-authorized by Bryston.

BRYSTON SERVICE in CANADA:

Postal address: P.O. BOX 2170, Stn. Main PETERBOROUGH, ONTARIO CANADA K9J 7Y4

Courier address: 677 NEAL DRIVE PETERBOROUGH, ONTARIO CANADA K9J 6X7

PHONE: 705-742-5325 FAX: 705-742-0882 E-mail: cdnser@bryston.com

BRYSTON SERVICE in the USA:

79 COVENTRY ST., Suite 5 NEWPORT, VERMONT U.S.A. 05855-2100

PHONE: 802-334-1201 FAX: 802-334-6658 E-mail: usaser@bryston.com

BRYSTON SERVICE outside Canada and the USA:

contact your local distributor or

CHECK OUR WEB SITE: www.bryston.com E-MAIL BRYSTON DIRECTLY: cdnser@bryston.com FAX BRYSTON DIRECTLY: 01-705-742-0882 PHONE BRYSTON DIRECTLY: 01-705-742-5325

Page 3

Table of Contents

Important Safety Instructions ................................2

Front Panel ..............................................................4

Rear Panel ................................................................4

General.....................................................................6

Welcome ............................................................6

Included In The Box...........................................6

Features .............................................................6

Shipping Box and Packing Material ..................6

Installation ...............................................................6

Ventilation .........................................................6

Connecting to A/C Power ..................................6

Connecting to Network .....................................6

Connect IR Interface (Optional) ........................6

Connect Source Components ...........................7

Connect to Display ............................................7

Connect Audio Outputs .....................................7

First Run ...................................................................7

Power On ...........................................................7

Get Network Access ...........................................7

Default Passwords .............................................7

Web UI Header Diagram ..........................................8

System Settings .....................................................10

Input Settings ........................................................12

Building a Theater - Dening Channels ................14

Proles ...................................................................15

Test Tone Generator ..............................................16

Individual Channel Adjustments ..........................17

Expert Bass Management .....................................19

Output Mapping ....................................................19

Multi-way Loudspeaker Setup ..............................20

Channel EQ ............................................................20

Child Theater / Sub Theater ..................................22

Zones .....................................................................22

Dirac Live ...............................................................23

Settings Menu ........................................................26

Triggers ............................................................26

Parameters ......................................................27

Audio/Video General Delay per AV Zone ........27

System Setup ...................................................27

Front Panel ......................................................27

IR Remote Control Function Assignment .......27

Presets ...................................................................28

Monitoring .............................................................29

Web UI Remote Control .........................................30

iPad App .................................................................31

Specications ........................................................32

Audio Specications .......................................32

HDMI Specications ........................................32

Options ............................................................32

Weight and Dimensions ..................................32

Installation Notes ..................................................34

Page 4

SP4 SURROUND PROCESSOR

EDIT

ENTER

EXIT

2 3 4 5 6

Front Panel

1. Power Button

Use this button to toggle the SP4 between ON and STANDBY. Note that the rear panel switch must be on for the unit to operate.

2. Exit

When navigating the front panel menu, press Exit to go back.

3. Enter

When navigating the front panel menu, press

Enter to conrm a selection

4. Edit

Press Edit from the home screen to enable state changes in the SP4. Use the Volume combo knob to navigate.

5. Display

The front panel display shows various information about the unit. It is not a touch screen. Various parameters can be set according to instructions “Front Panel” on page 27.

6. Volume

The default state for the knob is to control volume in the selected theater. Press the knob to mute audio. When in Edit Mode, you can use

the knob to navigate between elds.

Rear Panel

7. HDMI

7 HDMI inputs and 2 outputs are available. All

HDMI inputs are HDCP 2.2 compatible, but

only inputs 5-7 operate at HDMI 2.0 speeds by

default. Outputs are mirrored. HDMI OUT 1 is

1.4a compatible. HDMI OUT 2 is HDMI 2.0 4K

compatible. See “Specications” on page 32

for full HDMI specications.

8. Power Inlet / Fuse Socket / Mains

Switch

Mains power is applied to the SP4 here. Ensure

the fuse installed matches requirements of your

locality. The rear panel switch must be ON for

the unit to operate.

9. Network

The SP4 must be connected to a network for

setup. It is recommended to be connected for

operation. Speed is 100 Mbps. Use CAT5e or

better cable.

10. USB

Two USB ports are provided to which a USB

microphone may be optionally connected. Or,

the USB ports may be used for service.

11. IR

IR input and output are provided via 3.5mm

Page 5

SP4 Immersive Surround Processor

1718

9 10 12 13

jacks for optional control via IR remote.

12. Trigger Out

Four separate trigger outputs are provided to control power of certain connected devices.

See “Triggers” on page 26 for conguration

information.

13. Digital Inputs

Three digital coax and 3 TOSLINK optical digital

inputs are provided for connection of legacy digital sources.

14. Analog Input

Eight RCA inputs are provided and can be used as 4 stereo pairs or 1 7.1 input. When connected as a 7.1 input, the channel assignment is as

follows clockwise from top le: LF, CF, LS, LB,

RB, RS, SUB, RF.

14 15 16

which are fully assignable to theaters or zones.

See instructions starting with “Building a

Theater - Dening Channels” on page 14.

Outputs may also be remapped. See “Output

Mapping” on page 19. Pin 2 hot.

17. Optional Unbalanced Analog Out

An optional module is available to provide 16

RCA outputs for the purpose of making a clone

theater.

18. Rear Panel Fan

From time to time, the SP4 may automatically

turn on the fan to draw cool air through the SP4

and out the back. Do not obstruct the fan or any

airow vents on the chassis.

15. Downmix Output

A stereo pair of XLR outputs is provided as a

dedicated 2 channel downmix output. These outputs produce a stereo downmix of whatever audio is playing in the selected theater. To

congure, see “Parameters” on page 27.

Downmix may be enabled for select presets. See “Presets” on page 28.

16. Analog Output

Sixteen XLR analog audio outputs are provided

Page 6

General

Installation

Welcome

Thank you for your purchase of a Bryston SP4 Immersive Surround Processor. The SP4 has been designed to provide state of the art audio performance with immersive surround formats and legacy surround formats alike. Innovative hardware

and soware make it possible to customize theaters

of up to 16 channels. Its modular upgradeable nature means as upgrades become available, your SP4 may remain a current state of the art center for your theater for many years to come.

Included In The Box

• This Owner’s Manual / Installer Guide

• Power cable for your locality

• Rack mount ears (requires T20 Torx screwdriver to mount)

Features

Bryston SP4 includes the following features:

• 7 Input / 2 Output HDMI switch, 3 TOSLINK and 3 RCA S/PDIF legacy digital inputs plus soware congurable analog input (7.1 or 4x Stereo)

• Mandatory network connectivity for control and

rmware updates.

• 16 soware congurable XLR output + Downmix L/R XLR pair

• 4 programmable trigger outputs

• IR control

• Available control modules for 3rd party automation systems available at

http://support.bryston.com/downloads/SP4

Shipping Box and Packing Material

Please keep the original shipping box and all packing material. In the unlikely event you have a problem and must return it for service, you must use the proper packing material as the unit is not insurable by carriers otherwise. Replacement packing materials consisting of a shipping carton with plastic foam inserts is available from Bryston for a small fee.

Prepare your installation site by following the steps

below: Consult page “Rear Panel” on page 4

for rear panel diagram indicating location of key connections.

1. For non North American models that are delivered with a fuse attached to the AC cord, install the fuse before plugging the unit into mains power.

2. Ensure your electrical circuit has a good ground connection with all audio equipment connected to the same ground node to avoid noise or hum due to a ground loop.

3. Prepare attached equipment such as display or projector, audio ampliers, speakers, network

switch and associated cables.

4. Network should be running a DHCP server to enable the SP4 to obtain an IP address.

Ventilation

The SP4 is a cool-running line level component. It

generates far less heat than ampliers and many

other components. It can be safely placed inside furniture or an equipment rack. However, it should

not be tightly enclosed. Some airow is desired.

Note that the rear panel fan needs to be able to circulate air especially when the SP4 is under heavy load.

Connecting to A/C Power

If necessary, install the included fuse into the fuse

socket. Plug the IEC-320 C14 end of the power

cord into the SP4, then plug the other end into an approved and grounded A/C receptacle.

Connecting to Network

Using at CAT5e or better cable, connect the SP4 to your local area network. See “Get Network Access” on page 7 to identify IP address.

Connect IR Interface (Optional)

Should you choose to use an IR interface, you will need to connect an IR receiver to the IR Input of the SP4.

Page 7

SP4 Immersive Surround Processor

Connect Source Components

Legacy digital sources can be connected to the

digital inputs 1-6. Stereo or surround analog sources can be connected to the Analog Inputs section.

Analog input conguration is dened at “4. Audio In”

on page 12. HDMI sources can be connected as well. Note that though all inputs support HDCP2.2, inputs 1-4 only support HDMI 1.4 speeds by default. Inupts 5-7 support HDMI 2.0 speeds.

Connect to Display

Connect your displays using HDMI output. Note that outputs are parallel (same content) but HDMI OUT 1 supports up to HDCP 1.4 while HDMI OUT 2 supports HDCP 2.2. Should no picture appear on

HDMI OUT 1, troubleshoot EDID conicts.

Connect Audio Outputs

If you choose to connect your outputs at this step, take note of which output number is routed to each channel so that you can map them appropriately in a later step. Otherwise, when you setup the theater using the web UI, the default outputs will be noted for you. At that point, you can connect your

ampliers based on the default output channel

mapping.

First Run

Upon rst run, you must congure the SP4 according to your specications using the web

based user interface. There is no on-screen display

or provision to congure the unit using the front

panel.

Power On

Turn the main switch on the rear panel to the ON position.

The front panel display will show the Bryston logo for a few seconds, then will go blank as the SP4

enters sleep mode. The power LED will show steady

red.

Get Network Access

Press and hold the EDIT button for about 3 seconds.

The display will show a list of information including the IP address at the top which was assigned by DHCP. Note this address.

Note: In case the unit is not in DHCP mode, and you need to restore DHCP mode from the front panel, follow the above steps, then press and hold EDIT for a few seconds more until a

message appears asking for conrmation of this action. Conrm

by pressing the ENTER button

Using a web browser on a device (laptop preferred) on the same network, enter this IP address in the address bar of your web browser.

Note: only one instance of control via web UI can be opened

at a time. If a window is already accessing the SP4 web UI, a message will ask you to close one.

The SP4 home page will be shown.

Selecting Remote Control will give access to the end user remote control functions. No setup parameters can be changed here.

Select Expert Setup to gain access to the setup portion of the web UI.

Default Passwords

Note: In case you have forgotten the Expert User or Installer password, it is possible to reset them to the default values by

rst accessing the Info screen (see “Get Network Access” on page

7). Then press and hold EDIT and EXIT buttons together.

Press ENTER to conrm when prompted.

The Expert Setup area has two levels of access:

Expert User and Installer. Expert user gets access

to portions of the menu dened by the installer.

Installer gets full access to setup. Use this level to

perform the conguration.

The default password for full access to the setup menu is ‘installer’. Enter the password and press connection to enter the setup menu. Default password for Expert User is ‘expert’.

Once in sleep mode, press the front panel POWER button. The SP4 will begin the startup sequence.

Page 8

1 2 3 4 5 6

Web UI Header Diagram

1. Persistent Remote Control Bar

This area provides access to change some settings without having to access the remote control page. Change Source, Preset, Theater,

Proles within each theater, and Surround

modes.

2. Volume Control

Volume control is provided without having

to access the Remote Control page. The + /

- buttons adjust volume in 1dB increments. The

++/-- adjust volume in 3dB increments. Mute

cuts all sound. Dim attenuates the volume by

the amount specied in “Parameters” on page

27.

3. Conguration Section

• System: indicates information about the system such

as rmware version, any installed licenses, network parameters. System conguration backups and rmware updates are also done here

• Inputs: Congure input names, map physical inputs

to source components, and make input dependent settings.

• Main Speakers: Congure primary theater, child

theaters, audio/video and audio only zones. This is where you map analog outputs to physical channels.

• Settings: Congure trigger behavior, HDMI, IR, and

other system wide parameters.

• Presets: Build presets that easily recall combinations

of Theaters, downmix zones, EQ proles, triggers and surround upmix behavior. Presets oer customers

the easiest way to place their system into modes for

dierent types of listening.

• Monitoring: If the optional Theater Diagnostic

Kit is purchased and the StormMonitoring license is installed, this page gives real time and logged statistics on the health and performance of the SP4 which can be accessed via the local network or via remote network access which makes system diagnostic endeavors less speculative and much more concrete.

• Remote Control: A copy of the page available to

anyone logging into the web UI regardless of their

credentials level. The only dierence between this

page and the one available without logging in is that the Persistent Remote Control Bar remains at the top.

• Alternate Theater: If the optional 16 channel RCA

Output Card is installed, you will see an Alternate Speakers tab to the right of Main Speakers. Setup for the Alternate Speakers is identical to that of Main Speakers.

4. Trigger / Generator / Power / Restart

• Trigger: Any triggers congured in Settings

(Conguration Section) for Manual Switching appear

here giving you easy access to activate or deactivate these triggers with a click. Green indicates that the trigger is in the active state. White indicates that it is not.

• Generator: When white, the SP4 built in noise

generator is not active. When green, it is active. This is an indicator. The generator cannot be switched on from here.

Page 9

SP4 Immersive Surround Processor

• Power: Switch the unit from standby to on status

from here. Green indicates that the unit is powered on. White indicates standby.

• Restart: Should you need to restart the SP4, you can

do so from this switch.

5. Log Out

Pressing Log Out will return you to the web

UI home page. To access the installer menu or expert user menu, you must log in with the appropriate password again. Otherwise, you only have access to the remote control.

6. Help

A unique feature of the SP4 web UI is the comprehensive built in help function. With this switched to ON, every function on the web UI features a which can be hovered over with

a mouse to reveal a description of that specic

function. Some functions have a indicates important information. These warning indicators are present regardless of whether

Help is engaged or not.

which

Page 10

System Settings

1. Processor Status

This area indicates the model number, serial

number, rmware revision and HDMI card

version. You can also download logs which can be sent to us for diagnostic purposes.

2. Licenses

Optional soware and hardware features are

available. This area indicates which of these are currently installed.

3. System Backup & Restore

• Export Parameters: Generates a spreadsheet

indicating the mapping of the output channels.

• Backup Conguration: Generates a backup le of

the entire current conguration of the SP4 making restoring settings easy aer replacing a unit or

recovering from a system reset event. As a dealer,

you are advised to perform this step aer completing

setup and archive the settings on behalf of your customer.

• Restore Conguration: Permits uploading of the

le generated by the step above. This overwrites all

current settings with the data contained within the

backup le.

• Factory Reset: Resets the SP4 to default conguration but retains current rmware version.

• Load License: Allows loading optional soware licenses such as SphereAudio and StormMonitoring.

• Remote Upgrade: Use this tool to update the

rmware of the SP4. New rmware is made available from time to time and can be found at http://support.

bryston.com/downloads/SP4. Firmware upgrades are never required and should be considered optional

unless advised otherwise by Bryston support sta.

4. Network Settings

Displays current settings. By default, this is populated by the network DHCP server. DHCP Auto button is blue. To use a static IP address, click DHCP Auto to disable (turns grey) and populate IP Address, Gateway, Netmask, and

DNS elds manually. If an SP4 has been set to

static IP mode and will no longer connect to the network, see “Get Network Access” on page 7 for instructions on resetting the network settings to default DHCP mode.

5. Password Management

The SP4 has 3 levels of access. Remote Control

requires no password and no access to settings. Installer has access to all settings. Expert is an intermediate level that has access to settings

assigned by Installer. Those settings are dened

in the Access Management area at the bottom of this page. The default passwords are: Installer: installer Expert User: expert

If you are a dealer or custom installer, you are advised to change these passwords and document them. Similarly, if you are a client and

Page 11

SP4 Immersive Surround Processor

wish to lock other users out of settings, you may wish to change default passwords as well.

If you have forgotten your passwords and have locked yourself out of the SP4, you can reset them back to default by following the procedure “Default Passwords” on page 7.

6. Access Management

This area permits a user logged in as installer to

assign access to specic setup functions to the

Expert User. For example, if the SP4 is installed

at property with technical sta, the installer may

wish to permit the Expert User to make changes to the inputs for the purposes of installing a new source, but restrict their ability to make changes

to speaker EQ, apply rmware updates, etc. Any

setup menu marked “Y” in blue is accessible to a user with the Expert User password.

Note that aer making any changes, you

must press the SAVE button near the top right of the screen or you will loose your changes.

Page 12

4 5

Input Settings

The SP4 permits the installer to create access to sources in a very intuitive way for the end user. The installer is advised to title inputs thoughtfully and without ambiguity. No longer must an end user remember which physical input is attached to a particular source component. Further, only inputs

specically congured as ACTIVE will be available

from the remote control. Finally, multiple inputs can be created from a single source component for the purposes of loading separate settings. For example, you may have an input titled ‘CD Music’ that accesses a Blu-Ray player attached to HDMI 7 that by default downmixes everything to stereo and another input titled ‘Blu-Ray Movie’ that accesses the same source component but upmixes all audio to Dolby Surround.

may type in this box and change the name to something more intuitive. Supports a maximum of 10 characters.

3. Video In

For any given input, you can map separate video and audio inputs except that when the audio input is an HDMI input, the video input must be the same HDMI input. None may also be chosen when no video is desired.

4. Audio In

For any given input, you can map separate video and audio inputs except that when the audio input is an HDMI input, video must be the same HDMI input. None may also be chosen when no video is desired. Note that the analog input matrix may be selected as a particular stereo pair or as a 7.1 input.

1. Active

Any input with a blue Y is accessible from remote controls. To disable access to an input, click the Y and it will change to an N and gray out the entire row thereby disabling access to this input. You are advised to disable any input with no source component attached.

2. Input

This is the name of the input that will appear in remote control applications. By default, the name is the same as the default audio input. You

5. Preferred Upmix

On a per input level, you may choose to engage a particular upmixer, or leave the option set to none. This setting overrides any preferred upmix

dened as part of a preset. So, if a preset is to

be used in conjunction with this input, and that preset includes specifying an upmix, leave this setting to None.

6. Trimmer

Each input may have the audio attenuated by a

Page 13

SP4 Immersive Surround Processor

specic value in an eort to level match source

components and yield an expected volume level in the room regardless of source selected. No gain can be applied, only attenuation. The range

is -30dB to 0dB with 0.1dB precision. The + and -

buttons adjust the value by 0.5dB.

7. AV Delay

Each input may have a synchronization delay set between video and audio. This range is 0-100ms in 1ms increments.

8. Triggers

The SP4 can trigger connected devices on using the 4 DC trigger output jacks on the back when

a specic input is selected. Most commonly,

this is used to power on the source component

connected to a specic input. To enable this

feature, the desired trigger must be set to Auto

Switching: Enabled on Input in the Settings

menu. See “Triggers” on page 26. To engage a trigger based on input, click the gray N. It will turn into a blue Y when the trigger will be activated upon selection of that input.

Note that aer making any changes, you

must press the SAVE button near the top right of the screen or you will loose your changes.

Page 14

Building a Theater - Deﬁning Channels

To assign analog outputs to particular channels, you must build a theater. A theater may occupy as few as 2 channels or as many as 16. There are over

70 options for theaters. Any channels le over may

be assigned to secondary multi-channel theaters, 2 channel A/V zones, audio only zones, mono zones or if SphereAudio is installed, headphone zones. A physical output can only be assigned to one theater or zone.

To assign channel outputs, you must rst build

a Theater or Zone. Theaters are multi-channel systems. Zones are either 1 or 2 channel audio or audio/video zones. Any theaters or zones created appear to the right and are listed by their names which you assign. By default, the

SP4 ships with a 2 channel theater congured.

To build your own, delete this theater and

create a new one. Click EDIT, then DELETE.

Click OK to conrm. You will be returned to the Main

Speakers page.

1. Create Theater

Click Create Theater to build your new theater. Theater 1 will appear to the right of the Create

Theater button. Click Congure to proceed.

2. Select Speaker Layout

All possible loudspeaker layouts based on available channel count are listed. A shorter list “Recommended by Bryston” is listed by default and contains most commonly used options. Click All to see all possible options.

Denitions are titled by channel count in the following order. Base Layer . LFE . Height Layer . Top Layer. For example, 9.1.0.6 would feature

9 ear level speakers, 1 sub channel, 0 height

speakers (common only for Auro3D layouts),

and 6 ceiling speakers.

For each denition, you can use the

matrix to see how compatible that layout

is with each of the 3 codecs and which

possible speaker locations are occupied. To reduce ambiguity, you can also click VIEW to see the layout visualized in a room.

Page 15

SP4 Immersive Surround Processor

• Phantom Center: If no discrete center channel

speaker is present, checking this box will remove the

center channel from the theater denition.

Top

Height

Base

Sub

Click Select to choose your desired speaker layout.

3. Rene Theater Denition

Once you select your desired speaker layout,

you have the option to rene certain settings.

Any changes made here can be visualized by clicking the PREVIEW button. Once your theater is

dened properly, click SAVE to proceed. You will

then be directed towards a page where you can make speaker based adjustments.

Proﬁles

For each Theater, Sub-Theater, and zone, you

can save multiple proles for dierent listening preferences. Proles can be recalled as part of presets “Presets” on page 28. A prole includes the following information: Speaker denition (multi-

way, levels, delays), bass management, manual EQ,

and Dirac lter design if applied.

Some clients have dierent EQ proles based on the

type of content they listen to e.g. movies vs. music.

• Ways per Speaker (LCR): For the front le, center, and right speakers, you can dene multi-way active loudspeakers up to 3 ways per speaker.

• Surround Layers: Optionally duplicate surround channels to increase coverage in large rooms to match seating row count.

• Subwoofers: Though there is only 1 LFE channel, you can specify the number of channels which will drive discrete subwoofers. Unlike daisy chaining subwoofers, each channel can have its own settings and EQ.

• Enabled Mode Layers: When using customized

Dolby Atmos up-ring loudspeakers in place of ceiling

mounted top layer speakers, choose whether these speakers are mounted on top of the Front or Side loudspeakers.

• Custom Channel Duplicator: Check this box and enter the number of duplicates for any channel in the theater.

3 4

1. Rename

By default, one prole is created called New Prole 1. You can rename this to something

more descriptive.

2. New

Click New to build a new prole from defaults.

3. Duplicate

Build a variation on a saved prole. This is especially useful if you have a prole designed with Dirac Live. Since you cannot edit Dirac reference proles directly, you can build a

duplicate and edit that duplicate.

4. Save

Aer any changes to a prole or creation of a

new one, you must SAVE your changes.

Page 16

2 3 4

6 7

12 15

13 14

Test Tone Generator

The SP4 includes a highly congurable test tone

generator which can be used to help manually calibrate channels.

1. Generator

Click this button to turn on the tone generator. It will automatically start with Group 1. The channels outputting sound will be highlighted in green.

Choose the type of noise or tone created by the generator.

• Sine: Generates a sine wave at the frequency

specied.

• Pink Noise: Generates full bandwidth pink noise

• Pink Noise 400-4kHz: Generates pink noise band

limited to one decade. This is particularly useful when setting relative levels between channels with

dramatically dierent useful bandwidths. Remember SPL meters measure not only sound pressure but also

bandwidth.

2. Setup

Unlike traditional generators, the SP4 will not strictly play tones one channel at a time. Click Setup to assign channels to groups. Each group may contain one or more channels. For example, if you have 2-way active loudspeakers, you may wish to group the high frequency and low frequency component of each into one group.

3. Noise Selection

4. Gain

The gain gure can be set so that the noise

generator operates at a level at or below that of a normal source playing at 0dBFS. Default is 0.1 (-20dBFS).

5. Group

When the noise generator is active, use this

function to play the noise through dierent groups dened in “2. Setup”.

6. RTA

When a USB microphone (such as the optional Theater Acoustic Diagnostic Kit) is connected to the SP4, you can use the Real Time Analyzer to visualize the response of loudspeaker groups in the room. Note that the built in RTA is not accurate enough to use for calibration, but is useful for getting a good idea of the

Page 17

SP4 Immersive Surround Processor

approximate response of the system. Maximum level of the capture can be set by adjusting

Mic Ref Level. Graph vertical scale can be changed from Logrithmic (default) to Linear.

7. Dirac

See “Dirac Live” on page 23 for use of optional Dirac Live Calibration Tool.

8. Volume Reference

It is good practice when calibrating systems to always work at a reference level such as 85dB C-weighted. Before activating the noise generator, make sure the master volume is at a low level. Set and recall a reference master volume value. Click SET once you have dialed

the value you’d like to store. Click RECALL to

quickly return to that value.

Individual Channel Adjustments

Once your theater is dened, each channel can be individually ne tuned. The theater can also be

renamed, and a child theater can be created which

enables stereo le, right, or mono audio to be

routed to existing channel assignments.

11. Signal

Indicates which signal is routed to this output. Should you desire to remap signal routing, you can do so with Output Mapping. See “Output Mapping” on page 19 for details.

12. Channel Name

Customizable name to easily identify each channel. By default, these are named for the signal sent to each channel. You may decide to change these to speaker model or another

unique identier. Maximum allowable character

count is 25.

13. Size / Filter

Identify each channel as either Large, Small, or Large and Sub. When a channel is set to Large, no bass is redirected from this channel

to the subwoofer. Use this setting when the

loudspeaker has suicient bandwidth and output capability to reproduce suicient

bass. When a channel is set to Small, bass in this channel is redirected to the subwoofers according to the Frequency and Slope for that

channel. Large and Sub is a special case that

not only allows that channel to reproduce full bandwidth audio, but also duplicates bass in that channel to the subwoofer(s) according to the Frequency and Slope for that channel.

9. Channel Status

Each channel is enabled by default. If for some reason this channel needs to be disabled, click the ON button. It will turn to OFF and audio will no longer be routed to that channel. Note that audio will not be re-routed to other channels. Channel status is set per Theater / Zone and is

not stored as part of a prole.

10. EQ

Each channel can have up to 10 channels of

parametric EQ congured. See “Channel EQ” on

page 20 for detailed EQ options. EQ settings

are stored as part of proles.

Subwoofer channels have specic settings. By denition, subwoofers have limited bandwidth

and some are more limited than others.

• Low Pass LFE: When this is set to ON, the subwoofer

channel has a low pass lter applied according to

that channel’s Frequency and Slope. This is designed to limit the channel’s ability to reproduce the upper portion of the bass spectrum. This is usually done to prevent the subwoofer from contributing midrange distortion.

• Subsonic SUB: When this is set to ON, a high pass

lter is applied to the channel which restricts the

subwoofer’s ability to reproduce very deep bass

according to the frequency and slope dened for

that channel. Many subwoofers, especially smaller

models do not have the amplier power or driver

Page 18

displacement required to accurately reproduce very

deep bass. By actively ltering very deep bass away

from the subwoofer, it is better able to reproduce bass within it’s useful bandwidth.

* Items 14 and 15 pertain to Standard Bass Management Mode in which the crossover point

and slope dened apply to both the high pass and low pass sides of the lter equally. For Expert Bass

Management, see “Expert Bass Management” on page 19.

14. Frequency

When the channel is set to Small or Large and Sub, the Frequency denes the point below

which bass in this channel is routed to the subwoofer(s). Note that the frequency is the

-3dB point along the slope dened in the next

column and is not an absolute cuto point.

15. Slope

The rate at which bass is ‘crossed over’ into the subwoofer when the channel is set to Small or

Large and Sub. LR 12dB and LR 24dB are 2nd order and 4th order Linkwitz Riley alignments

respectively.

16. With LFE

When a channel is set to Large or Large and Sub, this channel can optionally reproduce LFE bass

which would normally be the sole responsibility of the subwoofer channels. When set to None,

no LFE will be mixed into this channel. When set to a gure between 0dB and -20dB, LFE bass attenuated by that gure will be mixed into

this channel. This feature is useful when the

main channels have suicient bandwidth AND

dynamic range to support the subwoofers in creating an appropriate amount of bass sound pressure in the room.

Items 16-21 apply to settings found in the ‘Delay,

Level, Limiter, and Phase’ section.

17. Delay units

Choose whether to measure channel delays in meters (default), feet, or milliseconds.

18. Delay per Channel

Each channel should have distance/delay set beteween that loudspeaker and the sweetspot.

You can dene this in meters (default), feet, or

ms depending on your setting in 16.

19. Level

Set the level of each channel in between -100dB

and +12dB in 0.1dB increments. Best practice is to set other channels to a negative gure relative

to the loudest channel to avoid clipping when possible. Global gain makeup can be applied to the theater when the relative level of the theater is too low (usually a result of a high degree

of correction due to Dirac Live’s mixed phase

Page 19

SP4 Immersive Surround Processor

lters). Use global gain makeup judiciously to

avoid clipping.

20. Limiter

To prevent distortion due to loudspeaker

overdriving or amplier clipping, you may wish

to engage a limiter on a channel. When enabled, a compressor will attenuate audio above the

threshold set by the Limiter Value for that

channel back down to that value. For instance,

if the limiter is enabled and set to -3dBFS, any audio that exceeds -3dBFS will be reproduced at -3dBFS. By their nature, limiters are not ideal

acoustic solutions, but this feature can prevent subjectively worse sounding distortion, or in extreme cases, damage to loudspeakers or

ampliers. If you nd that you are aggressively

using the limiter function, you are encouraged

to upgrade loudspeakers and/or amplication.

21. Phase Invert

Check the box for any channel you in which you wish to invert polarity.

Expert Bass Management

When it is desirable to ne tune subwoofer

integration beyond what is possible in Standard Bass Management Mode, you may select Expert.

The exibility within can achieve greater subwoofer

integration, but should only be used by calibrators

with suicient skill otherwise comparably poor

results may be inevitable. Compared to Standard

mode, Expert includes the following features:

• Additional Size/Filter options

1. Size/Filter

Speakers may be set to one of the following 4

options:

• Small: Channel is high pass ltered according to the

HPF frequency and slope. Bass is routed to subwoofer

channels according to frequency and slope dened by LPF frequency and slope. Small speakers cannot have subwoofer or LFE bass mixed in.

• Large: Channel is not band limited. Channel can

have subwoofer and/or LFE bass mixed in.

• Large and Sub: Channel is not band limited, but a

copy of bass for this channel is routed to subwoofer channels as well. Set the frequency below which bass should be sent to the subwoofer and the slope at which the crossover occurs.

• Large with Sub: This special case enables you to

eectively split a full range loudspeaker into a “small

speaker” plus “virtual subwoofer”. The HPF frequency

and slope dene the characteristic of the “small speaker” portion. LPF frequency and slope dene the

virtual subwoofer characteristic.

Output Mapping

Should you wish to map a physical analog output channel to a loudspeaker other than the default assignment, you may do so from the Main Speakers page. Click Output Mapping.

• Ability to separate HPF and LPF frequency and slope per channel

• Ability to mix SUB bass (not just LFE bass) back into

channels set to Large, Large and Sub and Large with

Sub.

Using the New Output column on the right of the pop-up menu, select a new output channel. If you choose a currently occupied new output channel, that channel will be automatically reassigned. Save.

Page 20

1 4

Multi-way Loudspeaker Setup

During the initial Theater Denition setup, you have the option of dening the front LCR speakers as multi-way. Doing so will assign 2 or 3 output

channels to each speaker instead of 1. In this

conguration, more than 1 amplier will be used

per loudspeaker, and the SP4 will perform the crossover function for each loudspeaker.

All settings in the Bass Management section detailed in “Individual Channel Adjustments” on page 17 and “Expert Bass Management” on page 19 also apply and will not be covered again here.

This section only describes the dierences notable for multi-way loudspeaker conguration.

1. Signal

Note that in this example (Le Front is a 3-way active loudspeaker), Each of the rst 3 channels receives the same Le Front signal.

2. Channel Name

By default, the channel names are named by the signal they receive and proceeded by a sequential number. For clarity, you may wish to rename these according to the signal they

reproduce e.g. Le Front High, Le Front Mid, Le Front Low.

Full Range, Low Pass Filtered, Middle (band pass), or

High Pass Filtered audio. Two-way speakers will not have Middle option.

• Crossover Frequency: When the section is chosen

as anything other than Full Range, set the crossover

frequency for the Low and High Pass lters for each

section.

• Slope: For each lter, select a slope. Options are

Butterworth 6dB / oct, Butterworth 12dB / oct,

Butterworth 18dB / oct, Linkwitz Riley 12dB / oct, and Linkwitz Riley 24dB oct.

4. Delay

Set the delay of each section. For active multiway loudspeakers, it may be helpful to do this in milliseconds and measure time-of-arrival

dierences at the crossover point when using LR or BT6 lters to time align each section of a

multi-way loudspeaker.

5. Level

Active multi-way loudspeakers almost certainly

have dierent sensitivities per module. Set the

relative level of each here. When possible, use

0 as the maximum gure and attenuate other

channels to match the loudest channel. You can also set global makeup gain for the entire

theater as described in “19. Level” on page 18.

Channel EQ

3. Multi-way Management

Use this section to lter the signal for each

section.

• Section: Choose whether each channel reproduces

Each channel can have up to 10 bands of parametric EQ applied manually. To design EQ curves for any channel, click the EQ button under the Status

column for that channel. Remember to SAVE oen!

Page 21

SP4 Immersive Surround Processor

1. EQ Bypass

When developing a custom set of EQ per channel, it is sometimes helpful to bypass the entire group of EQ to check your progress against the starting point.

2. Filter Shape

Each lter must begin with a variation of one of

5 types.

• Low Pass: Continuously declining output above a

cuto frequency at a dened rate.

• High Pass: Continuously declining output below a cuto frequency at a dened rate.

• Bell: Band pass or cut lter with a dened center frequency, boost or cut amount, and Q.

• Low Shelf: Boost or cut frequencies below a cuto

frequency by a xed amount.

• High Shelf: Boost or cut frequencies above a cuto frequency by a xed amount.

For LPF, HPF, and Bell lters, choose

Butterworth 12dB/oct, Butterworth 12dB/oct

inverse, Linkwitz Riley 12dB/oct, Linkwitz Riley

12dB/oct inverse, Butterworth 24dB/oct, or

Linkwitz Riley 24dB/oct.

3. Frequency

Each lter requires that a center or cuto frequency be specied. You can enter this

number directly in the text box or increment/ decrement by the amount chosen in the header

row using the +/- buttons to the right. Or, you

can use the slider.

4. Gain

Bell and shelving lters require that you set

the amount of boost or cut. You can enter this number directly in the text box or increment/ decrement by the amount chosen in the header

row using the +/- buttons to the right. Or, you

can use the slider.

5. Quality Factor / Bandwidth

Bell lters require that you specify a Q. High Q aects a narrow bandwidth, and low Q aects

a wide bandwidth. You can enter this number directly in the text box or increment/decrement by the amount chosen in the header row using

the +/- buttons to the right. Or, click a fractional

or multiple octave button to automatically calculate Q.

6. Bypass / Reset

In the course of designing your lter, you may

wish to measure or listen to progress compared

to the absence of that lter. Click Bypass to temporarily omit that lter from the aggregate curve. Click Reset to reset that lter back to 0.

7. Copy to Channel

You may wish to duplicate your lter set to

another channel without manually rebuilding it for each identical channel. Select a channel to

copy the current lters to and click COPY.

8. Channel Select

Select the desired channel to equalize here.

Page 22

Child Theater / Sub Theater

You may optionally create alternate speaker

denitions in your theater with some restrictions.

For example, if you wish to have music playing before the movie plays before everyone is seated and quiet, you might only want that music playing from the overhead speakers so as not to interfere

with conversation. In this case, you can dene a child theater so that stereo le/right audio is played

only through the top speakers (as in the example above).

Child theaters behave just like zones or main theaters in that they can be selected as outputs, programmed into presets and can have multiple

proles.

Note that though multiple Child theaters can be designed per main theater, signal assignment is common to all.

3. Keep Dirac Prole

If you have created a Dirac prole for the parent

theater, you have the option to retain that calibration for the child theater.

4. Save/Close

Save when done, or Close to cancel.

5. Bass Management / Delay Level Phase

Child theaters have comparably limited options compared to full theaters. If a child theater includes a subwoofer channel, the full range channels are forced to small. In this case, you can adjust the crossover frequency, slope and

subwoofer subsonic lter. If no subwoofer

channel is enabled for the child theater, the main channels are forced to large. No Expert Bass Management is available for Child Theaters.

Zones

1. Create Child

From the Main Speakers page, Edit your theater. Click Create Child. A window will appear with a list of loudspeaker names and their channel ID.

2. Zone Signal

For each loudspeaker, select the signal to be

played. You may choose Stereo Le, Stereo

Right, Mono, or None. Subwoofer channels can play Subwoofer signal or None.

Zones are mono or stereo, and with or without video output or can be dedicated to headphone playback when used with an external headphone

amplier like the BHA-1. Stereo Audio/Video and

Headphone Zones include provisions for adjusting lip sync. Audio only zones do not. Zones occupy unused channels and can play concurrently with a theater or without one. Note that system wide, only one input may be selected at once. That is, you

may not have dierent content playing to a zone

Page 23

SP4 Immersive Surround Processor

than what is going to the main theater. Zones have all the same features of a main theater except that channels are always “large”, they cannot include subwoofer channels, and they are limited to mono or stereo. In order to control a zone, it must be included in the preset that is currently selected in the remote control. See “Presets” on page 28 for more details.

Dirac Live

Dirac Live is a highly advanced calibration tool which uses sophisticated mixed-phase lters to compensate for loudspeaker and room deciencies

in order to provide optimal acoustic performance of your theater. Though all SP4s are compatible

with the Dirac Live Calibration Tool, it is an optional purchase. The soware license and calibration kit

are usually purchased by the installer, however, they are available for purchase by the end user as well. If you have not purchased the license and/or calibration kit and would like to do so, please speak with your Bryston dealer or with Bryston directly.

All Theaters, zones, and child theaters can be

calibrated with Dirac Live. Presuming you have a

license and calibration kit, prepare your SP4 for calibration by following the steps below.

of the soware available from Bryston is

compatible.

Install the soware on the laptop you will use to

calibrate the SP4. Enter the e-mail you used to

license the soware and your password. Note

that the laptop will need to be connected to the internet to validate your license.

3. Prepare Calibration Hardware

Although we recommend using the kit we provide which includes the UMIK-1 USB microphone, other hardware may be compatible

with the Dirac Live Calibration Tool. This guide

will only cover our hardware.

Connect the UMIK-1 to your laptop. Note the serial number on the microphone. Navigate to

https://www.minidsp.com/products/acoustic-

measurement/umik-1. Enter the serial number

to obtain your unique calibration les.

4. Choose Theater or Zone to Calibrate

From the Main Speakers (A) menu in the SP4 web UI, EDIT (B) the theater or zone you wish to calibrate.

1. Dene Speakers

For each theater or zone you will calibrate

using Dirac Live, ensure that you have correctly dened each speaker’s Size/Filter, Frequency and Slope, multi-way speaker denitions and

other Bass Mangement parameters. (“Individual Channel Adjustments” on page 17)

2. Download and install Dirac Live

Calibration Tool Soware

You can download a Mac or PC version of

the soware at http://support.bryston.com/

downloads/SP4

Even if you own a Dirac Live license for another

branded product, it will not work for the SP4. Only the StormAudio/Bryston branded version

5. Select Base Prole

Select the prole which will serve as the basis for your Dirac Live calibration from the

dropdown menu.

6. Setup Dirac Groups

It is recommended that if your theater includes multiple subwoofers, manually correct levels, EQ, and delay for each. Then, group all the subwoofer channels together for the purposes

of Dirac Live calibration. Also, manually build

any crossover and EQ settings for active loudspeakers. Group separate elements of a

single active loudspeaker together e.g. Low, Mid, and High components of the LEFT FRONT

should be in a single generator group. Click the SETUP button (C) beside the Dirac button.

Page 24

Channels that should play together during calibration should share a group number (D).

7. Initiate Calibration

Press DIRAC (A) to ready the SP4 for calibration.

A popup describing the process will be shown in the web UI. Verify that you are calibrating the correct theater or zone based on the correct

prole. If not, cancel and return to step 4. Once veried, click Start New Calibration.

8. Return to / Open Dirac Live

Calibration Tool Soware

Open the DLCT soware on your laptop. It will scan the network and automatically nd the

SP4 ready for calibration. If it does not, manually enter the IP address of the SP4. Click Proceed.

9. Congure Microphone

In the Recording Device dropdown menu,

choose the UMIK-1 (A). Load the microphone calibration le (B) downloaded in step “3. Prepare Calibration Hardware” on page 23. Of the two les downloaded, the one marked

“...90degree.txt“ is preferred when placing the microphone in an upward facing direction.

A B C D

It is wise to save the project (C) along each step of the calibration in order to make recovery from interruptions easier. Also, measurements can be

reused in order to regenerate a new lter design

following adjustments to the target curve. Click Proceed.

10. Set Levels

A B C D E

Now that the microphone is connected, ensure that the room is quiet. Adjust the input gain (A) so the background does not exceed -24dB in the meters. Set the output volume (B) to a low level (-40dB for example). Start the test

noise by pressing the PLAY button (C) on the rst channel and adjust the volume to reach

Page 25

SP4 Immersive Surround Processor

-12dB in the channel’s meter. For each channel,

activate the test noise and correct the channel volume using the corresponding slider (D) so that the meter reads approximately -12dB. Note that all channels are automatically listed

and subwoofers are automatically identied.

Remember that it is important that multi-way speakers and subwoofers have already been individually aligned and grouped therefore will appear as one loudspeaker. Click Proceed (E).

11. Measure Acoustic Response of Sweet Spot

listening positions. With each measurement, the waveform graphic will update. Click Proceed when done with all 9 measurements.

13. Target Curve

Once all measurements are complete, you can visualize measurements of each speaker. You can customize the target curve for each speaker by (A) limiting the correction window and (B) dragging anchor points on the target curve to desired locations.

C D

Place the microphone in the exact sweet spot of the room at ear level to begin. It must be in

the le-to-right center of the room since it will

be used for loudspeaker distance and level calculations. Select the type of listening area

you wish to dene. Chair is for a single listening

position, Sofa is a somewhat wider range of listening positions, and Auditorium is the widest. Start the measurement by pressing the START button. The measurement waveform graphic is updated in real time.

12. Measure Acoustic Response of Remaining Positions

Once the rst measurement is taken, that

position will turn green indicating successful capture. Move the microphone to the next position indicated in the diagram. Use the View Menu to rotate the diagram to clearly identify the next position. Repeat measurements for all

Clicking Auto Target (C) will generate a good target response curve that respects the bandwidth of the speaker and does not try to apply too much gain to areas of low output. Good target curve design is beyond the scope of this document, but there are some key points to remember.

• Do not attempt to boost bass of a loudspeaker below its low frequency limit as this will only lead to high distortion and likely damage

• High quality speakers usually benet from limiting the correction window to low frequencies.

• Ideal curves usually have a slightly downward slope.

A loudspeaker may have a at amplitude response on axis, but will rarely be at o axis.

• Aim for identical target curves between channel pairs

(such as Front Le and Front Right) to obtain the best

spatial imaging.

Save the Target Curve (D) for use in another channel or for other future use. Repeat for all channels.

Page 26

14. Export Filters to SP4

In this last step, lters created in “Step 13.

Target Curve” on page 25 are exported to

the SP4 and combined into the new prole selected “Step 5. Select Base Prole” on page

save (D) to continue. For corrections made to a zone, options are not available. Simply click save.

Note that each time you go through the Dirac Live process, the former lter design gets replaced. Each time the calibration is run, a new prole is created with the new Dirac Live correction.

SP4-host

23.

Drag and drop the blue project le into the

StormAudio-Processor ‘SP4-host’ slot.

Save the project and click EXIT.

15. Return to SP4 web UI

A popup has been updated to conrm

that you wish to combine the Dirac

Live corrections with the base prole.

16. Return to Speakers Page

Now that you are back at the page where individual speakers can be edited, you will

notice the new Dirac reference prole you

named in the previous step is selected. New columns created indicate the calculated Dirac

Delay and Dirac Level. No changes can be made to this reference prole. Should you wish to make changes, duplicate the prole, make

desired changes to the duplicate, save changes

to the prole and the theater. See “Proles” on

page 15.

Settings Menu

The SP4 includes a variety of system wide settings that are set in this menu that govern behavior of the unit. Ensure these are set as required for easy operation of the SP4 and any attached devices. These are only accessible to those with Installer level access or Expert User if assigned by the Installer.

B C DA

For corrections made to a theater, you may

change the default name of the new prole (A).

Select the correct listening area that you used

to make the Dirac Live corrections (B). You may

also change the name of the curve type (C) to indicate the type of target curve you used. Click

Triggers

The SP4 has 4 independent DC voltage triggers

which can be congured to modulate the power/

standby status of connected equipment such as

projectors, source components, or ampliers.

You may keep the default name for each trigger, or rename them to something more descriptive. Each

trigger has the following options available:

• Manual Switching: Turn on to enable a button on the remote control interfaces that allows a user to toggle the trigger manually.

• Auto Switching: Enabled on Wake activates the

Page 27

SP4 Immersive Surround Processor

trigger when the SP4 is powered on from standby. It will not automatically deactivate the trigger when the SP4 is placed into standby. Enabled on Input makes the trigger available in the Input Menu. When set to Y for an input, the trigger activates when that input is selected from a remote interface. See “8.

Triggers” on page 13. Enabled on Preset makes the

trigger available in the Preset menu. When a preset is selected in which a trigger is marked Y, the trigger is activated. Note that Auto Switching trigger behavior will override any Manual Switching behavior.

• Disabled on Sleep: Select Y if the trigger should

deactivate when the SP4 is placed into standby.

• Active State: Select whether the active state for the

trigger is 12V or 0V.

• Delay: You may wish to set a delay of up to 8

seconds. Usually this is done if you are using triggers

to activate ampliers. If all ampliers power on at

once, the inrush current could trip a circuit breaker.

Note that all Bryston ampliers since the SST series feature SoStart circuitry which slowly ramps up power into the amplier. Bryston amplier triggers

may be daisy chained so that only once the preceding

amplier is fully powered does the following amplier

initiate it’s power up sequence thereby obviating the need for a delay (or multiple triggers) when using

modern Bryston ampliers.

Parameters

• Downmix zone: dene whether the dedicated

downmix outputs feed an audio only zone or an audio video zone. When A/V, lipsync adjustment is available in that zone’s remote control functions, and that zone’s general delay can be set using the setting below.

Audio/Video General Delay per AV Zone

Set the global lip sync delay for each theater, A/V, and Headphone zone here. Max value is 250 ms.

System Setup

Enable fast boot to substantially decrease power on time of the SP4 at the expense of greater standby power consumption.

Front Panel

Settings that govern behavior of the front panel screen.

• Active Brightness: Brightness of the screen

when the screen is actively being used.

• Standby Brightness: Brightness of the screen

when not actively being used.

• Standby Timeout: Length of time elapsed

between active use of screen and reduction of brightness to standby level.

• Zoom on Changes: When on, changes made

via remote control (input, volume, etc.) will temporarily be shown in a large type so these changes can easily be read from across the room.

IR Remote Control Function Assignment

Expand Inputs and/or presets to assign up to 6 inputs and 5 presets to discrete buttons on an IR remote control. Note that many “universal” remotes also have the ability to cycle through all available inputs or presets so even if you have more than 6 or 5 respectively setup, they can still be accessed via IR. Remember that the SP4 has no front panel IR receiver, so any IR commands need to be sent to a module connected to the IR input on the back panel.

• Audio Control Range MAX: Set the maximum

allowable volume. +6db (default), +3dB, 0dB.

• Volume Dim Level: To quickly attenuate the volume

(but not mute it), a user can click Volume Dim. Set the level of attenuation here. Default is -20dB.

Page 28

21 3 4 5 6 7 8 9

Presets

Presets provide the installer with a way to group

specic settings together into a scene which can

be easily recalled by the end user from a remote control interface. By using presets, the installer can make use of the SP4 - a highly complex and capable theater controller - extremely simple and enjoyable to operate.

Each preset includes the following settings:

1. Preset Name

Title the preset according to the usage case. For instance, if the entire family gathers together to watch movies, Movie Night. Max of 12 characters.

2. Active

When Y, the preset shows up in the list of selectable presets on the remote control. When N, the preset information is retained, but not available to select from the remote control.

in “15. Return to SP4 web UI” on page 26 will be indicated.

6. Audio Zone

You may choose to route audio to 0 or more zones as well. When zones are checked, they are accessible and controllable from the remote control when this preset is selected.

7. Triggers

When triggers are set to Auto Switching: On

Preset as described in “Triggers” on page 26, they can be assigned to presets here.

8. Upmix

Though the upmixing behavior is accessible from the remote control at all times, you may set the default upmix for the preset here.

9. Delete / Create

Delete any unused presets by clicking Delete in the correct row. Create a new preset by clicking Create.

3. Theater

The preset must include which theater to play. The list includes Theaters, Child Theaters, and if the optional SphereAudio license is installed, SphereAudio. It does not include zones.

4. Prole

Each theater can have multiple proles to choose from. Select the prole which will be

loaded by default when the preset is chosen.

5. Dirac Room / Dirac Curve

If the theater is calibrated with Dirac Live, the

listening area and curve description you entered

10. Save

Any changes to presets must be saved.

Page 29

SP4 Immersive Surround Processor

2 3

Monitoring

If you have purchased the Theater Acoustic Diagnostic Kit and have installed the monitoring license that comes with it, you have access to the Monitoring page which provides detailed information about the operation of the SP4.

1. Product Information

Model, serial number, IP address and rmware

version information are listed.

2. Basic Status

Indiicator and control over On/Standby, Mute, and system restart as well as malfunction indicator.

3. Temperature / Fan Speed

Two indicators show the current temerature (black line) and rear fan speed. Orange markers indicate current settings for system warning and critical high temperature. These thresholds can be changed in Monitoring settings by clicking the gear icon. Default is 55c and 60c.

To view items 4-6, click the VU Meter button to expand the page.

4. Decoder

Visualize the realtime level of audio channels being received by the decoder. For example, if 2 channel PCM is being received, you will see

activity on LF and RF.

is Native, you will see activity on LF, CF, RF, SUB, LS and RS channels. Useful for verifying if audio

should be present on an output.

6. HDMI/DOWNMIX

Visualize audio output on the HDMI outputs and

XLR downmix outputs.

7. Logging

Logging is a useful feature to help identify

strange behavior with potential problems caused by heat. Click the graph button to show a line chart of either temperature or fan speed over time. Use the options in the popup to choose timeframe, zoom or move around the plot or export the image.

8. Details

Click to expand a window showing detailed information about audio and video coming into the player including format, resolution, color space, copy protection and more. Important information about the video transmission is also detailed. Compare this information against the compatibilities of connected hardware to diagnose errors in picture or sound. Further, it shows real time health of various power supplies

in the unit which power specic modules. This

can be a useful tool to diagnose features that are malfunctioning.

5. Outputs

Visualize real time audio output of each output channel on the rear panel. For instance, if 5.1 audio is being received and the current upmix

Page 30

Web UI Remote Control

Using any modern device with a web browser, one can access the remote control. When not logged in as an expert user or installer, the remote is accessible as well, but the header (above Main Source) is not visible. The web UI remote control is best used with a computer or tablet. It can be used

with a mobile phone, but items do not properly t

the screen. iPad users can also download the iPad app from the app store.

1. Input Select

Any inputs enabled on the Inputs setup page will appear here titled according to your setup. See “Input Settings” on page 12. The currently selected input will be highlighted in blue. Tap any input to select it.

• Mute: Cuts sound to the currently selected theater.

• Vol Dim: Immediately attenuates volume by the

amount specied in “Parameters” on page 27.

Default is -20dB.

• Loudness: Boosts bass and treble to sound more impactful when listening at lower levels (green curve)

• Cinema EQ: Compensates for mixes that sound too bright in smaller rooms by slightly attenuating audio above approximately 5 kHz (pink curve).

2. Power

Toggle the standby/ON status by pressing this button.

3. Main Volume

Adjust the volume in the currently selected

theater by pressing the +/- buttons. One press is

a 1dB increment.

4. Mute / Dim / Loudness / CEQ / LFE Dim

This section contains easy access to select features.

• LFE Dim: In some cases, movies encoded with Dolby may have bass that appears to be too loud. Use LFE Dim to attenuate the LFE channel by -10dB.

5. Preset & Audio Decoder Options

• Use the Preset dropdown menu to select the desired preset. Remember that Preset includes activating

a specic theater, so if your SP4 includes multiple

theaters, you should have presets available for each. See “Presets” on page 28.

• Audio Stream: Indicates real time information about the incoming audio of the selected source.

• Preferred Upmix: Native plays audio back in the recorded format and/or channel count according to

Page 31

SP4 Immersive Surround Processor

the source material. Stereo Downmix will downmix surround material to 2 channel played through front

le and right (and sub if loudspeakers are congured as Small or Large and Sub) loudspeakers only.

• Dolby Surround, DTS Neural:X and Auro-Matic will force any legacy surround audio into one of these 3

formats. Immsersive source audio will be rendered natively and this selection will be grayed out.

• DRC: Dynamic range control for Dolby and DTS streams. On will reduce the range of volume levels on the soundtrack by compressing the loudest sounds. Auto will engage DRC when directed to by the soundtrack.

6. Triggers

Any triggers congured for Manual Switching

(see “Triggers” on page 26) will have a button available here. Clicking one of these buttons will toggle the trigger and therefore the connected device.

7. Temporary Audio Adjustments

Even though you may have meticulously calibrated the theater in Main Speakers settings, some material may sound best with slight adjustments. Adjustments here are temporary and reset to 0 with each change of Preset.

adjust the delay either per source (“7. AV Delay” on

page 13) or for the entire theater (“Audio/Video

General Delay per AV Zone” on page 27).

8. Zone Control

Within the conguration for each preset, you

may select auxillary zones which may be enabled. If zones are enabled for the currently selected preset, you may choose them from the dropdown menu and individually adjust volume, bass, treble, mute for each. A/V and Headphone zones also include a temporary lipsync adjustment.

Note that at this time, zones will listen to the same source as the main theater currently selected.

iPad App

Apple iPad users can download the app called SP4 Remote and control their SP4 using features identical to those found in the web UI remote control. Once the app is downloaded, enter the IP address of the player in the setup screen and press Connect.

• Center Enhance: Adjust the level of the center

channel between -6 and +6dB in 1dB increments.

• Surround Enhance: Adjust the level of the surround channels between -6 and +6dB in 1dB increments.

• Sub Enhance: Adjust the level of the subwoofer channels between -6 and +6dB in 1dB increments.

• Bass: Tone control to adjust the bass level in the entire theater using both the subwoofer and main

channels between -6 and +6dB in 1dB increments.

• Treble: Tone control to adjust the treble level in the entire theater between -6 and +6dB in 1dB

increments.

• Brightness: Tilt the tonal balance of the presentation

towards darker timbre (negative gures) or brighter timbre (positive gures).

• Lipsync: Temporarily adjust lip sync delay to accommodate some sources. Note that this is also reset every time a new input is selected, so if you

nd yourself regularly setting this to the same gure,

Touch one of the 5 icons at the bottom of the screen to access features found in the web UI remote.

Page 32

Speciﬁcations

Audio Specications

Audio Formats: Dolby Atmos

DTS:X Auro3D + Legacy formats

Max Input Channels 16

Max Output Channels 16 XLR

+ Optional 16 Channel RCA Dual-Theater

Max Input Sample Rate 192 kHz

Bass Management Ch. Unlimited

Multi-way speaker XO 6, 12, 18, 24 dB/Octave

Equalization 10 band PEQ per channel

HDMI Specications

Inputs / Outputs 7 / 2

Input Specs 3 ea. HDCP 2.2 / HDMI 2.0

4 ea. HDCP 2.2 / HDMI 1.4

Output Specs 1 ea. HDCP 2.2 / HDMI 2.0

1 ea. HDCP 2.2 / HDMI 1.4 (mirrored outputs)

Max Resolution 4K 60fps 4:4:4 8bpc

HDR HDR10 & HLG

Deep Color Support 12bpc

Options

Headphone SphereAudio surround

virtualization

Calibration • Monitoring and

diagnostic USB Mic Kit

• Dirac Live

Rack Mounting Rack ears included

RCA Output Extra 16 channel RCA

output module

Weight and Dimensions

L x W x H

Weight

Control

Control Modules Available:

IR Rear panel I/O

DC Trigger 4 ea.

Applications WebUI: Setup & remote

Network 100 Mbps Ethernet

Crestron Control 4 RTI Savant

Software assignable to inputs, presets, on/standby or manual operation

control iOS App: Remote control

Page 33

SP4 Immersive Surround Processor

Page 34

Installation Notes

Page 35

SP4 Immersive Surround Processor

Page 36

Bryston Limited | 677 Neal Drive | Peterborough, Ontario K9J 6X7

Canada | Phone: 705-742-5325 | www.bryston.com

300074-2

12-12-2018