Owner’s Manual
Sigma SSP MkII
Surround Sound Preamp/Processor
NOTICE
All of us at Classé take extreme care to ensure that your purchase will remain a prized investment. We are proud to inform you
that all Classé components have been ocially approved for the European Community (CE) mark.
is means that your Classé product was subjected to the most rigorous manufacturing and safety tests in the world. e CE
mark certies that your purchase meets or exceeds all European Community requirements for manufacturing consistency and
consumer safety.
is equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. Operation is subject to the following two conditions: (1) is device may not cause harmful interference, and (2)
is device must accept any interference received, including interference that may cause undesired operation. ese limits are
designed to provide reasonable protection against harmful interference in a residential installation. is equipment generates,
uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular
installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the
equipment on and o, the user is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna;
• Increase the separation between the equipment and the receiver;
• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected;
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modications to this equipment not expressly approved by the manufacturer could void the user’s
authority to operate the equipment.
is product incorporates copyright protection technology that is protected by U.S. patents ad other intellectual property
rights. Reverse engineering or disassembly is prohibited.
e information contained in the manual is subject to change without notice. e most current version of this manual will be
posted on our web site at http://www.classeaudio.com.
Classé marks the “CE” symbol indicating compliance of this device with the EMC (Electromagnetic
Compatibility) and LVD (Low Voltage Directive) standards of the European Community.
Classé complies with the European Parliament and Council Directive 2002/96/EC concerning Waste Electrical
and Electronic Equipment (WEEE). is product must be appropriately recycled or processed in accordance with
these directives. Consult your local waste disposal authority for guidance.
Classé products are designed and manufactured to comply with the Restriction of Hazardous Substances (RoHS)
as stated in the European Parliament and Council Directive 2002/95/EC.
2
Important Safety Instructions
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 ampliers) 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 other. A grounding type plug has two blades and a third grounding prong. e wide blade or the third prongs are
provided for your safety. If the provided plug does not t into your outlet, consult an electrician for replacement of the
obsolete outlet.
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 specied by the manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table specied 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 qualied 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. To completely disconnect this apparatus from the AC mains, disconnect the power supply cord plug from the AC
receptacle.
16. Do not expose this equipment to dripping or splashing and ensure that no objects lled with liquids, such as vases, are
placed on the equipment.
17. e mains plug of the power supply cord shall remain readily operable.
e lightning ash 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 sucient magnitude
to constitute a risk of electric shock to persons.
18. Batteries shall not be exposed to excessive heat such as sunshine, re or the like.
WARNING: DO NOT INGEST BATTERY. CHEMICAL BURN HAZARD
e remote control supplied with this product contains a coin/button cell battery. If the coin/button cell battery is
Keep new and used batteries away from children. If the battery compartment does not close securely, stop using the
If you think batteries might have been swallowed or placed inside any part of the body, seek immediate medical
e 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.
swallowed, it can cause severe internal burns in just 2 hours and can lead to death.
product and keep it away from children.
attention.
3
Contents
Introduction .....................................................................................................6
Exceptional Design Features ............................................................................7
versatile connectivity .................................................................................7
superior performance ................................................................................7
clean, dedicated power .............................................................................7
room equalization and speaker control .....................................................7
flexible GUI ...............................................................................................7
network connectivity and streaming audio ................................................7
extraordinary longevity ..............................................................................7
Unpacking and Placement ............................................................................... 8
unpacking your SSP ...................................................................................8
Sigma SSP MkII placement considerations .................................................8
Rack-Mounting the Sigma SSP MkII .................................................................9
warm-up/break-in period ........................................................................ 10
operating voltage .................................................................................... 10
Front Panel .....................................................................................................11
Rear Panel ......................................................................................................14
serial number ......................................................................................... 14
The Remote Control ....................................................................................... 20
Initial Setup .................................................................................................... 22
Understanding Surround Sound ..................................................................... 25
how many channels? .............................................................................. 25
matrix or discrete? .................................................................................. 26
post-processing ....................................................................................... 28
Using the Sigma SSP MkII ..............................................................................31
source selection ...................................................................................... 31
The Menu System ................................................................................... 33
System Setup ...........................................................................................33
Source Setup .......................................................................................... 34
Enable Source .................................................................................. 34
Input Connector ............................................................................... 35
Fast Lock .......................................................................................... 35
Digital Bypass .................................................................................. 35
Source Name ................................................................................... 35
Configuration ................................................................................... 36
Input Offset ...................................................................................... 36
Favorite Mode .................................................................................. 36
Pass-Thru ......................................................................................... 36
Configuration Setup ............................................................................... 37
Configuration Name ........................................................................ 37
Configure Speakers .......................................................................... 37
E-bass ............................................................................................... 38
Auxiliary Channels ........................................................................... 38
Display Setup ......................................................................................... 39
Brightness ........................................................................................ 39
Timeout ............................................................................................ 39
On Screen Display ........................................................................... 40
Volume Setup ................................................................................... 40
Max Volume .................................................................................... 41
Startup Volume ................................................................................ 41
Mute Setup....................................................................................... 42
EQ Setup .......................................................................................... 42
4
Tone Control Setup ................................................................................. 43
Network Setup ........................................................................................ 43
Firmware Update via Network ............................................................... 44
Remote Fkeys ......................................................................................... 44
Important note on Fkey use .................................................................... 45
Teach IR ................................................................................................. 45
Controls .................................................................................................. 45
Tone Control ........................................................................................... 46
Lip Sync ................................................................................................. 46
Night Mode ............................................................................................ 46
Balance .................................................................................................. 46
Configurations ........................................................................................ 47
Modes .................................................................................................... 47
Status ...................................................................................................... 49
CAN-Bus ................................................................................................ 49
features ................................................................................................. 49
hardware setup ..................................................................................... 50
using CAN-Bus ....................................................................................... 51
CAN-Bus shared features ....................................................................... 51
configuration .......................................................................................... 52
operate ................................................................................................... 52
AC status ................................................................................................ 52
status ...................................................................................................... 52
name ...................................................................................................... 52
global brightness .................................................................................... 52
global standby ........................................................................................ 52
CAN-Bus model-specific features ........................................................... 52
PlayLink ........................................................................................... 52
amp info .......................................................................................... 53
event log .......................................................................................... 53
Network Sources ............................................................................................ 54
Apple AirPlay ................................................................................................. 55
DLNA .............................................................................................................56
Troubleshooting .............................................................................................57
network/streaming troubleshooting ......................................................... 58
Care & Maintenace ..........................................................................................60
Specifications .................................................................................................... 61
Dimensions ....................................................................................................... 63
Installation Worksheet .......................................................................................64
5
Introduction
Welcome to the Classé family!
Congratulations on your purchase of the Classé Sigma series Surround Sound
Preamp/Processor. It is the product of decades of design experience; capable of
extracting exceptional performance from a myriad of music and theater sources.
We are sure that you will enjoy it for many years to come.
Classé values its relationship with you and intends on supplying the highest level
of support along with this product. Registering your product will allow us to
keep in touch and will ensure that you are notied regarding any future updates
or options which become available. Furthermore, in the unlikely event that your
product needs service support, a product that is already registered doesn’t need
your original sales slip for proof of warranty.
You can register online at www.classeaudio.com or complete and mail the
registration card located in the separate warranty booklet.
Please take a few moments now to register your new Classé
SSP and record your serial number for future reference.
Please note that your Classé warranty is valid only in the country of purchase.
Alternatively, units may be returned to Classé in Canada for warranty service.
6
Exceptional Design Features
e Sigma SSP MkII is an eight-channel preamp/processor, designed for music
lovers who also demand high performance audio when watching movies,
concerts, sporting events and more. Its connectivity and processing power
accommodate the ever increasing array of digital sources, allowing them to be
accessed and enjoyed without compromise.
versatile connectivity e Sigma SSP MkII supports both balanced and single-ended connections for
the front Left and Right channels, single-ended for all others. A comprehensive
set of analog and digital inputs and control interfaces enable compatibility with
most contemporary audio system equipment.
superior performance Advanced circuit topologies, component parts, and circuit layout techniques
combine for superior audio performance. e analog and digital signal paths
have been optimized to ensure superior performance from every source.
clean, dedicated power A newly developed switch mode power supply employing PFC (Power
Factor Correction) provides the clean, high-current power required for best
performance. With PFC, the Sigma SSP MkII operates at maximum eciency
without disturbing other audio components sharing the same AC mains.
room equalization
and speaker control
All home audio systems are aected by room characteristics. Sound reections
and sound absorption can create dramatic variations in the performance of your
system, particularly in the lower frequencies. e Sigma SSP MkII features a
system of lters which, in the hands of an experienced acoustician, can help
optimize the performance of your system.
flexible GUI e front panel’s LCD touchscreen supports an extremely exible and
versatile graphical user interface (GUI) while maintaining a clean, uncluttered
appearance. e Sigma SSP MkII provides a range of controls that might
otherwise require dozens of buttons and knobs on the front panel. Despite this
power and exibility, it remains simple to operate in day-to-day use.
network connectivity
and streaming audio
A rear panel Ethernet connection allows streaming audio via Apple’s AirPlay and
DLNA as well as full IP control via the Classé App or home automation systems.
extraordinary longevity Because Classé has developed highly rened circuits over many years, we have
vast experience in what works well over the long term. Using this knowledge
base, along with quantitative results derived from highly accelerated life testing
(H.A.L.T.), allows us to select only the most reliable parts. is attention to
detail and design allows us to manufacture products which stand the ultimate
test: time.
Just as past Classé products have done for their owners, we are certain that your
new Sigma SSP MkII will give you many years of continuous enjoyment.
7
Unpacking and Placement
We have taken all precautions, and made every eort to make the Sigma SSP
MkII simple and straightforward to install and use. Still, we recommend
that you take a few minutes to review this manual. Even if you are having
the preamp/processor professionally installed, you will want to know how to
eciently operate it to its potential.
e Sigma SSP MkII menu system includes features that provide you with a
great deal of ne-tuning. Still, we have no way to evaluate outside variables
such as the acoustical characteristics of your listening space and the associated
equipment of your audio system. erefore, it is up to you to make the nal
audio adjustments for the optimum performance of your system.
For this reason, we strongly encourage you to have your preamp/
processor installed and calibrated by your dealer. e experience,
training, and specialized equipment they have can make a profound
dierence in the nal performance of your system.
unpacking your SSP Carefully unpack the Sigma SSP MkII according to the supplied instruction
sheet. Do not forget to remove all accessories from the carton.
Important!
Sigma SSP MkII
placement considerations
Keep all packing materials. Transporting the Sigma SSP MkII
without using the packaging specifically designed for it may
result in damage that is not covered under the warranty.
Before installing your SSP, be sure to read the following placement suggestions.
• Do not place the SSP directly on the top surface of a conventional
power amplier or any other heat source. Also keep the unit out of
direct sunlight.
• Place the SSP so that the IR window on the front panel is clearly
visible and not blocked.
• Position
visibility and use. e preamp/processor is the hub for all other
component connections and generally your primary interaction point.
In addition, by placing the unit close to the other system components,
you minimize the cable lengths and hence reduce the amount of noise
that is introduced into the system through the cabling.
• Leave
connecting cables. We suggest six inches (15 cm) of free space to allow
cables sucient room to bend without crimping or undue strain
• Allow at least three inches (7.5 cm) of clearance above and to each
side of the SSP for ventilation. Do not obstruct the area around the
unit so that excess heat can dissipate through normal air circulation.
the SSP in a central and convenient location for both
adequate clearance behind the SSP for the AC cord and
.
8
Important!
Obey all placement considerations. Not obeying the
placement considerations may result in damage that is not
covered under the warranty.
rack-mounting the
Sigma SSP MkII
e Sigma SSP MkII is designed to accommodate rack-mount installation.
Professional installation by an authorized Classe dealer is recommended.
To rack mount the SSP, remove the two side-panel screws, rotate and ip the side
panel to position the rack “ear” along the front of the SSP and re-install the sidepanel screws. Repeat for the side panel on the opposite side. Remove the feet from
the bottom of the SSP.
Carefully install the SSP into the equipment rack using the appropriate screws
for the type of rack. It is easiest if two people perform the installation to avoid
the possibility of dropping the SSP or otherwise causing damage. Please allow for
adequate ventilation, usually two rack spaces above the SSP will suce.
Magnetically secured rack ear covers, provided in the accessory pack, may be used
to cover the screws and nish o the appearance.
9
warm-up/break-in period Your new Classé SSP MkII delivers outstanding performance immediately.
However, you can expect to hear subtle improvements as it reaches normal
operating temperatures and breaks-in.
In our experience, you can expect the greatest changes within the rst 72 hours.
After initial break-in, you’ll enjoy consistent performance levels for years to
come.
operating voltage
Important!
e operating voltage of your Sigma SSP MkII is 120 V - 220 V, 50/60 Hz.
Attempting to operate your SSP from an incorrect AC voltage
rating may cause irreparable damage which may not be
covered by your warranty. A fuse change is required if
operating the unit at a line voltage different from the country
in which it was purchased.
If you are not planning to use the preamp/processor for an extended period of
time, for example due to vacation or other travel, we suggest that you disconnect
it from AC power.
Make certain that the SSP is in Standby prior to disconnecting it.
Physically disconnect any and all valuable electronics from AC power during
electrical storms. A lightning strike anywhere near your home can generate a
tremendous surge on the AC mains that can jump across a simple power switch.
A surge from a lightning strike, which may be many thousands of volts, can
cause serious damage to any piece of electronics, no matter how well designed
and protected.
10
Front Panel
e front panel of the Sigma SSP MkII is shown above. e numbers in the
drawing refer to the descriptions that follow.
1 Standby/On Button and Status Indicator LED
Pressing the Standby button toggles the SSP between operate and standby
mode – a low-power state which leaves the preamp/processor and outputs
inactive. If the Wake on Network feature is enabled (see Network Setup)
the unit will respond to system commands via any of the supported control
protocols (IR input, Network, CAN-Bus or RS-232) from Standby.
If the unit is already in Standby mode, pressing the Standby button fully
powers up the unit.
• LED On (Red) – the SSP is in Standby mode.
• LED turns cyan, then green, then o – the SSP is in the process
of power-up initialization.
• LED On (Blue), indicates the unit is in the operate mode.
•
LED O – the SSP is not getting AC power or the rear panel power
switch is O.
NOTE: A power-save feature is enabled that puts the SSP into
standby after 20 minutes without a signal at its input.
2 IR Window
e location of the IR (infrared) transceiver for the remote control is
behind this window. In most cases, there must be a clear path between the
IR window and the remote control in order for the SSP to acknowledge
the remote control commands.
If the IR window is not in view, for example if it’s placed in a cabinet or
closet, then the rear panel IR input can be utilized for remote control. For
more details about this option, see the IR input description in the Rear
Panel section found later in this manual.
In addition to receiving IR commands, the SSP can also transmit IR
commands to third-party learning remote controls. For more details about
this option, refer to the Teach IR description in the Menu System section
found later in this manual.
11
3 Headphone Jack
e 1/4” (6.35mm) Headphone Jack accommodates stereo headphones.
Inserting a headphone plug mutes the main audio outputs.
4 USB Host Connector
e front panel USB connector allows the SSP to work with Apple’s
portable media devices such as iPad™, iPod® and iPhone® which require this
type of connection. e front panel USB connector accepts digital audio
from these devices as well as providing power for recharging them. Limited
control is also available for these devices using the navigation keys on the
SSP remote control.
e front panel USB connector is also used to load rmware updates.
When updates are posted in the software downloads section of the Classé
web site, they may be loaded onto a USB stick and plugged into the front
panel of the SSP. When the power is switched on from the rear panel, the
update will proceed automatically. Near the end of the update you will
be asked to touch the screen in three identied locations for touchscreen
calibration. Once complete, the light on the USB stick will extinguish and
the touchscreen will show the Home page. Remove the USB stick and
continue using the SSP. Remember that any subsequent setup changes are
stored when the SSP is put into standby.
5 HDMI Input
A front panel HDMI connector allows temporary connection to a portable
device such as a camera or laptop. To congure this connection, see Source
Setup in the Menu System section found later in this manual.
6 Menu On/Off Button
Press once to call up the main page of the menu system, which replaces
the normal front page or Home page of the Touchscreen. Press the Menu
button again to revert to the Home page.
e menu system gives you control over operational details including:
system setup options, various display options and custom installation
capabilities so that the Sigma SSP MkII integrates smoothly into the most
complex systems. For more information, see the Menu System later in this
manual.
7 Touchscreen
e front panel touchscreen is used for day-to-day operation of the SSP. It
is also used for setup and to display useful information as required.
8 Mute Control
e Mute button reduces the SSP volume by a pre-determined amount.
Pressing it a second time restores the volume to its previous level. is
behavior can be easily customized for very specic user requirements. (See
the section on Volume Setup for more information.)
12
NOTE: If you increase the volume using either the front panel
volume knob or the remote control while Mute is engaged, the
mute control disengages, and audio adjustments are executed
starting from the muted level. is is a safety measure to prevent
accidentally restoring the volume at unexpectedly high levels.
9 Volume Control Knob
e large rotary knob on the right side of the front panel controls the
system volume level. It is also used for adjustments such as balance and
input oset.
The volume knob increases and decreases volume in precise 0.5 dB
increments throughout most of the volume range. At extremely low
volume, the step size is increased somewhat to facilitate moving between
extremely low and normal listening levels. e volume range is from
-93 dB to +14.0 dB.
e volume control expresses the degree of attenuation or amplication
being applied to the incoming signal. erefore, a setting of -23.0 indicates
that the signal is being attenuated by 23.0 dB. A volume setting of 0.0
indicates that no attenuation or amplication is being applied.
13
10
4 5
3 1 2612 1314
8 7
151116
100-240V~
T2AH250V
RS 232
9
CAUTION! TO REDUCE THE RISK OF ELECTRIC SHOCK, GROUNDING
OF THE CENTER PIN OF THIS PLUG MUST BE MAINTAINED
AVIS! POUR RÉDUIRE LE RISQUE DE CHOC ÉLECTRIQUE
LA FICHE CENTRALE DE LA PRISE DOIT ÊTRE
BRANCHÉE POUR MAINTENIR LA MISE À LA TERRE
OUT
IN
COAX 1 COAX 3
IRCAN BUS
COAX 2
COAX OUT
GND
DIGITAL I/O & CONTROL
OPT1 OPT2 USB
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES.
OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED,
INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.
ETHERNET
R1 L1
HDMI IN HDMI OUT
ANALOG AUDIO IN ANALOG AUDIO OUT
L 2L 3
R2 R3
FLFR
AUX 1SLCL
AUX 2SRSR
Rear Panel
e rear panel of the Sigma SSP MkII is shown above. e numbers in the
drawing refer to the descriptions in this section.
serial number You’ll nd your SSP serial number adjacent to the AC Power Cord Input, as
shown in the graphic above. Please record this number for future reference.
And since you have found the serial number, please use it to register your
purchase, if you haven’t done so yet. We may use the information to advise you
of any updates or other items of interest. Registration is simple, so please register
online at www.classeaudio.com or ll out the registration card and drop it in the
mail.
1 HDMI Inputs
e Sigma SSP MkII supports eight HDMI inputs, one on the Front
Panel and seven on the rear panel labeled 1 to 7. e SSP is HDMI v.2.0
enabled, supporting video formats at resolutions up to 2160p @ 24/50/60
fps (sometimes called 4K), Audio Return Channel (ARC), Deep Color and
x.v.Color (xvYCC). HDCP 2.2 is supported through input 4.
Various versions of HDMI are used to support the features and
connectivity for many dierent audio and video standards. e HDMI
2.0 version supports all of the audio formats that the Sigma SSP MkII
is capable of decoding. e Sigma SSP MkII does no scaling or video
processing and passes video through at its native resolution subject to the
limits described above. Should you require higher resolution (e.g. 4K with
HDR or 8K) video throughput, use one of the source’s HDMI outputs to
connect it directly to the display, connect the other to the SSP for audio
decoding.
14
2 HDMI Output
e Sigma SSP MkII HDMI output supports HDMI v2.0 featuring video
formats at resolutions up to 2160p @ 24/50/60 fps (sometimes called
4K), Audio Return Channel (ARC), Deep Colour, x.v.Color (xvYCC) and
provides a 2-channel SPDIF downmix of the source material.
NOTE: HDMI is an interactive format, which can occasionally
cause format errors between the source devices and the output
display. If you encounter connectivity problems, troubleshooting
techniques that are eective with ordinary digital and analog
signals, such as bypassing the SSP and connecting the source directly
to the display, are inconclusive with HDMI signals. Consult your
Classé dealer for assistance.
3 Digital Audio Input - USB
e Sigma SSP MkII supports digital audio sources up to 24-bit/192 kHz
via USB. e rear panel USB Device connector mates with a USB Host
such as a PC or Mac.
NOTE: PCs running Windows (All versions) require a special
driver to support the Sigma SSP MkII as an audio output device.
is driver is posted on the Classé website under Service & Support
> Software & Codes.
4 Digital Audio Inputs - Coaxial
e Sigma SSP MkII supports three digital audio inputs, with SPDIF
connectors labeled COAX1 to COAX3. ese inputs accept PCM data
streams up to 24-bits long and up to 192 kHz sampling frequency. We
recommend using cables that are optimized for digital audio signal transfer
and that carry a 75Ω impedance rating. Your Classé dealer can help you
with proper cable selections.
5 Digital Audio Output - Coaxial
e Sigma SSP MkII supports one digital audio coaxial output, with
SPDIF connector labeled COAX OUT. is output can pass two-channel/
downmixed PCM data streams up to 24-bits long and up to 48 kHz
sampling frequency.
6 Digital Audio Inputs - Optical
e Sigma SSP MkII supports two digital audio inputs, with optical
TOSlinkTM connectors labeled OPT1 and OPT2. ese inputs accept PCM
data streams up to 24-bits long and up to 192 kHz sampling frequency.
We recommend using cables that are optimized for digital audio signal
transfer. Your Classé dealer can help you with proper cable selections.
NOTE: e bandwidth limits of TOSlink™ components are very
much strained at a 192 kHz sampling frequency. For that reason
you may want to limit signals using the TOSlink™ connections to a
maximum rate of 96 kHz.
7 Analog Audio Inputs - Single-Ended
e Sigma SSP MkII supports 2pr of RCA type connectors for singleended analog sources. ey are labeled R2/L2 and R3/L3. An optional
internal Phono Preamp Module may be installed, converting input R2/L2
for use as a phono input.
15
8 Analog Audio Inputs - Balanced
e Sigma SSP MkII supports 1pr of XLR type connectors for balanced
analog sources. ey are labeled R1/L1.
NOTE: is input conforms to the AES (Audio Engineering
Society) “pin 2 = hot” convention. e pin assignments of these
XLR-type female output connectors are:
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
Connector ground lug: chassis ground
Verify that the source components are compliant with this
convention (Classé components are compliant). If not compliant,
contact your Classé dealer for assistance.
NOTE: e Balanced and Single-Ended 2-channel analog audio
inputs can be set for either BYPASS mode (all DSP processing
switched o) or converted to digital format to allow multichannel
processing, bass management, tone control and/or equalization.
If no processing is applied, analog signals remain in the analog
domain, even if not specically set to BYPASS.
9 IR Input
Use the IR input when the front panel IR window does not have a clear
line-of-sight with the remote control, for instance, when the Sigma SSP
MkII is installed in a cabinet. Attach this input to an infrared repeater
system to route signals from the remote control to the SSP via a mono
mini-jack (3.5mm phono).
e list of available IR command codes, available from the Classe
website under the Software and Codes tab, can also be used in macros for
sophisticated remote control systems, facilitating the control of the
SSP in the larger context of the complete system.
10 IR Output
Use the IR output to pass IR commands from an external IR transmitter
through the Sigma SSP MkII to another component, when necessary. e
output uses a mono mini-jack (3.5mm phono) with the same properties as
the diagram in the previous section.
11 RS-232 Port
e primary purpose of the RS-232 port is to support the use of external
commands to allow remote control of the Sigma SSP MkII by such systems
as AMX®, Control 4, Creston
TM
and Savant®.
16
For more information, please contact your dealer and ask about home
automation systems.
RJ-45 - DB9 female adaptor
If your RS-232 control system uses a cable with a male DB9 connector,
you will need to buy or build an adaptor to convert the RJ-45 female to a
DB9 female. Standard RJ45-to-DB9 female connectors come with RJ-45
pins and connections as below. Wire the DB9 adaptor according to this
diagram and table.
RJ-45 DB9
Pin-1 = DSR Pin-1 = N/C
Pin-2 = DTR Pin-2 = RXD
Pin-3 = CTS Pin-3 = TXD
Pin-4 = GND Pin-4 = DTR
Pin-5 = RXD Pin-5 = GND
Pin-6 = TXD Pin-6 = DSR
Pin-7 = N/C Pin-7 = N/C
Pin-8 = Power Input Pin-8 = CTS
Pin-9 = Power Input
Remarks: e Cat 5 cable that plugs into this adaptor and then into the
rear panel RJ-45 port must use pin-to-pin wiring (pin one to pin one, two
to two and so on).
12 CAN-Bus Input and Output
CAN-Bus (Controller Area Network) allows several Classé components to
be connected together for simultaneous operation, such as switching from
On to Standby. Using the CAN-Bus IN and OUT connectors, the Classé
components can be daisy chained together and controlled via the CANBus interface.
NOTE: e nal component in the daisy chain MUST have
a CAN Bus termination plug (provided in the accessory box)
inserted into the CAN-Bus output.
For more information, refer to the CAN-Bus section found later in this
manual.
17
13 7.1-Channel Analog Outputs
e Sigma SSP MkII supports eight channels of analog audio output, with
both balanced (XLR) and single-ended (RCA) connections available for
the Front Left and Front Right channels. Connect the FR or R and FL or
L outputs to the Right and Left amplier channels respectively. Connect C
to the Center channel, S to the Subwoofer and SL and SR to the Surround
Left and Surround Right channels respectively.
e AUX 1 and 2 outputs are congurable and can be used for the
following purposes:
• Rear channels in a 7.1 channel system where AUX 1 is the Rear
Left and AUX 2 is the Rear Right channel;
NOTE: e Rear L/R connectors are only active when the SSP
output is setup for a 7.1-channel surround system and the audio
stream or the selected surround processing mode are providing
Rear channel signals.
• Top/Height Channels where AUX 1 is Top/Height L and AUX 2
is Top/Height R;
NOTE: Locations of the Top/Height channels may be identied
as Front, Middle or Rear. e Top/Height L/R connectors are only
active when the SSP output is setup for a multichannel system
where the audio stream or the selected surround processing mode
are providing Top/Height channel signals.
• Two-Channel down-mix of the source for use by another system
where AUX 1 is the Left and AUX 2 is Right channel;
• Assigned to mirror the Front L/R speakers for use in a power
biamplication arrangement where AUX 1 is the Left channel
and AUX 2 is the Right channel.
For additional details on setting up the Auxiliary channels, see the
Conguration Setup description in the Menu System section found later in
this manual.
NOTE: e Balanced (XLR) Output pin assignments adhere to
the AES (Audio Engineering Society) “Pin 2 = hot” standard. e
XLR male outputs carry the following pin assignments:
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
Connector ground lug: chassis ground
Refer to the operating manuals of your balanced-input power
ampliers to verify that the pin assignments of their input
connectors adhere to this standard (Classé power ampliers are
compliant). If your ampliers are not compliant, it may not pose a
problem as long as all amplier channels in the system respect the
same convention, but ask your Classé dealer for assistance.
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14 Ethernet Connector
e Ethernet connection is used to enable streaming of audio using Apple’s
AirPlay or DLNA. is connection also supports IP control for using the
Classé App with an iOS device such as an iPad, iPhone or iPod touch, and/
or home automation system to control the Sigma SSP MkII via your home
Network.
15 Main Power On/Off Switch
is switch connects and disconnects the Sigma SSP MkII from AC.
16 AC Power Cord Input
e detachable three-conductor AC power cord and the socket into
which it connects conform to rigorous standards developed by the IEC
(International Electrotechnical Commission).
Danger! Your Sigma SSP MkII contains potentially dangerous voltages
and current capabilities. Do not attempt to open it! There are
no user-serviceable parts inside. All service must be referred
to a qualified authorized Classé dealer or distributor.
19
F1 F2 F3
The Remote Control
Your Sigma SSP MkII includes a remote control for the most basic operation
of the SSP and transport control of USB and Network-connected devices. e
remote control is shown on the left. e numbers in the drawing refer to the
1
descriptions that follow.
1 Basic Functions
e three buttons along at the top of the remote control groups the
3
2
4
following basic control functions:
• Mute reduces the audio output of the SSP to the preset mute
level. See the Mute Setup description in the Menu System
section found later in the manual for further instructions.
• Source Select steps sequentially through the available enabled
sources.
• Standby switches the SSP between the Standby and Operate
states.
2 + and - Buttons
e + and - buttons function normally as Volume Control buttons when
the SSP is on the home page but serve as up/down navigation commands
when using the remote to navigate the Menu system. You can customize
selected features of the volume level. Refer to the Volume Setup description
in the Menu System section found later in the manual for further
instructions.
3 Transport Control Buttons
e remote control contains three centrally located buttons, providing
basic transport controls to USB- and Network-connected sources. ese
buttons perform the familiar play/pause, scan/skip forward and scan/skip
backward commands.
4 Function Keys (F1 to F3)
e last three buttons on the remote control are the Function buttons, or
Fkeys, which provide additional exibility to the Sigma SSP MkII remote
control. ink of them as “favorite” buttons that provide direct access to
specic functions or commands not covered by the other buttons. Refer to
the Remote Fkeys description in the Menu System section found later in
the manual for more information.
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5 Using the Remote and Accessing the Battery
e IR Remote ships with a battery already installed. is battery
CR2032, 3V is covered by a protective lm that prevents it from
discharging during storage. To use the remote for the rst time, open the
cover by inserting a large paperclip or similar tool into the hole on the
back cover at an angle to depress the button and release the catch. While
holding the button depressed, slide the rear cover relative to the front
cover as shown. Remove the protective lm and slide the two halves of the
remote back together.
21
Initial Setup
Your Sigma SSP MkII Surround Sound Preamp/Processor is delivered with
default factory settings to facilitate initial setup. But we highly recommend that
you work with your Classé dealer for the nal setup of the preamp/processor.
Your dealer’s knowledge and experience with Classé products will ensure that
your audio system is optimized for your listening space.
However, if you can’t wait to get started, this section is designed to assist you in
setting up and becoming familiar with the Sigma SSP MkII hardware. Once the
initial setup is complete, be sure to read the rest of this manual to familiarize
yourself with the daily operation and customizable features of your SSP.
Step 1 Connect the SSP and all system components to AC power.
Important!
M
ake sure everything–especially your power amplifier(s)–is
turned off before connecting power!
Connecting all system components to AC power, before making any
interconnections between components, ensures that every component has a solid
connection to ground. is lessens the chances of a static discharge that may
damage delicate electronics or your loudspeakers.
Step 2 Choose the appropriate cables.
Before you start connecting components together, let’s take a minute to discuss
the cables you will be using. e audio outputs available on the rear panel
include both balanced XLR connectors and unbalanced, or single-ended, RCA
connectors.
Single-ended RCA audio connections are the most popular means of
transmitting audio in consumer electronics. As long as you use high quality,
shielded, low capacitance cables, single-ended connections can provide excellent
results.
If implemented properly, balanced audio connections between components can
provide the best analog signal connection because they eectively double the
signal strength. More importantly, as compared to single-ended connections,
they signicantly improve resistance to common mode noise, therefore
enhancing audio transparency, detail, and dynamics. For this reason, the Left
and Right channel outputs of the Sigma SSP MkII are available in a properly
implemented balanced conguration, allowing you to maximize performance
for these critical channels with both two-channel music and multichannel audio
sources. To fully realize these potential benets, high quality interconnect cables
are required.
22
Please consult your local Classé dealer for advice on which cables are best suited
for your system.
Step 3 Connect source components to the SSP rear panel.
If necessary, refer to the Rear Panel section in this manual for a detailed
description of each connector found on the rear panel. Your local Classé dealer
can also provide useful suggestions for what source components you should add
to your system and guidance in setting them up.
Make sure you keep a detailed record of the rear panel
connectors that you used while connecting the source
components!
You’ll need to know what connector(s) each source is attached to when you enter
the setup menus. An Installation Worksheet is included at the end of this manual
to assist you.
NOTE: In the Sigma SSP MkII default settings, eighteen input
connectors are associated with corresponding source selections
within the Source Setup menu. Since most users will have fewer
sources connected, the Source Selection page(s) can be simplied by
unchecking the Enable Source box for each unused input. Doing so
removes the corresponding Source button from the Source Selection
page. See the Menu System section for details.
Step 4 Connect the power amplifier(s) to the Sigma SSP MkII rear panel.
For the Front Left and Right channels, we recommend using high quality cables
with XLR connectors.
NOTE: ese pin assignments are consistent with the standards
adopted by the Audio Engineering Society. Refer to the operating
manuals of your balanced-input power ampliers to verify that the
pin assignments of their input connectors correspond to the Sigma
SSP MkII. If you are using Classé ampliers, this note does not
apply.
If needed, the pin assignments of the XLR-type male output
connectors are:
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
Connector ground lug: chassis ground
23
Connect the FL & FR Outputs, either RCA or XLR, from the rear panel of
the SSP to the corresponding inputs on your amplier(s). Connect Center,
Surround Left and Surround Right channels to the corresponding inputs on
your amplier(s).
• If you are using a subwoofer, connect the SSP subwoofer output to
the input of the designated amplier or powered subwoofer.
NOTE: Make sure connections from the subwoofer output go only to an
amplier connected to a subwoofer or a powered subwoofer, as low frequency
signals can damage a small speaker not designed for high output bass
reproduction.
When connecting a cable, make sure the cable has a good connection and is
rmly attached to the rear panel connectors on both the amplier and the SSP.
e Sigma SSP MkII also provides two Auxiliary analog audio outputs. See the
section on Conguration Setup for more details about the Auxiliary outputs. If
used, connect the AUX output(s) to its corresponding amplier(s).
Step 5 Connect the loudspeakers to the amplifiers.
Important!
Verify that the loudspeakers are connected to the power
amplifier(s) before it is plugged in. The amplifier(s) should
remain powered OFF before connecting to the SSP.
Connect each loudspeaker to its designated amplier channel. Pay close
attention to the phase of the speaker connections – always connect an amplier’s
red (+) terminals to the red (+) terminals of the loudspeaker. Likewise, connect black
(–) terminals to black (–) terminals.
Step 6 Power up the system!
Now you are ready to connect power cords and power up your Sigma SSP MkII
and your audio system.
• Turn the rear panel power switch of the SSP to ON.
LED will turn red.
• Press the standby button containing the LED.
cycle of the SSP only takes a few seconds.
• When the power-up cycle is complete, the SSP enters Operate mode
and the touchscreen becomes active.
• Press the Standby button to toggle the SSP into and out of Standby.
• Turn on your amplier(s). If using Classé ampliers with CAN Bus,
they will have automatically turned themselves on upon getting the
operate command from the Sigma SSP MkII.
e Standby
e initial power-up
24
e physical setup of the Sigma SSP MkII and system components is complete.
Understanding Surround Sound
Today’s sophisticated surround sound systems have spawned a bewildering array
of technologies and acronyms. In this section, we’ll give you a basic overview of
what all that jargon means. As a result, you’ll be better equipped to use your SSP
and associated source components to their best advantage.
how many channels? Although formats with even more channel options will become increasingly
available, today’s home entertainment systems typically reproduce soundtracks
that include anything from one to eight separate channels of information.
Examples include:
• Watching mono movies, such as Casablanca or e Wizard of
Oz, having only a single channel of audio information in the
soundtrack.
• Listening to a music CD, which is typically stereo or 2-channel
sound.
• Watching the original Star Wars in the original Dolby Surround
Pro Logic format, which is four channels of information derived
from two channels.
• Watching a recent movie or TV show in a 5.1-channel or
7.1-channel surround format, which identies that the source
material has either ve or seven full-range signals for the front,
surround, and in a 7.1 recording, rear speakers, plus the .1
signal for the Low Frequency Eects, also referred to as the LFE
channel, for the subwoofer.
Your SSP handles all of these tasks with ease, including also 3D audio
soundtracks in a 5.1.2 channel conguration, switching to an appropriate
processing mode automatically upon sensing the nature of the incoming signal.
However, you may still have to select from the available choices. For example,
disc-based media often contains multiple soundtracks with varying numbers of
channels and even dierent languages. Because you may have to choose the one
you want to hear using the menu of the media itself, you should know what
jargon you’ll likely see.
25
matrix or discrete? When movie-makers rst wanted to expand beyond simple stereo (left and right
audio channels), they had a problem - the entire infrastructure on which they
depended was stereo.
Dolby Laboratories solved that problem with a system called Dolby® Surround
that embedded two extra channels of audio sound into the existing stereo pair
so that specialized circuitry could retrieve the extra information with reasonable
accuracy. is technique, whereby channels are mixed together with the
intention of separating them later, is called matrix encoding and decoding.
e disadvantage, as you might expect, is that it is dicult to completely and
perfectly separate two channels that have been mixed together.
By contrast, modern soundtracks use discrete digital channels of information.
at is, each speaker has a distinct signal that is completely independent of every
other channel. is approach is clearly more desirable, since it gives the moviemakers more creative control over the quality of your experience. Musicians also
prefer discrete formats, since it allows them to place their instruments and voices
with greater precision, to create the musical eects they desire.
ere are many multichannel signal types and processing modes available.
Table1, below, identies the most common signal formats and further down
Table 2 provides descriptions of the various processing modes available on the
Sigma SSP MkII to help you sort out some of the possibilities.
Table 1: Common audio signal formats encountered in a multichannel system
Name # Chs
Analog 1 or 2 Discrete
Dolby Surround
Pro Logic
Dolby Digital
(formerly AC-3)
Dolby Digital
EX
4 Matrix
Up to 5.1 Discrete
6.1 Discrete
Matrix/
Discrete
Comments
Mono or Stereo available from most
sources as a secondary output; With
the exceptions of Turntables and
SACD players, sources should typically
be connected to the SSP by means of a
digital connection.
e original matrix decoding system
designed to squeeze four channels into
two and then retrieve them.
e most common modern digital
signal type, used in HDTV, DVD,
etc. It forms the core audio portion
of the higher performance Dolby
Digital signal/stream types. Up to 5.1
channels at 48 kHz.
Same as Dolby Digital but with an
extra or 7th channel recorded onto
the media; used to create a rear center
channel or two mono rear channels in
systems congured for 7.1 channels.
EX decoding is normally applied
automatically but must be selected
manually for EX recordings made prior
to late 2001.
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Dolby Digital
Plus
Dolby TrueHD up to 7.1* Discrete
Dolby Atmos up to 7.1
DTS up to 5.1 Discrete Similar to Dolby Digital in practice
DTS-ES Matrix 6.1 Mostly
DTS-ES
Discrete
DTS-HD High
Resolution
Audio
DTS-HD
Master Audio
up to 7.1* Discrete
Discrete A 3D audio codec that can carry any
or 5.1.2
Discrete
6.1 Discrete All 6.1 channels including the rear
up to 7.1 Discrete An expansion of the DTS core
up to 7.1 Discrete A true High Denition audio
An expansion of the Dolby Digital
core, the Dolby Digital Plus codec
supports higher bit rates, limited
to 7.1 channels at 48 kHz by the
Blu-ray Disc format* while still
remaining compatible with older
5.1 formats. is is often used when
there is not enough room on the disc
to accommodate a Dolby TrueHD
soundtrack.
A true High Denition audio codec,
where the audio is bit-for-bit identical
to the high resolution studio master,
supporting sample rates up to 192
kHz per channel. Similar to Dolby
Digital Plus, the track contains a 5.1
code for backward compatibility.
of the Dolby Digital stream types up
to and including Dolby TrueHD,
but is additionally capable of adding
overhead channel content to create
an immersive 3D audio experience.
though it uses dierent technology
and requires a somewhat higher bit
rate. Modern SSPs and AVRs are
equipped to decode both.
A center rear channel is matrix
encoded into the L&R Surround
channels. All other channels are
discrete.
channel are discrete. For 7.1 channel
congurations the two rear channels
share the same signal.
audio, provides for higher bit
rates for up to 7.1 channels. is
is typically used when there is
not enough space on the disc to
accommodate a DTS-HD Master
Audio soundtrack.
codec, where the audio is bitfor-bit identical to the high
resolution studio master, supporting
sample rates up to 192 kHz per
channel. Similar to DTS-HD
High Resolution Audio, the track
contains a 5.1 code for backward
compatibility.
27
DTS:X up to 7.1
or 5.1.2
LPCM up to 7.1 Discrete is format is used on stereo CD
Discrete A 3D audio codec that can carry any
of the DTS stream types up to and
including DTS-HD Master Audio,
but is additionally capable of adding
overhead/height channel content
to create an immersive 3D audio
experience.
and DVD-A 5.1 channel recordings
as well other other sources including
many uncompressed music les. It
supports true, uncompressed high
denition recordings up to 24-bit /
192 kHz.
post-processing e rst thing the Surround Sound Preamp/Processor does is recover the various
channels delivered by your source with accuracy and delity. is might be a
single-channel mono signal, a Dolby Atmos or DTS:X soundtrack with eight
or more channels, or anything in between. e signal may have been delivered
via satellite receiver, cable set-top box, Blu-ray Disc, or downloaded from the
Internet.
Once the SSP has decoded the selected signal, various time delay and level
oset adjustments are made to optimize the signal for playback on your system.
ese are the most basic kinds of post processing. Others include tone control
and equalization as well as a variety of special post-processing modes the SSP
makes available. ese additional post processing modes are particularly useful
for utilizing additional surround speakers with limited audio track sources.
For instance, processing a 2-channel stereo source with Dolby Atmos or DTS
Neural:X can generate a 7.1 or 5.1.2 channel output so that you can enjoy the
audio source in full surround sound.
Note: Many movie soundtracks are recorded with 5.1 discrete channels, so post
processing is required in order for playback in a 7.1 or 5.1.2 channel system to
utilize all of the channels. Choosing Dolby Atmos or DTS Neural:X for example,
will generate the extra rear or top/height channel signals necessary. Without post
processing applied, only the original 5.1 channels will play, leaving the rear or
top/height channels silent.
Table 2: Modes
Name # Channels Comments
Mono 1 Combines all channels to a single
Monaural channel for playback
through the Center speaker or,
lacking a Center, a mono signal
shared equally between Front Left
& Right.
Stereo 2 Combines all left channel signals
into a single left channel signal for
playback from the Front Left and
similarly combines all right channel
signals for playback from the Front
Right. e center channel signal is
divided equally between Front L
& R.
28
Stereo + Sub 2.1 Combines signals as in the Stereo
mode but adds a subwoofer
output that consists of the LFE
channel (if there is one) from
the original stream, plus any low
frequency content from the other
channels that lies below their
crossover frequencies in the selected
conguration.
Party up to 7.1 Combines all channels for playback
from all speakers in the selected
conguration. is mode is
intended to more or less evenly ll
the room with sound for situations
where no sweet-spot listening is
required.
Dolby Atmos up to 7.1 or 5.1.2 A processing mode that can be used
to decode Dolby Atmos encoded
streams or as a post-processing
mode to generate content for
all channels in your chosen
conguration. For example, a stereo
signal could be up-mixed to a 3D
audio experience with 5.1.2 using
Dolby Atmos. As a post-processing
mode, Dolby Atmos may be applied
to streams of all types except
DTS:X. e Dolby Atmos mode
encompasses decoding capability for
all Dolby Digital streams up to and
including Dolby TrueHD.
DTS Neural:X up to 7.1 or 5.1.2 A processing mode that can be used
to decode DTS:X encoded streams
or as a post-processing mode to
generate content for all channels
in your chosen conguration. For
example, a stereo signal could be
up-mixed to a 3D audio experience
with 5.1.2 using DTS Neural:X.
As a post-processing mode, DTS
Neural:X may be applied to
streams of all types except Dolby
Atmos. e DTS Neural:X mode
encompasses decoding capability
for all DTS streams up to and
including DTS-HD Master Audio.
Discrete up to 7.1 Sometimes thought of as a purist
mode, only the number of channels
present in the original signal are
played back with their relative
balance and delays preserved. In
practice, this will mean that a 5.1
channel Blu-ray Disc soundtrack
will play back only those 5.1
channels, so a system congured
with rear or height channels will
produce no sound from those
speakers.
29
Auto up to 7.1 or 5.1.2 Applies Dolby Atmos or DTS
Neural:X post processing according
to whichever decoder is running
in the DSP at the time. e
processing power and memory
requirements of the Dolby Atmos
and DTS:X decoders require that
both cannot run on the dual DSP
platform simultaneously. Switching
from one decoder to another is
somewhat time consuming and can
be minimized by leaving the SSP
in Auto mode. For example, if a
Dolby Atmos stream is played, the
Dolby Atmos decoder is loaded. If
subsequently a DTS-HD Master
Audio or LPCM stream is played,
Dolby Atmos post-processing
will be applied. Only if a DTS:X
stream is played will the DSP load
the DTS:X decoder for playback.
e reverse is also true. If the
DTS:X decoder is loaded then DTS
Neural:X post-processing is applied
to all streams until a Dolby Atmos
stream is played, at which point the
Dolby Atmos decoder is loaded.
30
Using the Sigma SSP MkII
e Sigma SSP MkII’s versatile touchscreen LCD supports your day-to-day
operations and provides access to a exible menu system for controls and setup
functions that aren’t accessed as often. is section of the owner’s manual
outlines the use of the touchscreen in routine operation of the system.
When you bring the SSP out of Standby mode, the touchscreen displays the
Home page, as shown below.
e Home page displays the volume in large font which is easily visible from
across a room. e selected source appears at the bottom of the screen. At the
bottom center of the screen the format of the incoming signal is displayed.
is displays the sampling frequency of digital sources as well as the le format
(ALAC, WAV, FLAC, etc.) of streaming Network sources or Bypass if so selected
for analog sources. If Pass-ru is selected for either digital or analog sources, the
volume display will read 0.0 and be greyed out (since the volume control is not
active in this mode). is page can be quickly accessed at any time by pressing
the Home icon on the touchscreen display.
Source Selection Touching the screen when on the Home page brings up the Source Selection
page. e number of source buttons appearing here corresponds to the number
of inputs that have been set up and are “enabled.” A maximum of nine sources
may appear on one page. If more are enabled, they will be available on the next
page by touching the button in the upper right corner of the page. See the
section on source setup in the Menu System. e Sigma SSP MkII has up to 18
selectable source buttons which are all interchangeable.
31
Touch any source button on the touchscreen to select it as the current source.
e selected source button is shaded. If the source you want to choose is not on
this screen (and you have more than nine source buttons enabled), press the
button for the next page of sources. Or, press the button to return to the
previous page.
e Sigma SSP MkII comes from the factory with eighteen source buttons
labeled and enabled. To change the default settings and labels or to disable
unused buttons, see the Menu System.
32
The Menu System
e comprehensive menu system provides setup and conguration controls for
the Sigma SSP MkII. ese installation-specic features let you customize how
the SSP works within the context of your particular system. Changes are made
on-the-y, which allows you to quickly set up and modify settings without
constantly being asked if you’re sure you want to make the change and pressing
enter to save. e SSP stores settings in non-volatile memory whenever it is
put into standby, so it’s a good practice to put the unit into standby after
making changes. In normal daily operation this happens anyway, but if you
want to be sure a loss of power doesn’t erase your changes, putting the SSP into
standby will give you extra assurance.
Pressing the Menu button on the front panel (or if an Fkey on the remote
control has been programmed to perform the Menu command) will open the
main Menu page, which is divided into six sections as shown below.
At the top right of the menu pages you may nd a button which uses the
Arrow icon when additional menu options are available, and/or a Home button
for returning to the Home page. When on the main Menu page, pressing the
Menu button returns to the Home page. If you are on a page within the Menu
System, pressing the Menu button returns you to the main Menu page. When
you navigate beyond the main Menu page a return or back button using the
icon appears on the upper left corner of the page. is returns you to the
previous page.
System Setup Touching the System Setup button on the main Menu page opens the System
Setup page, which contains nine setup options.
33
From the System Setup menu, you can:
• tailor your inputs to your particular source components
• congure the system to take best advantage of your loudspeakers
• tailor the display to your preferences
• set volume control parameters
• enable and setup the Parametric EQ
• setup Tone Control parameters
• view the unit’s Network IP address/status and settings
• choose Remote F key functions
• teach IR commands
Source Setup Each of the 18 source buttons supported by your Sigma SSP MkII can be
customized in several ways to enhance system performance or to simplify
operation. e source select page is dynamic in that it shows up to nine sources
on a single page. If six or fewer are enabled, then the page shows six somewhat
larger buttons and if three or fewer are enabled, it shows only three large
buttons. Press the button for the source you want to set up. e setup page for
that source includes buttons for assigning the input connector(s) and naming the
source, choosing a default speaker conguration, setting an input oset, selecting
the Pass-ru feature or choosing the Digital Bypass path.
34
Enable Source is check box activates/deactivates source buttons. If the Enable Source box is
checked, then the source is enabled. If the Enable Source box is NOT checked,
then the source is considered not enabled and is so identied on the Source
Selection page.
Disabling unused sources is a good way to simplify source selection. e
Source Selection page is dynamic, adjusting the number and size of buttons to
correspond to the number that are actually being used or enabled. e buttons
arrange themselves into groups of either three, six or nine buttons on the Source
Selection page.
Input Connector Choose the input connector(s) to be associated with this source button. Any
source button may be associated with any input connector(s). Also, multiple
source buttons may be assigned to the same connector(s).
Fast Lock On the Audio Connector page, in addition to the connectors from which to
choose, there are two additional buttons that may appear depending on which
input connector is selected. Fast Lock allows the chosen connector to be
associated with settings in the DSP decoder and to lock especially quickly on
PCM and ordinary Dolby Digital and DTS signals. is is useful to avoid audio
truncation or enable menu sounds from sources such as AppleTV, which do not
provide HD Audio or 3D audio signals.
Note: If your source is capable of providing Dolby TrueHD, DTS-HD Master Audio,
Dolby Atmos or DTS:X, do not engage the Fast Lock feature as it may result in undecoded bitstream noise being amplied through the system.
Digital Bypass Digital Bypass is available for sources associated with analog input connectors.
Choosing Bypass will switch o all digital signal processing circuitry and leave
the signal entirely in the analog domain. When Bypass has been selected, DSP
features are not available. ese features include Tone Control, PEQ, Mono and
the Bass Management (subwoofer output). If a conguration with a subwoofer
enabled is called, the Bypass setting will override the bass management settings
in the conguration, leaving the L&R signals analog and full range with no
subwoofer output. If Bypass is NOT selected, analog signals remain in the
analog domain unless a feature that requires DSP is called.
Source Name e Source Name button provides a way to customize the names of the sources
as displayed on the Source Selection screen(s). For example, if you have an
outboard phono stage plugged into the R2/L2 RCA analog inputs, you might
want to rename the source button Phono to make it easier to remember.
To change source names, use the keyboard on the touchscreen. Note that the
size of the source buttons varies depending whether you have 1-3, 4-6 or 7-9+
sources enabled, so the length of name that may be fully displayed on the button
will likewise vary.
After entering the source name, press Enter on the keyboard to accept the
change. Like other setup parameters, the change will be saved in non-volatile
memory when the unit is put into standby.
35
Configuration e Conguration button allows you to assign one of the up to six
conguration options (see Conguration Setup) as the default for the source
button being set up. Whenever this source is selected, that conguration will be
employed. You might set up one source such as a disc player to have a default
conguration with a subwoofer crossed over at 80 Hz for movies. You may then
set up another source button for the same disc player with a dierent default
conguration, perhaps one with a subwoofer crossed over at 40 Hz, for music.
Congurations are speaker setups, and are discussed in more detail later in this
section.
NOTE: e default Conguration assignment can be temporarily
overridden from the Congurations button on the main Menu page. See
the section, Congurations, later in this manual, for more details.
Input Offset Input Oset is used to ensure that all sources playback at comparable level.
ere can be signicant dierences in output levels, especially among analog
sources, which can lead to unexpected changes in volume when switching
among them. e Sigma SSP MkII provides an input oset adjustment range
from -10 to +10 dB.
Favorite Mode e Sigma SSP MkII oers many levels of customization, designed to make
everyday operation easy and uncomplicated. e Favorite Mode feature is just
such an example. Each source button may be setup to automatically choose
which mode the SSP uses to process signals arriving at its input connector. A
source used for watching movies may have a dierent Favorite Mode assigned
than one used primarily for music listening, for example. In this way, mode
selection is not required as a separate step every time a source is changed. Just
choose the source and the pre-assigned Favorite Mode is automatically selected
for it. A two-channel music source might have stereo as its Favorite Mode while
a Blu-ray player is more likely to have a multichannel surround mode assigned.
36
For this reason, post processing modes like Dolby Atmos or DTS Neural:X
may be chosen as Favorite Modes since they will generate information for the
additional channels whenever they are not present in the original media. If the
signal happens to be a 7.1 channel discrete format, then the SSP will process it
that way.
Pass-Thru Selecting Pass-ru locks the volume at 0.0 dB for this source and passes the
signal through the preamp without changing its level. is feature is useful
to avoid having two volume controls active such as when the preamp sits
between a whole-house digital music server system and the home theater system
ampliers. Note that the Pass-ru mode is available for digital as well as analog
sources.
Configuration Setup e Conguration Setup page allows you to dene up to six dierent speaker
congurations.
You may dene one conguration for a full 5.1.2 3D audio experience or 7.1
channels for conventional surround playback, another for a simple L&R channel
stereo playback and other in between. You can use congurations to tailor
Center and/or Surround channel levels for movie vs. music playback, optimize
levels and delays for an o-axis listening position or devise any number of
creative ways to make the system behave as you please. Touch the button for the
specic conguration you want to set up to open its conguration setup menu.
e page contains buttons for naming the conguration and enabling balanced
(XLR) and single-ended (RCA) outputs for Front L&R, and independently
enabling Center, Subwoofer, Surround and Auxiliary outputs. Choosing a
subwoofer output causes a Bass Management button to appear. e same menu
is used to set up each conguration.
Configuration Name As with naming sources, press the Name button to access the keyboard used
for customizing the conguration name. Press Enter after making your changes to
accept the new name. Like other setup parameters, the change will be saved in nonvolatile memory when the unit is put into standby.
Configure Speakers Press the Speakers button to choose the output channels you want enabled with
this conguration. Each speaker group (Left, Right, Center, Surround and Aux
can be set to run full range or employ a crossover to lter low frequencies and
redirect them to the subwoofer.
When the x-over box is checked a crossover frequency box appears to allow
specic crossover frequencies to be chosen for that speaker group.
37
Center, Surround and Aux channels each have the option of being set to “None”
and the Aux channels support additional conguration options described below.
e Noise Sequence turns on a noise generator that provides a signal that can be
used to measure the SPL from each speaker at the listening position. Press Noise
Sequence to make SPL measurements in sequence starting with the Front Left
channel.
Pressing Levels gives access to channel osets. When using the Levels pages,
touching either the increase or decrease buttons for any channel will engage
the noise generator for that channel. It is common to start with the Front Left
channel, measure its output, then go to each successive channel and adjust its
output level to match so that all channels deliver the same output level. e
objective is to match levels for all speakers so that the SSP knows the relative
gain or attenuation to employ for each channel. It is best to use an SPL meter
set to C weighting for your measurements. Contact your dealer if you need
assistance with measuring speaker levels.
Distance to the primary listening position for each channel is used by the SSP
to ensure that the appropriate time delays are generated. Measure and input the
correct distance for each speaker to the nearest 0.5 ft.
E-bass If you always want output through your subwoofer, e-bass provides a means to
accomplish this. E-bass (E for Extra), also called “Subwoofer Reinforcement”
or “Double Bass”, is a way of directing low frequency information to your
subwoofer from speakers that are set to full range and vice versa. E-bass outputs
the low-frequency signal through the subwoofer as well as the other full range
speakers of your system.
To use e-bass, from the Conguration menu press Speakers>Subwoofer, check
the box to enable the subwoofer and check the e-bass box on the same page.
By activating e-bass, the total level of bass may be too high, but it can be a useful
tool for resolving so-called “room mode” problems: low frequency sound waves
reected from room boundaries may combine with each other, the direct sound
or sound from another speaker in such a way as to cancel each other, causing a
dip or hole at certain frequencies at the listening position. e subwoofer, acting
as a separate source of Low Frequency output may eectively ll that hole.
Other frequencies where peaks may occur (reections adding instead of
canceling) can then be attenuated using the PEQ.
E-bass follows so-called “Dolby Conguration 2” specications whereby bass
from the LFE channel and any crossed-over channels is summed and redirected
to any full range channels; the combined bass from these full range channels is
then copied to the subwoofer output.
38
Auxiliary Channels e Sigma SSP MkII has two auxiliary channels that can be utilized for bi-
amping the L&R speakers, adding Rear channels, adding Top/Height channels
for the Dolby Atmos or DTS:X modes or providing a two-channel down-mix for
an analog recorder or another system.
If the Aux channel outputs are enabled in bi-amp mode, (technically, this is
called power-biamping), you will be using separate amplier channels for the
high and low frequency drivers of your loudspeaker, but the passive crossovers in
the speaker will do the work of ltering low and high frequency signals. In this
mode, the two auxiliary channels produce the same output as the Front Left and
Right channels.
NOTE: When bi-amping the Aux channel output levels may be
trimmed up or down relative to the Front L&R outputs in order
to account for ampliers with dierent gain. is will be necessary
to get the respective high- and low-frequency speakers to produce
the correct, matching output levels. Note that using the balanced
output for Front L&R will require a +6 dB adjustment of the
Aux channels to match output levels for high- and low-frequency
amps having the same gain. All Classé Sigma, Delta and CT series
ampliers have the same gain and may be used in any combination
for bi-amping.
When used for two-channel down-mix, the Aux channels may be congured for
either xed or variable output. If variable is selected, the output level tacks with
the Front L&R channel volume.
Display Setup e Display Setup menu page, shown below, allows you to congure the
brightness and display timeout used for the touchscreen display.
Brightness e Brightness setting of the Sigma SSP MkII touchscreen has three possible
values: low, medium, and high. Select the setting you prefer. A high brightness
setting usually works best in brightly-lit rooms; you may nd that a lower setting
is less visually intrusive under more subdued lighting conditions.
Timeout If you prefer listening to music in a dimly-lit or darkened room or the SSP is in
your eld of vision while watching movies, you may nd even the low brightness
setting of the display somewhat distracting. You can essentially turn o the
touchscreen by reducing the timeout value of the backlighting so as to turn
it o entirely after a period of inactivity that you may select. In this context,
activity refers to any use of the user interface. is includes hard buttons, the
touchscreen, and the remote control.
39
For example, if you reduce the timeout to its minimum setting, the backlighting
illuminates the display as soon as you interact with any of the SSP controls, and
remains lit for only three seconds – just long enough for you to check a setting.
If you continue to use any of the controls (at least once every three seconds), the
display remains lit. After three seconds of inactivity on your part, the backlight
extinguishes itself, essentially turning o the touchscreen.
If you prefer the display of the SSP to remain on whenever not in Standby
mode, select the Never timeout option. e lamp in the touchscreen display is
designed for harsh automotive environments and will give you many years of
reliable operation. If you plan to leave the unit on continuously, however, we
recommend that you keep the timeout delay set to less than one minute.
NOTE: setting the brightness to a lower setting does not increase
the life of the lamp.
On Screen Display In normal operation, when changes occur such as volume, source selection,
stream type, etc., a temporary OSD may appear momentarily in the lower left
corner of the screen to identify and conrm that the change has occurred. Each
of these OSD events may be individually enabled and disabled by accessing the
OSD Control page (press the more arrow on the Display Setup page). You may,
for example, wish to know when a stream type has changed but not want the
temporary OSD to appear every time you adjust volume. is page allows you
to customize the operation of the OSD to suit your requirements. e default
setting for all temporary OSD events is o.
When navigating the MENU pages from the remote control it may be dicult
to see the labels on the touchscreen buttons, so when you press MENU, a Main
OSD box appears in the lower right corner of the screen to assist. e top line
indicates the page you are on, the middle line is the button or command you
are targeting and the lower line is the value, if any, that you are adjusting. If you
prefer the Main OSD to remain o while you navigate the Menu pages, de-select
it from the OSD Control page as shown above.
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Volume Setup Touching the Volume Setup button in the System Setup menu opens the
Volume Setup page, as shown below. e volume knob is used to make all
volume setup adjustments.
Volume Setup allows you to:
• set a maximum volume level;
• choose an initial volume level for the system whenever the SSP is brought
out of Standby;
• customize the behavior of the mute control.
Max Volume e Max Volume page allows you to establish a maximum volume setting for
your system. is scale runs from -93.0 to +14.0, with +14.0 dB indicating that
you do not want any articial limit placed on the maximum gain your Sigma
SSP MkII can provide. is setting is interactive. It is easiest to play the system
at increasing levels until you reach the volume which you want to use as the
maximum for the system. Using the volume knob, enter that value on the Max
Volume page.
Startup Volume Touching the Startup Volume button allows you to set up a preferred volume
level for when the SSP wakes out of standby.
• e factory default is for a startup volume set to -30.0.
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Mute Setup e Mute Setup page allows you to choose how the Mute button functions. e
options for mute control are:
• specic - allows you to select the exact value to which the volume is
attenuated. If the current volume is already below that level when muting
is engaged, the volume remains unchanged. e factory default is - - -,
which is fully muted.
• dampening - reduces the current listening level by a specied amount (e.g.
-25.0 dB).
EQ Setup e Sigma SSP MkII’s Parametric EQ capability allows you to build very
precise digital audio lters to help compensate for xed sonic irregularities
dened by the location and characteristics of your speakers, your room and
your listening position in the room. ese lters should be constructed based
upon audio measurements made by a well-qualied acoustical engineer. ese
powerful lters are made available in a completely manual fashion to help your
professional installer give you the best listening experience possible.
As many as nine lters can be built for each speaker channel. An Aux channel
used in bi-amp mode assumes the same lters as dened for its Left or Right
channel partner.
In order to dene the PEQ lters, select EQ Setup from the System Setup
menu, Check the box to enable the EQ. Choose which channel you wish to
adjust, select a band and enable its lter, then tune it with the appropriate center
frequency, gain, and Q. For convenience, either the Increase/Decrease buttons or
the volume control can be used to adjust the parameters.
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You do not need to have all or even any lters enabled for every channel. e
installer need only make the adjustments to the channels necessary to correct
for the room’s interaction. We encourage you to consult with your authorized Classé
dealer to properly calibrate the Parametric EQ function.
NOTE: a discrete IR command or Fkey may be used to toggle the
EQ on and o to easily compare before and after from the listening
position. When the EQ is enabled, EQ appears on the Home page.
Tone Control Setup e Tone Control may be congured as conventional bass and treble controls
or used as what is sometimes called a tilt control. In either conguration the
maximum boost and cut is 6.0 dB.
e default setting congures the Tone Control as a tilt control with low- and
high-frequency 3 dB points at 200 Hz and 2,000 Hz respectively. ese values
are user adjustable, allowing customization of the frequency ranges manipulated
by the tilt control. e tilt control will adjust frequencies above and below
these inection points by tilting the tonal balance in one direction or the
other, stepping the higher frequency range up or down in 0.5 dB steps while
simultaneously stepping the lower frequency range in the opposite direction,
down or up, leaving the frequencies in between unchanged.
If conventional bass and treble controls are desired, select that option by deselecting the Tilt check-box and choose the frequencies below which the bass
control works and above which the treble control works. e bass and treble
controls may be accessed from the touchscreen (Menu> Tone Control) or by
assigning the Tone command to one of the F keys on the remote. Use the
navigation buttons on the remote or the touchscreen buttons to increase or
decrease the level of bass and treble independently. e Tone Control is activated
and deactivated by successively issuing the Tone command via IR with a remote
control or selecting and deselecting the Enable box on the touchscreen.
Network Setup e Network Setup page displays the IP address of the Sigma SSP MkII and
the Network status. Pressing the Restore Network Defaults button on this page
re-enables DHCP mode. In DHCP mode the SSP obtains an IP address from a
device on the Network (usually the Wireless AP).
UKEC version units are shipped with the Wake on Network feature disabled.
When in standby, they will not respond to commands from control interfaces
via the Network such as CAN Bus, RS-232, IP Control and the Classé App.
Contact your dealer to determine the best means of bringing your SSP out of
standby. In most cases, this can be done using automation options that make the
function seamless and transparent.
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e Sigma SSP MkII includes a built-in web interface that can be used to
congure the system name, Network settings or update the SSP software. To
access the interface, type the IP address displayed on the Network Setup page
in the URL line of your browser (e.g. 192.168.1.0) and hit return. Alternately
if you are using Safari on the Mac, you can “Show All Bookmarks” (See:
Bookmarks menu) and click on Bonjour and double click on your Sigma SSP
MkII device listed in the Webpage’s folder.
On the web page: Status Information will show the System Name and the
Firmware Version number.
Conguration will allow you to personalize the system name and congure the
unit’s IP address manually. It is strongly recommended to use DHCP rather than
attempt to assign a static IP address, but if one is required, an IT professional
should be involved in the installation.
Firmware Update
via Network
As an alternative to the standard USB stick method of updating the unit’s
rmware, updates may be initiated from the Sigma SSP MkII web interface
page. First go to the Software Downloads area of the Classé website and
download the latest rmware located in the Sigma SSP MkII Update via LAN
folder. Using the Firmware tab on the SSP web page, conrm that the rmware
version currently installed is not the latest and click on the System restart
button. Follow the prompts to complete the update.
Remote Fkeys e remote control supplied with the Sigma SSP MkII has three function keys
(Fkeys), each of which can give you instant access to specic system functions.
For example, if you want direct access to particular sources or congurations,
you may want to consider programming some of the Fkeys to directly access
them. By assigning them as Fkey functions, you do not need to use the arrow
keys to scroll through the active sources or congurations looking for them.
44
e remote control F1 to F3 buttons correspond to the Function Keys displayed
on the touchscreen. Select the Function Key that you would like to assign, then
scroll through the list and choose the specic function you want that Fkey to
perform. Although the remote control is limited to three Fkeys, the Sigma SSP
MkII can respond to as many as eight dierent Fkey commands. Certain other
Classé remote controls and aftermarket learning remotes are capable of utilizing
these additional commands.
Important note on Fkey use
Teach IR e complete list of Sigma SSP MkII discrete infrared (IR) command codes
All Classé Sigma, Delta and CT series remote controls provide at least three
Fkeys. Commands F1-F3 on every Classé remote send the same IR signals as
F1-F3 on every other Classé remote, so you do not need to worry about which
remote you’ve picked up. us F1 on the SSP remote control sends the same
infrared signal as F1 on a CDP-502’s remote control and so on.
While this is intended to minimize confusion amongst dierent remotes (since
this aspect of them will all perform identically), you should take care when
assigning dierent functions on dierent components to the same Fkey. Doing
so can result in two components doing two dierent things at once, in response
to a single press of a button on the remote control. is can sometimes be
useful. As an example, F1 could set the SSP to the CD Player input, and also set
the CD player to Play, both from the press of a single Fkey.
extends beyond what is practical for any one handheld remote control. However,
many of these functions are critical if you plan to create a customized remote
control with macros that take command of your entire system. Without these
discrete codes, many of the macros you might want to create simply won’t work
reliably.
e Teach IR page displays a scrolling list of all the available IR codes in the SSP.
Simply scroll to the command you want your learning remote to learn and touch
the Send IR Code button. e SSP continuously sends that command code via
the front panel - as long as the button is pressed – until your third-party remote
control has learned it.
For more information on control systems, we recommend you speak with your
authorized Classé dealer.
Controls e Controls page gives access to settings that are independent of those found in
System Setup and more likely to be changed or used only temporarily.
45
Tone Control Setting up the Tone Control involves choosing high- and low-frequency
inection points, and relative cut or boost for them. e factory default settings
create what is called a tilt control, which tilts the tonal balance either toward
more high and less low frequency for a leaner, crisper sound, or the opposite
direction toward a warmer, fuller sound.
NOTE: To change these parameters, press MENU, then System
Setup, Tone Control Setup.
If conventional bass and treble controls are preferred they may be congured
using the Tone Control Setup page as described in the Menu System section.
Press MENU then Tone Control on the touchscreen or an Fkey on the remote
programmed to send the Tone command to access the tone control. e
Tone Control is activated by selecting the Enable box on the touchscreen.
Alternatively, pressing and Fkey programmed for Tone on the remote control
switches to the Tone Control screen and each subsequent press toggles the
control on and o. When the Tone Control is enabled, Tone appears in a box
on the Home page. e Volume up/down buttons on the remote and the
volume knob on the unit and on the Classe app are used to increase or decrease
the eect of the Tone Control when in tilt mode. When used as conventional
bass and treble controls, either the Classe app or the Boost and Cut buttons
on the touchscreen are used for increasing or decreasing the corresponding
Tone Control levels. ese controls may also be accessed by pressing an Fkey
programmed for Tone on the remote control and using the navigation keys. e
adjustment range is +/- 6 dB in 0.5 dB increments.
Lip Sync e Lip Sync function allows adjustment of audio delay by source. is is
sometimes necessary due to a problem with the media or as a result of video
processing somewhere in the signal chain causing a video delay. Lip sync allows
a corresponding audio delay to be added to synchronize audio with video. A
Lip Sync adjustment for one source will apply to that source only and will be
retained in non-volatile memory when the unit is put into standby.
Night Mode Night Mode provides dynamic range compression, which is a means of
compressing the signal to reduce the dierence between the loudest and
softest passages. As the name implies, it can be useful late at night when
you want to watch a movie without worrying that the loudest passages
will wake the kids (or mom and dad!).
Balance To adjust the L/R Balance, when on the Balance page, use the volume knob or
the volume up/down keys of the remote control. Balance is adjusted in 0.5 dB
increments by alternately boosting and cutting 0.5 dB from each channel. In this
way, the overall level stays roughly the same as the balance shifts. e Balance
control works by making adjustments with the master volume control, so no
additional circuitry enters the signal path when balance adjustments are made.
46
Adjustments to the balance aect all active Left and Right channel outputs
equally.
e Balance control oers a range of +/- 10.0 dB and moving the control to
either extreme turns o the opposite channel (used mostly for troubleshooting).
NOTE: Your L & R speakers may not produce the exact same
output for a given input, or their location in the room or relative
to your listening position may contribute to a perceived imbalance
of up to a few dB. To compensate for this, play a simple vocal
recording and put the SSP in Mono (press Menu, then Mono).
Open the Balance control page and using the volume control
on remote, adjust the balance until the sound image is perfectly
centered. If you close your eyes and do this a few times, you will
nd that one number, (e.g. Right 1.5 dB) may appear consistently.
If so, you know that is the adjustment your system requires. Leave
the setting there, return to normal stereo operation and then forget
all about the balance control.
Configurations You may create up to six dierent output congurations to accommodate
preferences like with or without subwoofer, or with subwoofer but congured
for dierent crossover settings. While these congurations may be associated
with specic sources, they may also be called from the Main Menu page.
Pressing the Congurations button in the Main Menu opens the Congurations
page. Choose the conguration you wish to employ. Note that this conguration
selection will be over-ridden whenever you change or re-select a source with a
dierent conguration assigned.
To customize congurations, see the Conguration Setup description in the
System Setup section.
Modes Although each source has a default processing mode associated with it, you
may from time to time wish to choose a dierent mode. By using this page you
may select from the available processing modes. Modes that are not available to
be used with the current signal type are greyed out. Changing sources will also
change the mode to whatever the Favorite Mode is for that source, so mode
selection should be seen as temporary.
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Choosing Discrete limits the playback to the number of channels in the
recording. is means that even if your speaker conguration is 7.1, when you
play a 5.1 channel disc only those 5.1 channels will be active leaving the rears
silent. Choosing either Dolby Atmos or DTS Neural:X post processing will
generate additional content for the rear speakers from a 5.1 channel recording.
Selecting Dolby Atmos or DTS Neural:X loads the corresponding decoder. is
allows you to choose which up-mix algorithm is used for non-Dolby Atmos
or DTS:X stream types. Note that when a Dolby Atmos or DTS:X stream is
detected, the corresponding decoder loads automatically.
Selecting Auto can save the time required to dismount and load specic decoders
as stream types change. So for example, when a DTS:X stream is detected,
the DTS:X decoder is required, so if another stream type had been playing
previously, you will experience a delay of about 6 seconds as the DTS decoder is
loaded.
Please refer to the post processing section of this manual for additional
information about modes.
Status
e Status screen provides several items of information on the currently selected
source and conguration as well as access to information on the rmware
used in and the internal settings and sensors of the SSP. While on this page,
pressing the more button will access the CAN-Bus features for connected Classé
components.
48
CAN-Bus Classé’s Controller Area Network, or CAN-Bus, provides communication and
coordinated control between similarly featured Classé
connected with other CAN-Bus-equipped Classé components, the dierent
elements in the system are in constant communication, creating a “global”
network that delivers system wide status information and shared operational
features, all through the preamp/processor’s touchscreen display.
Note that some CAN-Bus related features are initially not available for certain
new models and some components will require a software update to recognize
them on the CAN-Bus. Check the Classé website periodically for updates.
components. When
features CAN-Bus will allow a
• Display status information for every connected unit, including ampliers
which do not have a touchscreen display.
• Create a “PlayLink” that allows an SSP or Preamp to automatically switch
to the correct input when a Delta series source component starts playback.
• Adjust the global system brightness.
• Congure the entire system to go in and out of standby at the touch of a
button and also bring individual components in and out of standby.*
• Mute any connected unit.
hardware setup 1 Classé CAN-Bus Equipped Products
Two or more Classé CAN-Bus equipped products are required, at least one of
which must have a touchscreen display.
2 Category 5 Network Cables
ese are ordinary network cables, commonly used for broadband Internet
connections. ey should be typical “straight through” cables not the “crossed
over” type, and the total required will be one less than the total number of
CAN-Bus equipped components in your system.
3 CAN-Bus Terminator
A single CAN-Bus Terminator may be required. It is inserted into the
CAN-Bus OUT connector of the last component in the CAN-Bus daisy
chain. One is
charge from your nearest Classé Customer Support Centre.
Class
é touchscreen to:
included in the accesories box. T
hey are also available free of
4 SSP-300 & 600 CAN-Bus Interface Box
Systems that include an older model SSP-600 or SSP-300 will also require an
SSP-300/600 CAN-Bus Interface Box. ese are included with the products or
available free of charge
from your nearest Classé Customer Support Centre.
* UKEC version Sigma series units require alternate means of being
brought out of standby. Contact your dealer for assistance.
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e diagrams below illustrate how to connect the CAN-Bus hardware.
CAN-BUS
CAN-BUS
A. Any combination of models in any order.
OUT
IN
CAN-BUS
OUT
IN
CAN-BUS
OUT
IN
CAN-BUS
OUT
IN
B. For any system with SSP-300 or SSP-600.
OUT
IN
CAN-BUS
OUT
IN
CAN-BUS
OUT
IN
CAN-BUS
OUT
IN
NOTE: Daisy chain may need to be terminated with CAN-Bus Terminator.
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using CAN-Bus CAN-Bus is controlled via the touchscreen of any
so equipped. ere is no master component, so
two or more units have a touchscreen can be controlled through any of the
touchscreens. However, it is probably easiest to start using CAN-Bus through
just one.
CAN-Bus is accessed by pressing the menu button on the face of the unit or
remote, then the status button, followed by the more or button.
Note: e screens used in these examples are taken from older Delta
series components and are intended to show only the conceptual
operation of CAN-Bus.
connected components by model & serial number.
Classé
Classé
component that is
series systems where
e touchscreen will then display the CAN-Bus devices screen, which lists
Highlighting a unit on the CAN-Bus devices screen identies it as the target
unit. e front panel LEDs of the target unit will start ashing (unless you
highlight the unit that you are using to access CAN-Bus).
Once you have chosen the target unit press select. e target unit’s LEDs will
stop ashing and the touch screen will list the CAN-Bus features available to it.
Some CAN-Bus features are shared by all models, some are specic to individual
models.
CAN-Bus shared features e following CAN-Bus features are shared by all models.
configuration Selecting conguration will present the CAN-Bus conguration screen
allowing access to name, global brightness, and global standby features.
operate e operate settings allow you to bring the target unit in and out of standby, or
mute. is key will be disabled for the unit whose touchscreen you are using to
access CAN-Bus. **
** UKEC version Sigma series units require alternate means of being
brought out of standby. Contact your dealer for assistance.
51
AC status e AC status screen displays information from the target unit’s electrical supply
sensors. Two screens are available, the second can be accessed by selecting more.
Note: e screens used in these examples are taken from older Delta
series components and are intended to show only the conceptual
operation of CAN-Bus.
status e status screen is the simplest way to access essential information about
the target unit. It displays the target unit’s model number, software version,
operational status and serial number.
name You can set the name that this component will be listed under in the CAN-Bus
devices screen. e name will appear next to the unit model and serial number,
and facilitate the identication of units in large systems.
global brightness By setting all your components to global brightness (also called Global Dim)
you can adjust the touchscreen and LED brightness for your entire system by
changing the brightness of a single touchscreen. All CAN-Bus software updates
automatically set the updated unit to Global Brightness. If you want a particular
unit to be excluded from Global Brightness, deselect Global Brightness for that
unit.
global standby By setting all your components to global standby you can bring your entire
system in and out of standby by pressing the standby button of any unit or
remote. All CAN-Bus software updates automatically set the updated unit to
global standby. If you want a particular unit to be excluded from global standby,
deselect global standby for that unit. ***
CAN-Bus model-
specific features
PlayLink is feature is exclusive to Delta series disc players and will only function if
e following CAN-Bus features are model specic.
the disc player is connected to a CAN-Bus enabled preamp or surround sound
processor.
When PlayLink is active, pressing play on the disc player will also automatically
switch the preamp/processor to a specied input. is means that you can listen
to a CD or watch a DVD literally at the touch of a button.
*** UKEC version Sigma series units require alternate means of being
brought out of standby. Contact your dealer for assistance.
52
e rst step in using PlayLink is to choose the input you wish to be selected
when play is pressed on the disc player. Press the PlayLink icon, then select the
correct input from the list.
Once you have selected the input, press back, then select conguration.
PlayLink is activated and disabled through the PlayLink icon on the CAN-Bus
conguration screen.
PlayLink is automatically active after a software update, and the PlayLink icon
will only appear on the CAN-Bus conguration screen of a Delta series disc
player.
PlayLink can only select a single input per disc player. It is therefore
not designed for users who regularly play both CDs and DVDs through
dierent inputs from a single disc player. When PlayLink is active the disc
player will default to the same input every time play is pressed, regardless
of whether it is playing CD or DVD.
amp info Available for ampliers only, this screen displays the data provided by the
heatsink and AC Module temperature sensors. Sigma series ampliers use switch
mode technologies so certain parameters will appear as “unavailable.”
NOTE: is feature is only accessible when the target amplier is on.
event log Reserved for ampliers, this feature is a protection circuitry event log which can
only be accessed when the target amplier is in standby. e protection circuit
shuts down the amplier or channel if it overheats or if its output could damage
your speakers. e event log details the circumstances surrounding the amp
going into protection and should be referred to in situations that require the
intervention of your dealer or Classé customer support.
e log can report the following events interpreted as follows:
• +ve slow blo trip & -ve slow blo trip — e average current has reached
the safe operating limit.
• +ve fast blo trip & -ve fast blo trip — e peak current has reached the
safe operating limit.
• over temperature trip — e unit temperature has reached the safe
operating limit.
• DC Output trip — (Does not apply to Sigma series or CA-D200
ampliers)
• Communication failure — ere has been a loss of communication
between the amp’s system monitoring sensors.
e DC output level has reached the safe operating limit.
53
• AC line trip — (Does not apply to Sigma series or CA-D200 ampliers)
e power supply has reached the limits of the amp’s safe operating range.
• Air intake lter — (Does not apply to Sigma series or CA-D200
ampliers) e intake lter is constricting airow and should be cleaned.
is “event” is also triggered after every 2,000 hours of operation, even if
the sensors do not yet detect constricted airow. e unit will continue to
operate with its standby LED ashing until the lter is checked and the
unit reset by pressing and holding the standby button for 3 seconds.
Events are rare and generally occur due to issues that are external to the amp.
ey should be interpreted positively. e amp is doing what it’s designed to do.
Network Sources Network sources are those which stream audio to the Sigma SSP MkII using its
rear panel Ethernet connection. e SSP is equipped with a hard-wired Ethernet
connection because it provides a more reliable and higher speed connection than
is typically available over WiFi. If it is not possible or practical to run a direct
Ethernet connection from your router to the SSP, various solutions are available.
A powerline Ethernet adaptor, such as those oered by Netgear and others may
be used or a wireless bridge such as Apple’s Airport Express provides the local
Ethernet cable (called LAN or Local Area Network) connection required by the
SSP and connects to the Network router via WiFi.
Apple AirPlay e Sigma SSP MkII is AirPlay certied; it can render audio content from Apple
iPhone, iPad or iPod touch devices or from iTunes on a Mac or PC.
To play content on the SSP:
1. Connect your device to the same Network as the SSP.
2. Open iTunes or the Music App on your iPhone, iPad or iPod touch.
3. Locate and tap the AirPlay icon and select the Sigma SSP MkII from
the menu (if attempting to AirPlay video content from Safari or Videos,
begin playback rst).
4. Press play.
When you play content over AirPlay the source will automaticaly change to the
Network source. If your SSP has multiple sources that select the Network input,
the system will select the most recently used (Network input) source.
e home page shows stream status including the clock status and le format.
54
e Sigma SSP MkII supports the Apple AirPlay protocol for streaming audio
through a Network using wired (Ethernet) or wireless (WiFi) connections,
or a combination of the two. AirPlay lets you stream audio from your WiFi
Network-connected iPad, iPhone or iPod touch, or using iTunes, stream from a
(WiFi or Ethernet) Network-connected Mac or PC. Working within the Apple
ecosystem, AirPlay allows a wide range of le formats and data rates up to full
CD quality. A list of the AirPlay-supported formats and rates appears in the
specications section of this manual.
To use AirPlay, make sure a source button to use the Network connection has
been enabled.
Note: When your Ethernet connection is active, the green and amber lights
on the Ethernet connector will be illuminated and the Network Setup page
will show the status: “Connected.” If no connection is present, the front panel
display will show the words “Not Connected” when the Network source is
selected and also appear highlighted in red when viewing the Network Setup
page.
Open iTunes on your Network-connected Mac or PC and look for the AirPlay
icon . Click on the icon to see the list of AirPlay capable “speakers” available
on your Network. Select your Sigma SSP MkII from this list. Choose the music
you want to hear and click play. e Network input will be automatically
selected and music will begin playing through your system. It’s that simple.
e SSP display will show the status of the audio stream, so when using AirPlay,
it will show the sampling frequency of the signal as well as its format (ALAC
is the format AirPlay streams use). You may adjust the volume in iTunes or if
using Apple’s free Remote App, change volume and choose and manage music
les from your iOS device (iPad, iPhone, iPod touch). Volume changes happen
within the Sigma SSP MkII, which uses a high-quality analog volume control
to avoid the loss of resolution associated with digital domain attenuation. If you
press pause or stop, the display will indicate AirPlay - Idle.
Using an iOS device for AirPlay works the same way. Choose the Music App
icon, tap the AirPlay icon, select the Sigma SSP MkII from the list of AirPlay
speakers, choose your music and play. Volume is likewise adjusted in the SSP by
using the volume control on the device.
55
DLNA If you have chosen a Media Player other than iTunes and/or wish to stream
higher bit-rate les (up to 192 kHz), the Network connection will use the
DLNA protocol. You can stream audio over this connection whether DLNA or
AirPlay, so you only need to enable a single Network connection to have access
to streaming audio from multiple sources.
DLNA is structured around three basic elements: a Media Player, a Renderer and
a File Server. e Media Player is your control interface. It is a program or App
that could reside on a smartphone, tablet or computer and its job is to allow you
to access your music les and control their playback. Examples of popular Media
Players include JRiver, Twonky and Media Monkey. A File Server is where your
audio data les are stored. Your Mac or PC could be the le server or it could
be an outboard storage device such as a NAS (Network Attached Storage) drive.
When called to be played, the data transit the Network from the le server,
through the Ethernet cable into the Sigma SSP MkII, which is a Renderer. It
decodes the le, performs any DSP functions you require and converts the audio
from digital data to an analog waveform. It then sets the playback volume and
outputs the signal to your amplier(s).
e setup of a system for using DLNA can become more complex than an
iTunes/AirPlay system and because of the nearly endless combinations of
hardware and software that may be involved, it is beyond the scope of this
manual. You will need to supply and congure the software for your chosen
DLNA Media Player and DLNA server(s). For additional information you will
nd a computer audio setup guide on the Classe website. If you need assistance,
your Classé dealer should be able to help.
56
Troubleshooting
Always refer any service problems to your Classé dealer. However, if you run into
a problem, we recommend referring to this section rst as sometimes an error is
not a malfunctioning product, but simply an oversight in the proper setup of the
component. is section provides suggested solutions to potential problems.
If none of these solutions work, please consult your Classé dealer for assistance.
ere are no user-serviceable parts inside the Sigma SSP MkII.
Important!
Verify that the power amplifier(s) connected to the SSP is
powered off before checking any cable connections and
before power cycling the unit.
1 Everything appears to be powered on, but there is no sound.
P Adjust the volume control to a moderate level - audible but not
excessive (e.g. -35.0 dB).
P Make sure that the selected source component is powered on,
not in Standby mode, that it is playing an audio track and not in
pause mode.
P Ensure that the proper connector has been selected for the
current source.
P Verify that the Mute control is NOT engaged. is also applies
to sources such as USB connected devices. For example, muting
iTunes will result in no output even though the SSP is setup and
operating properly.
P Ensure that the amplier is powered up and not in Standby
mode.
P Check the Menu -> Status page to verify an audio signal is being
received.
P Verify that all cables are securely connected to the proper inputs
and outputs, with no kinks or stress points.
P If using a Windows PC via USB, verify that the audio driver has
been properly installed and the SSP has been selected from the
list of playback devices.
2 There is no sound and neither the Standby LED/Status
Indicator nor the touchscreen is lit.
P Ensure that the SSP is properly connected to the electrical outlet
- the AC cord is positioned rmly in the AC mains receptacle in
the rear panel and the power switch is in the ON position.
P If the SSP is properly plugged in and the power from the
electrical outlet is at the proper level, try the following: Put the
SSP in Standby mode, switch o the main power switch on the
rear panel, and unplug the unit for at least thirty seconds. en
plug the cord back in and try powering up again. Sometimes, a
brown-out (short-term power loss/drop) can activate a protection
mode, which requires a power cycle to reset the SSP to its normal
operating mode.
P Remove the AC cord from the unit, and open the fuse holder
adjacent to the AC cord inlet. If the fuse is blown (best veried
using an ohm meter), contact your qualied Classé dealer.
57
3 One speaker or subwoofer seems not to be playing.
P If the problem occurs with all inputs, check the interconnecting
cables between the preamp and the power amp. Also check the
speaker wires for secure connections.
P Check the balance control setting by pressing MENU on the
front panel, and then verify the balance control setting is not
turning one channel o or reducing it’s output.
P If the problem occurs for a subwoofer, make sure it is enabled on
the conguration assigned to this source button.
P Check the interconnect cables between the source component
and the SSP.
4 The IR remote control does not seem to function.
P If this is the rst time you are using the remote, check to see
that the protective lm has been removed from the battery. (See
Using the Remote and Accessing the Battery).
P Ensure that there are no obstacles between the IR remote and the
IR sensor, located on the lower left corner of the front panel.
P Check the orientation and if necessary, replace the batteries in
the remote control.
5 There is a hum coming out of the speakers.
P If the noise is coming from channels using single-ended
interconnects, make sure they are not placed alongside any
AC power or communications cables such as CAN Bus. Also
make sure that they are not too long – long single-ended
interconnecting cables have a natural tendency to pick up noise
even when shielded.
P If any source components are connected to cable TV, try
disconnecting the cable television line from the source
component. If the hum goes away, you need an isolation device
between your cable TV converter and the source component.
Your Classé dealer can help you obtain one of these inexpensive
devices.
58
network/streaming
troubleshooting
1 The Network Status page shows Not Connected and there are
no green and amber lights illuminated on the Ethernet cable
connector on the rear panel.
P Check that the Ethernet cable is connected to an active Network.
P Try substituting the Ethernet cable to conrm whether the cable
itself is functioning.
P If using a wireless bridge, make sure it is connected to your
wireless Network and that you are using the correct connector
(labeled <...> on an Airport Express).
2 The Network status indicates Connected but the SSP does not
appear on your list of devices in AirPlay or on your DLNA
Media Player.
P Restart all participating components one at a time until the
problem is resolved. First the Media Player, then the SSP (cycle
the power o and on) and then your router. If the problem
persists verify that you have a valid IP address. If your address
is “Limited Auto IP” then the SSP has auto assigned itself an
address and this indicates that your DHCP IP address server is
not working.
3 Streaming audio drops out frequently.
P Usually a problem associated with wireless networks, if you
are using a wireless bridge, make sure the signal strength from
your wireless router is good (they may need to be located closer
together) and devices that cause interference such as microwave
ovens are not in use.
P Your router may not have sucient bandwidth to consistently
handle the data rate of the audio stream. A higher-performance
router may be required.
4 The SSP sometimes switches to a Network or USB source
unexpectedly.
P is is likely caused by “sounds” (e.g. mouse clicks, new mail
notications, etc.) generated by your computer activating the
auto select feature for your Network or USB connection. Disable
the sounds to eliminate the unwanted behavior.
5 The SSP will not respond to control commands (RS-232, IP
Control, AirPlay, DLNA streaming) when in Standby.
P When in Standby the SSP is in a deep power save mode and only
responds to the front panel Standby button and IR commands.
Contact your dealer for alternate means of automating the power
up sequence.
6 The SSP sometimes seems to put itself into standby.
P When no signal is present for 20 minutes, the SSP enters a
power-saving mode called auto standby
59
Care & Maintenance
To remove dust from the cabinet of your Sigma SSP MkII, use a feather duster
or a lint-free soft cloth. To remove dirt and ngerprints, we recommend
isopropyl alcohol and a soft cloth.
Dampen the cloth with alcohol rst and then lightly clean the surface of the SSP
with the cloth.
Caution! Power down and remove the AC power cord from the
SSP before performing maintenance. At no time should liquid
cleaners be applied directly to the unit.
60
Specifications
All specications are accurate at the time of printing. Classé reserves the right to
make improvements without notice.
nUSB audio up to 24-bit/192 kHz
nUSB (Host) charging capability 2 Amps
nAirPlay supported formats AAC (8 to 320 kbps),
Protected AAC (from iTunes Store),
HE-AAC, MP3 (8 to 320 kbps),
MP3 VBR, Audible (formats 2, 3, 4) Audible Enhanced Audio
(AAX and AAX+), Apple Lossless, AIFF and WAV
nDLNA supported formats Apple Lossless (ALAC), mp3, FLAC,
AIFF, WAV, Ogg Vorbis, WMA, AAC
nFrequency response 8 Hz - 200 kHz < 1 dB, stereo digital bypass
8 Hz - 20 kHz < 0.5 dB, all other sources
nChannel Matching (Left to Right) better than 0.05 dB
nDistortion (THD+noise) 0.0005%, digital source/bypassed analog source
.002%, processed analog source
nMaximum input level (single-ended) 2 Vrms (DSP), 4.5Vrms (bypass)
nMaximum input level (balanced) 4 Vrms (DSP), 9 Vrms (bypass)
nMaximum output level (single-ended) 9 Vrms
nMaximum output level (balanced) 18 Vrms
nGain Range -93 dB to +14 dB
nInput impedance (single-ended) 100 kΩ (single-ended)
nInput impedance (balanced) 50 kΩ (Balanced)
nOutput impedance (single-ended) 100 Ω
nOutput impedance (balanced) 300 Ω
nSignal-to-noise ratio
104 dB,
101 dB,
(re. full-scale input, unweighted) 105 dB,
nChannel separation better than 100 dB
nChannel matching (left to right) >0.05 dB
nCrosstalk (any input to any output) better than -130 dB @ 1 kHz
nStandby power consumption .3W @ 230 V
nRated power consumption 35 W
nMains voltage 120 V - 220 V, 50/60 Hz
nOverall dimensions Width: 17.0” (433mm)
Height: 3.75” (95mm)
nNet weight 18lb ( 8.21 kg)
nShipping weight 25lb (11.34 kg)
(ref. 4Vrms input, unweighted)
Depth (excluding connectors): 14.57” (370mm)
bypassed analog source
processed analog source
digital source
61
Continued
Made for:
niPhone 7 Plus
niPhone 7
niPhone SE
niPhone 6s Plus
niPhone 6s niPhone 4s
Made for:
niPad Pro (12.9-inch)
niPad Pro (9.7-inch)
niPad mini 4
niPad Air 2
niPad mini 3
niPad Air
Made for:
niPod touch (6th generation)
niPod touch (5th generation)
niPhone 6
niPhone 5s
niPhone 5c
niPhone 5
niPad mini 2
niPad mini
niPad (5th generation)
niPad (4th generation)
niPad (3rd generation)
niPad 2
niPod nano (7th generation)
AirPlay:
AirPlay works with iPhone, iPad, and iPod touch with iOS 4.3.3 or later,
Mac with OS X v10.8 or later, and Mac and PC with iTunes 10.2.2 or later.
Classé and the Classé logo are trademarks of B&W Group Ltd. of Lachine, Canada. All rights reserved.
AMX® is a registered trademark of AMX Corporation of Richardson, TX. All rights reserved.
Crestron™ is a trademark of Crestron Electronics, Inc. of Rockleigh, NJ. All rights reserved.
Control 4™ is a trademark of Control 4 Corporation of Saltlake City UT. All rights reserved.
Savant® is a registered trademark of Savant Systems, LLC of Hyannis, MA.
HDMI, the HDMI Logo and High-Denition Multimedia Interface are trademarks or registered trademarks of HDMI
Licensing LLC.
Manufactured under license from Dolby Laboratories. Dolby, Pro Logic, and the double-D symbol are trademarks of Dolby Laboratories.
Manufactured under license under U.S. Patent #’s: 5,451,942; 5,956,674; 5,974,380; 5,978,762; 6,226,616; 6,487,535; 7,212,872;
7,333,929; 7,392,195; 7,272,567 & other U.S. and worldwide patents issued & pending. DTS and the Symbol are registered
trademarks, & DTS-HD, DTS-HD Master Audio and the DTS logos are trademarks of DTS, Inc. Product includes software.
© DTS, Inc. All Rights Reserved.
“Made for iPod,” “Made for iPhone,” and “Made for iPad” mean that an electronic accessory has been designed
to connect specically to iPod, iPhone, or iPad, respectively, and has been certied by the developer to meet
Apple performance standards. Apple is not responsible for the operation of this device or its compliance with
safety and regulatory standards. Please note that the use of this accessory with iPod, iPhone, or iPad may aect
wireless performance.
iTunes, AirPlay, iPad, iPhone, iPod nano, and iPod touch are trademarks of Apple Inc., registered in the U.S.
and other countries.
62
Dimensions
17.00”
(433.00)
17.00”
(433.00)
13.39”
(340.00)
2.10”
(53.59)
3.45”
(88.00)
3.75”
(95.00)
9.65”
(245.80)
14.57”
(370.00)
14.88”
(378.70)
63
Installation Worksheet
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64
Source: ______________________________________________________________
Connector(s): _________________________________________________________
Input: _______________________________________________________________
65
B&W Group Canada, Ltd.
5070 François Cusson
Lachine, Quebec
Canada H8T 1B3
+1 (514) 636-6384
+1 (514) 636-1428 (fax)
https://classeaudio.com
North America: (514) 636-6384
email: cservice@classeaudio.com
Europe: 44 (0) 1903 221 700
email: classe@bwgroup.com
Asia: (852) 2790 8903
email: classe@bwgroup.hk
All Others: +1 514 636 6384
email: cservice@classeaudio.com
Copyright © 2017 B&W Group Ltd.
V 1.1 2017-06-02
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