Bryston | SP4 34R1-2 web | Owner Manual | Bryston SP4 34R1-2 web Owner Manual

Bryston SP4 34R1-2 web Owner Manual
SP4 Immersive Surround Processor
Owner’s Manual
Firmware Version 3.4r1
Important Safety Instructions
The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage “ within
the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the
literature accompanying the product.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or
other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide blade or the third prong are
provided for your safety. If the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
P rotect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used use caution when moving the
cart/apparatus combination to avoid injury from tip-over.
Unplug this apparatus during lightning storms or when unused for long periods of
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, the apparatus has been exposed to rain or moisture,
does not operate normally, or has been dropped.
Bryston analog audio products are warranted to be free from manufacturing defects for twenty (20) years from the original date of manufacture. The warranty includes parts and labour.
Bryston digital products and cables are warranted for five years from the original date of manufacture. The warranty includes parts and labour.
Bryston products having motorized moving parts, excluding motorized volume controls, are warranted for three years from the original date of manufacture. The warranty includes parts
and labour.
Bryston will remedy the problem by repair or replacement, as we deem necessary, to restore the product to full performance. Bryston will pay return shipping only for the full length of
the specific product's warranty.
In the event of a defect or malfunction, contact Bryston’s repair centers for return authorization. Products must be returned using original packaging material only. Packing material may
be purchased from Bryston if necessary. This warranty is considered void if the defect, malfunction or failure of the product or any component part was caused by damage (not resulting
from a defect or malfunction) or abuse while in the possession of the customer. Tampering by persons other than factory authorized service personnel or failure to fully comply with Bryston
operating instructions voids the warranty. This warranty gives you specific legal rights and you may also have other rights which may vary from province to province and country to country.
As of 2006-02-22 Bryston will only warranty Bryston products purchased through authorized Bryston dealers. Bryston products with a date code of 0608 or higher (date code format is
“yyww”, where “yy” is the two least significant digits of the year and “ww” is the week of the year) must be accompanied by a copy of the bill-of-sale from a Bryston authorized dealer to
qualify for warranty service. The warranty is transferable from the original owner to a subsequent owner as long as a copy of the bill-of-sale from the original authorized Bryston dealer
accompanies the re-sale. The copy of the bill of sale to any subsequent owner need ONLY include the Name of the Bryston Authorized Dealer and the Model and Serial number of the
Bryston product The warranty will only be honored in the country of the original purchase unless otherwise pre-authorized by Bryston.
BRYSTON SERVICE outside Canada and the USA:
Postal address:
79 COVENTRY ST., Suite 5
U.S.A. 05855-2100
contact your local distributor or
Courier address:
P.O. BOX 2170, Stn. Main
Table of Contents
Important Safety Instructions.................................2
Front Panel...............................................................4
Rear Panel.................................................................4
Included In The Box...........................................6
Shipping Box and Packing Material...................6
Connecting to A/C Power...................................6
Connecting to Network......................................6
Connect IR Interface (Optional).........................6
Connect Source Components............................7
Connect to Display.............................................7
Connect Audio Outputs......................................7
First Run....................................................................7
Power On............................................................7
Get Network Access............................................7
Default Passwords..............................................7
Web UI Header Diagram...........................................8
System Settings......................................................10
Input Settings.........................................................12
Building a Theater - Defining Channels.................14
Test Tone Generator...............................................16
Individual Channel Adjustments...........................17
Expert Bass Management......................................19
Output Mapping.....................................................19
Multi-way Loudspeaker Setup...............................20
Channel EQ.............................................................20
Child Theater / Sub Theater...................................22
Dirac Live................................................................23
Settings Menu.........................................................26
Audio/Video General Delay per AV Zone.........27
System Setup....................................................27
Front Panel.......................................................27
IR Remote Control Function Assignment........27
Web UI Remote Control..........................................30
iPad App..................................................................31
Audio Specifications........................................32
HDMI Specifications.........................................32
Weight and Dimensions...................................32
Installation Notes...................................................34
Front Panel
1. Power Button
Use this button to toggle the SP4 between ON
and STANDBY. Note that the rear panel switch
must be on for the unit to operate.
2. Exit
When navigating the front panel menu, press
Exit to go back.
3. Enter
When navigating the front panel menu, press
Enter to confirm a selection
4. Edit
Press Edit from the home screen to enable state
changes in the SP4. Use the Volume combo
knob to navigate.
5. Display
The front panel display shows various
information about the unit. It is not a touch
screen. Various parameters can be set according
to instructions “Front Panel” on page 27.
6. Volume
The default state for the knob is to control
volume in the selected theater. Press the knob
to mute audio. When in Edit Mode, you can use
the knob to navigate between fields.
Rear Panel
7 HDMI inputs and 2 outputs are available. All
HDMI inputs are HDCP 2.2 compatible, but
only inputs 5-7 operate at HDMI 2.0 speeds by
default. Outputs are mirrored. HDMI OUT 1 is
1.4a compatible. HDMI OUT 2 is HDMI 2.0 4K
compatible. See “Specifications” on page 32
for full HDMI specifications.
8. Power Inlet / Fuse Socket / Mains
Mains power is applied to the SP4 here. Ensure
the fuse installed matches requirements of your
locality. The rear panel switch must be ON for
the unit to operate.
9. Network
The SP4 must be connected to a network for
setup. It is recommended to be connected for
operation. Speed is 100 Mbps. Use CAT5e or
better cable.
Two USB ports are provided to which a USB
microphone may be optionally connected. Or,
the USB ports may be used for service.
IR input and output are provided via 3.5mm
SP4 Immersive Surround Processor
jacks for optional control via IR remote.
Trigger Out
Four separate trigger outputs are provided to
control power of certain connected devices.
See “Triggers” on page 26 for configuration
Digital Inputs
Three digital coax and 3 TOSLINK optical digital
inputs are provided for connection of legacy
digital sources.
Analog Input
Downmix Output
Analog Output
Eight RCA inputs are provided and can be used
as 4 stereo pairs or 1 7.1 input. When connected
as a 7.1 input, the channel assignment is as
follows clockwise from top left: LF, CF, LS, LB,
which are fully assignable to theaters or zones.
See instructions starting with “Building a
Theater - Defining Channels” on page 14.
Outputs may also be remapped. See “Output
Mapping” on page 19. Pin 2 hot.
Optional Unbalanced Analog Out
Rear Panel Fan
An optional module is available to provide 16
RCA outputs for the purpose of making a clone
From time to time, the SP4 may automatically
turn on the fan to draw cool air through the SP4
and out the back. Do not obstruct the fan or any
airflow vents on the chassis.
A stereo pair of XLR outputs is provided as a
dedicated 2 channel downmix output. These
outputs produce a stereo downmix of whatever
audio is playing in the selected theater. To
configure, see “Parameters” on page 27.
Downmix may be enabled for select presets. See
“Presets” on page 28.
Sixteen XLR analog audio outputs are provided
Thank you for your purchase of a Bryston SP4
Immersive Surround Processor. The SP4 has
been designed to provide state of the art audio
performance with immersive surround formats and
legacy surround formats alike. Innovative hardware
and software make it possible to customize theaters
of up to 16 channels. Its modular upgradeable
nature means as upgrades become available, your
SP4 may remain a current state of the art center for
your theater for many years to come.
Included In The Box
This Owner’s Manual / Installer Guide
Power cable for your locality
Rack mount ears (requires T20 Torx screwdriver
to mount)
Bryston SP4 includes the following features:
• 7 Input / 2 Output HDMI switch, 3 TOSLINK and
3 RCA S/PDIF legacy digital inputs plus software
configurable analog input (7.1 or 4x Stereo)
• Mandatory network connectivity for control and
firmware updates.
• 16 software configurable XLR output + Downmix
L/R XLR pair
• 4 programmable trigger outputs
• IR control
• Available control modules for 3rd party
automation systems available at
Shipping Box and Packing Material
Please keep the original shipping box and all
packing material. In the unlikely event you have a
problem and must return it for service, you must
use the proper packing material as the unit is not
insurable by carriers otherwise. Replacement
packing materials consisting of a shipping carton
with plastic foam inserts is available from Bryston
for a small fee.
Prepare your installation site by following the steps
below: Consult page “Rear Panel” on page 4
for rear panel diagram indicating location of key
1. For non North American models that are
delivered with a fuse attached to the AC cord,
install the fuse before plugging the unit into
mains power.
2. Ensure your electrical circuit has a good ground
connection with all audio equipment connected
to the same ground node to avoid noise or hum
due to a ground loop.
3. Prepare attached equipment such as display or
projector, audio amplifiers, speakers, network
switch and associated cables.
4. Network should be running a DHCP server to
enable the SP4 to obtain an IP address.
The SP4 is a cool-running line level component. It
generates far less heat than amplifiers and many
other components. It can be safely placed inside
furniture or an equipment rack. However, it should
not be tightly enclosed. Some airflow is desired.
Note that the rear panel fan needs to be able to
circulate air especially when the SP4 is under heavy
Connecting to A/C Power
If necessary, install the included fuse into the fuse
socket. Plug the IEC-320 C14 end of the power
cord into the SP4, then plug the other end into an
approved and grounded A/C receptacle.
Connecting to Network
Using at CAT5e or better cable, connect the SP4 to
your local area network. See “Get Network Access”
on page 7 to identify IP address.
Connect IR Interface (Optional)
Should you choose to use an IR interface, you will
need to connect an IR receiver to the IR Input of the
SP4 Immersive Surround Processor
Connect Source Components
Legacy digital sources can be connected to the
digital inputs 1-6. Stereo or surround analog sources
can be connected to the Analog Inputs section.
Analog input configuration is defined at “4. Audio In”
on page 12. HDMI sources can be connected as
well. Note that though all inputs support HDCP2.2,
inputs 1-4 only support HDMI 1.4 speeds by default.
Inupts 5-7 support HDMI 2.0 speeds.
Connect to Display
Connect your displays using HDMI output. Note
that outputs are parallel (same content) but HDMI
OUT 1 supports up to HDCP 1.4 while HDMI OUT 2
supports HDCP 2.2. Should no picture appear on
HDMI OUT 1, troubleshoot EDID conflicts.
Connect Audio Outputs
If you choose to connect your outputs at this step,
take note of which output number is routed to each
channel so that you can map them appropriately
in a later step. Otherwise, when you setup the
theater using the web UI, the default outputs will be
noted for you. At that point, you can connect your
amplifiers based on the default output channel
First Run
Upon first run, you must configure the SP4
according to your specifications using the web
based user interface. There is no on-screen display
or provision to configure the unit using the front
Power On
Turn the main switch on the rear panel to the ON
The front panel display will show the Bryston logo
for a few seconds, then will go blank as the SP4
enters sleep mode. The power LED will show steady
Get Network Access
Press and hold the EDIT button for about 3 seconds.
The display will show a list of information including
the IP address at the top which was assigned by
DHCP. Note this address.
Note: In case the unit is not in DHCP mode, and you need to
restore DHCP mode from the front panel, follow the above
steps, then press and hold EDIT for a few seconds more until a
message appears asking for confirmation of this action. Confirm
by pressing the ENTER button
Using a web browser on a device (laptop preferred)
on the same network, enter this IP address in the
address bar of your web browser.
Note: only one instance of control via web UI can be opened
at a time. If a window is already accessing the SP4 web UI, a
message will ask you to close one.
The SP4 home page will be shown.
Selecting Remote Control will give access to the end
user remote control functions. No setup parameters
can be changed here.
Select Expert Setup to gain access to the setup
portion of the web UI.
Default Passwords
Note: In case you have forgotten the Expert User or Installer
password, it is possible to reset them to the default values by
first accessing the Info screen (see “Get Network Access” on page
7). Then press and hold EDIT and EXIT buttons together.
Press ENTER to confirm when prompted.
The Expert Setup area has two levels of access:
Expert User and Installer. Expert user gets access
to portions of the menu defined by the installer.
Installer gets full access to setup. Use this level to
perform the configuration.
The default password for full access to the setup
menu is ‘installer’. Enter the password and press
connection to enter the setup menu. Default
password for Expert User is ‘expert’.
Once in sleep mode, press the front panel POWER
button. The SP4 will begin the startup sequence.
Web UI Header Diagram
1. Persistent Remote Control Bar
This area provides access to change some
settings without having to access the remote
control page. Change Source, Preset, Theater,
Profiles within each theater, and Surround
Presets: Build presets that easily recall combinations
of Theaters, downmix zones, EQ profiles, triggers and
surround upmix behavior. Presets offer customers
the easiest way to place their system into modes for
different types of listening.
Monitoring: If the optional Theater Diagnostic
Kit is purchased and the StormMonitoring license
is installed, this page gives real time and logged
statistics on the health and performance of the
SP4 which can be accessed via the local network
or via remote network access which makes system
diagnostic endeavors less speculative and much
more concrete.
Remote Control: A copy of the page available to
anyone logging into the web UI regardless of their
credentials level. The only difference between this
page and the one available without logging in is that
the Persistent Remote Control Bar remains at the top.
Alternate Theater: If the optional 16 channel RCA
Output Card is installed, you will see an Alternate
Speakers tab to the right of Main Speakers. Setup
for the Alternate Speakers is identical to that of Main
2. Volume Control
Volume control is provided without having
to access the Remote Control page. The + /
- buttons adjust volume in 1dB increments. The
++/-- adjust volume in 3dB increments. Mute
cuts all sound. Dim attenuates the volume by
the amount specified in “Parameters” on page
3. Configuration Section
System: indicates information about the system such
as firmware version, any installed licenses, network
parameters. System configuration backups and
firmware updates are also done here
Inputs: Configure input names, map physical inputs
to source components, and make input dependent
Main Speakers: Configure primary theater, child
theaters, audio/video and audio only zones. This is
where you map analog outputs to physical channels.
Settings: Configure trigger behavior, HDMI, IR, and
other system wide parameters.
4. Trigger / Generator / Power / Restart
Trigger: Any triggers configured in Settings
(Configuration Section) for Manual Switching appear
here giving you easy access to activate or deactivate
these triggers with a click. Green indicates that the
trigger is in the active state. White indicates that it is
Generator: When white, the SP4 built in noise
generator is not active. When green, it is active. This
is an indicator. The generator cannot be switched on
from here.
SP4 Immersive Surround Processor
Power: Switch the unit from standby to on status
from here. Green indicates that the unit is powered
on. White indicates standby.
Restart: Should you need to restart the SP4, you can
do so from this switch.
5. Log Out
Pressing Log Out will return you to the web
UI home page. To access the installer menu
or expert user menu, you must log in with the
appropriate password again. Otherwise, you
only have access to the remote control.
6. Help
A unique feature of the SP4 web UI is the
comprehensive built in help function. With this
switched to ON, every function on the web UI
features a which can be hovered over with
a mouse to reveal a description of that specific
function. Some functions have a which
indicates important information. These warning
indicators are present regardless of whether
Help is engaged or not.
System Settings
1. Processor Status
This area indicates the model number, serial
number, firmware revision and HDMI card
version. You can also download logs which can
be sent to us for diagnostic purposes.
2. Licenses
Optional software and hardware features are
available. This area indicates which of these are
currently installed.
3. System Backup & Restore
Export Parameters: Generates a spreadsheet
indicating the mapping of the output channels.
Backup Configuration: Generates a backup file of
the entire current configuration of the SP4 making
restoring settings easy after replacing a unit or
recovering from a system reset event. As a dealer,
you are advised to perform this step after completing
setup and archive the settings on behalf of your
Restore Configuration: Permits uploading of the
file generated by the step above. This overwrites all
current settings with the data contained within the
backup file.
Factory Reset: Resets the SP4 to default configuration
but retains current firmware version.
Load License: Allows loading optional software
licenses such as SphereAudio and StormMonitoring.
Remote Upgrade: Use this tool to update the
firmware of the SP4. New firmware is made available
from time to time and can be found at http://support. Firmware upgrades are
never required and should be considered optional
unless advised otherwise by Bryston support staff.
4. Network Settings
Displays current settings. By default, this is
populated by the network DHCP server. DHCP
Auto button is blue. To use a static IP address,
click DHCP Auto to disable (turns grey) and
populate IP Address, Gateway, Netmask, and
DNS fields manually. If an SP4 has been set to
static IP mode and will no longer connect to the
network, see “Get Network Access” on page 7
for instructions on resetting the network settings
to default DHCP mode.
5. Password Management
The SP4 has 3 levels of access. Remote Control
requires no password and no access to settings.
Installer has access to all settings. Expert is an
intermediate level that has access to settings
assigned by Installer. Those settings are defined
in the Access Management area at the bottom of
this page. The default passwords are:
Installer: installer
Expert User: expert
If you are a dealer or custom installer, you
are advised to change these passwords and
document them. Similarly, if you are a client and
SP4 Immersive Surround Processor
wish to lock other users out of settings, you may
wish to change default passwords as well.
If you have forgotten your passwords and have
locked yourself out of the SP4, you can reset
them back to default by following the procedure
“Default Passwords” on page 7.
6. Access Management
This area permits a user logged in as installer to
assign access to specific setup functions to the
Expert User. For example, if the SP4 is installed
at property with technical staff, the installer may
wish to permit the Expert User to make changes
to the inputs for the purposes of installing a new
source, but restrict their ability to make changes
to speaker EQ, apply firmware updates, etc. Any
setup menu marked “Y” in blue is accessible to a
user with the Expert User password.
Note that after making any changes, you
must press the SAVE button near the top
right of the screen or you will loose your
Input Settings
The SP4 permits the installer to create access to
sources in a very intuitive way for the end user. The
installer is advised to title inputs thoughtfully and
without ambiguity. No longer must an end user
remember which physical input is attached to a
particular source component. Further, only inputs
specifically configured as ACTIVE will be available
from the remote control. Finally, multiple inputs
can be created from a single source component
for the purposes of loading separate settings. For
example, you may have an input titled ‘CD Music’
that accesses a Blu-Ray player attached to HDMI 7
that by default downmixes everything to stereo and
another input titled ‘Blu-Ray Movie’ that accesses
the same source component but upmixes all audio
to Dolby Surround.
1. Active
Any input with a blue Y is accessible from remote
controls. To disable access to an input, click the
Y and it will change to an N and gray out the
entire row thereby disabling access to this input.
You are advised to disable any input with no
source component attached.
2. Input
This is the name of the input that will appear
in remote control applications. By default, the
name is the same as the default audio input. You
may type in this box and change the name to
something more intuitive. Supports a maximum
of 10 characters.
3. Video In
For any given input, you can map separate video
and audio inputs except that when the audio
input is an HDMI input, the video input must be
the same HDMI input. None may also be chosen
when no video is desired.
4. Audio In
For any given input, you can map separate video
and audio inputs except that when the audio
input is an HDMI input, video must be the same
HDMI input. None may also be chosen when
no video is desired. Note that the analog input
matrix may be selected as a particular stereo
pair or as a 7.1 input.
5. Preferred Upmix
On a per input level, you may choose to engage
a particular upmixer, or leave the option set to
none. This setting overrides any preferred upmix
defined as part of a preset. So, if a preset is to
be used in conjunction with this input, and that
preset includes specifying an upmix, leave this
setting to None.
6. Trimmer
Each input may have the audio attenuated by a
SP4 Immersive Surround Processor
specific value in an effort to level match source
components and yield an expected volume level
in the room regardless of source selected. No
gain can be applied, only attenuation. The range
is -30dB to 0dB with 0.1dB precision. The + and buttons adjust the value by 0.5dB.
7. AV Delay
Each input may have a synchronization delay set
between video and audio. This range is 0-100ms
in 1ms increments.
8. Triggers
The SP4 can trigger connected devices on using
the 4 DC trigger output jacks on the back when
a specific input is selected. Most commonly,
this is used to power on the source component
connected to a specific input. To enable this
feature, the desired trigger must be set to Auto
Switching: Enabled on Input in the Settings
menu. See “Triggers” on page 26. To engage
a trigger based on input, click the gray N. It
will turn into a blue Y when the trigger will be
activated upon selection of that input.
Note that after making any changes, you
must press the SAVE button near the top
right of the screen or you will loose your
Building a Theater - Defining Channels
To assign analog outputs to particular channels,
you must build a theater. A theater may occupy as
few as 2 channels or as many as 16. There are over
70 options for theaters. Any channels left over may
be assigned to secondary multi-channel theaters, 2
channel A/V zones, audio only zones, mono zones
or if SphereAudio is installed, headphone zones. A
physical output can only be assigned to one theater
or zone.
To assign channel outputs, you must first build
a Theater or Zone. Theaters are multi-channel
systems. Zones are either 1 or 2 channel audio
or audio/video zones. Any theaters or zones
created appear to the right and are listed by
their names which you assign. By default, the
SP4 ships with a 2 channel theater configured.
To build your own, delete this theater and
create a new one. Click EDIT, then DELETE.
Click OK to confirm. You will be returned to the Main
Speakers page.
1. Create Theater
Click Create Theater to build your new theater.
Theater 1 will appear to the right of the Create
Theater button. Click Configure to proceed.
2. Select Speaker Layout
All possible loudspeaker layouts based on
available channel count are listed. A shorter
list “Recommended by Bryston” is listed by
default and contains most commonly used
options. Click All to see all possible options.
Definitions are titled by channel count in the
following order. Base Layer . LFE . Height Layer
. Top Layer. For example, would feature
9 ear level speakers, 1 sub channel, 0 height
speakers (common only for Auro3D layouts),
and 6 ceiling speakers.
For each definition, you can use the
matrix to see how compatible that layout
is with each of the 3 codecs and which
possible speaker locations are occupied.
To reduce ambiguity, you can also click
VIEW to see the layout visualized in a room.
SP4 Immersive Surround Processor
Click Select to choose your desired speaker
3. Refine Theater Definition
Once you select your desired speaker layout,
you have the option to refine certain settings.
Phantom Center: If no discrete center channel
speaker is present, checking this box will remove the
center channel from the theater definition.
Any changes made here can be visualized by
clicking the PREVIEW button. Once your theater is
defined properly, click SAVE to proceed. You will
then be directed towards a page where you can
make speaker based adjustments.
For each Theater, Sub-Theater, and zone, you
can save multiple profiles for different listening
preferences. Profiles can be recalled as part of
presets “Presets” on page 28. A profile includes
the following information: Speaker definition (multiway, levels, delays), bass management, manual EQ,
and Dirac filter design if applied.
Some clients have different EQ profiles based on the
type of content they listen to e.g. movies vs. music.
1. Rename
Ways per Speaker (LCR): For the front left, center,
and right speakers, you can define multi-way active
loudspeakers up to 3 ways per speaker.
Surround Layers: Optionally duplicate surround
channels to increase coverage in large rooms to
match seating row count.
Subwoofers: Though there is only 1 LFE channel,
you can specify the number of channels which will
drive discrete subwoofers. Unlike daisy chaining
subwoofers, each channel can have its own settings
and EQ.
Enabled Mode Layers: When using customized
Dolby Atmos up-firing loudspeakers in place of ceiling
mounted top layer speakers, choose whether these
speakers are mounted on top of the Front or Side
By default, one profile is created called New
Profile 1. You can rename this to something
more descriptive.
2. New
Click New to build a new profile from defaults.
3. Duplicate
Build a variation on a saved profile. This is
especially useful if you have a profile designed
with Dirac Live. Since you cannot edit Dirac
reference profiles directly, you can build a
duplicate and edit that duplicate.
4. Save
After any changes to a profile or creation of a
new one, you must SAVE your changes.
Custom Channel Duplicator: Check this box and
enter the number of duplicates for any channel in the
Test Tone Generator
The SP4 includes a highly configurable test tone
generator which can be used to help manually
calibrate channels.
1. Generator
Click this button to turn on the tone generator.
It will automatically start with Group 1. The
channels outputting sound will be highlighted in
2. Setup
Unlike traditional generators, the SP4 will not
strictly play tones one channel at a time. Click
Setup to assign channels to groups. Each group
may contain one or more channels. For example,
if you have 2-way active loudspeakers, you
may wish to group the high frequency and low
frequency component of each into one group.
Choose the type of noise or tone created by the
Sine: Generates a sine wave at the frequency
Pink Noise: Generates full bandwidth pink noise
Pink Noise 400-4kHz: Generates pink noise band
limited to one decade. This is particularly useful
when setting relative levels between channels with
dramatically different useful bandwidths. Remember
SPL meters measure not only sound pressure but also
4. Gain
The gain figure can be set so that the noise
generator operates at a level at or below that of
a normal source playing at 0dBFS. Default is 0.1
5. Group
When the noise generator is active, use this
function to play the noise through different
groups defined in “2. Setup”.
6. RTA
3. Noise Selection
When a USB microphone (such as the optional
Theater Acoustic Diagnostic Kit) is connected
to the SP4, you can use the Real Time Analyzer
to visualize the response of loudspeaker
groups in the room. Note that the built in RTA
is not accurate enough to use for calibration,
but is useful for getting a good idea of the
SP4 Immersive Surround Processor
approximate response of the system. Maximum
level of the capture can be set by adjusting
Mic Ref Level. Graph vertical scale can be
changed from Logrithmic (default) to Linear.
7. Dirac
See “Dirac Live” on page 23 for use of optional
Dirac Live Calibration Tool.
8. Volume Reference
It is good practice when calibrating systems
to always work at a reference level such as
85dB C-weighted. Before activating the noise
generator, make sure the master volume is at
a low level. Set and recall a reference master
volume value. Click SET once you have dialed
the value you’d like to store. Click RECALL to
quickly return to that value.
Individual Channel Adjustments
Once your theater is defined, each channel can
be individually fine tuned. The theater can also be
renamed, and a child theater can be created which
enables stereo left, right, or mono audio to be
routed to existing channel assignments.
9. Channel Status
Each channel is enabled by default. If for some
reason this channel needs to be disabled, click
the ON button. It will turn to OFF and audio will
no longer be routed to that channel. Note that
audio will not be re-routed to other channels.
Channel status is set per Theater / Zone and is
not stored as part of a profile.
Each channel can have up to 10 channels of
parametric EQ configured. See “Channel EQ” on
page 20 for detailed EQ options. EQ settings
are stored as part of profiles.
Channel Name
Size / Filter
Indicates which signal is routed to this output.
Should you desire to remap signal routing, you
can do so with Output Mapping. See “Output
Mapping” on page 19 for details.
Customizable name to easily identify each
channel. By default, these are named for the
signal sent to each channel. You may decide
to change these to speaker model or another
unique identifier. Maximum allowable character
count is 25.
Identify each channel as either Large, Small,
or Large and Sub. When a channel is set to
Large, no bass is redirected from this channel
to the subwoofer. Use this setting when the
loudspeaker has sufficient bandwidth and
output capability to reproduce sufficient
bass. When a channel is set to Small, bass in
this channel is redirected to the subwoofers
according to the Frequency and Slope for that
channel. Large and Sub is a special case that
not only allows that channel to reproduce full
bandwidth audio, but also duplicates bass in
that channel to the subwoofer(s) according to
the Frequency and Slope for that channel.
Subwoofer channels have specific settings. By
definition, subwoofers have limited bandwidth
and some are more limited than others.
Low Pass LFE: When this is set to ON, the subwoofer
channel has a low pass filter applied according to
that channel’s Frequency and Slope. This is designed
to limit the channel’s ability to reproduce the upper
portion of the bass spectrum. This is usually done to
prevent the subwoofer from contributing midrange
Subsonic SUB: When this is set to ON, a high pass
filter is applied to the channel which restricts the
subwoofer’s ability to reproduce very deep bass
according to the frequency and slope defined for
that channel. Many subwoofers, especially smaller
models do not have the amplifier power or driver
displacement required to accurately reproduce very
deep bass. By actively filtering very deep bass away
from the subwoofer, it is better able to reproduce
bass within it’s useful bandwidth.
* Items 14 and 15 pertain to Standard Bass
Management Mode in which the crossover point
and slope defined apply to both the high pass and
low pass sides of the filter equally. For Expert Bass
Management, see “Expert Bass Management” on
page 19.
When the channel is set to Small or Large and
Sub, the Frequency defines the point below
which bass in this channel is routed to the
subwoofer(s). Note that the frequency is the
-3dB point along the slope defined in the next
column and is not an absolute cutoff point.
The rate at which bass is ‘crossed over’ into the
subwoofer when the channel is set to Small or
Large and Sub. LR 12dB and LR 24dB are 2nd
order and 4th order Linkwitz Riley alignments
With LFE
When a channel is set to Large or Large and Sub,
this channel can optionally reproduce LFE bass
which would normally be the sole responsibility
of the subwoofer channels. When set to None,
no LFE will be mixed into this channel. When
set to a figure between 0dB and -20dB, LFE bass
attenuated by that figure will be mixed into
this channel. This feature is useful when the
main channels have sufficient bandwidth AND
dynamic range to support the subwoofers in
creating an appropriate amount of bass sound
pressure in the room.
Items 16-21 apply to settings found in the ‘Delay,
Level, Limiter, and Phase’ section.
Delay units
Delay per Channel
Choose whether to measure channel delays in
meters (default), feet, or milliseconds.
Each channel should have distance/delay set
beteween that loudspeaker and the sweetspot.
You can define this in meters (default), feet, or
ms depending on your setting in 16.
Set the level of each channel in between -100dB
and +12dB in 0.1dB increments. Best practice is
to set other channels to a negative figure relative
to the loudest channel to avoid clipping when
possible. Global gain makeup can be applied to
the theater when the relative level of the theater
is too low (usually a result of a high degree
of correction due to Dirac Live’s mixed phase
SP4 Immersive Surround Processor
filters). Use global gain makeup judiciously to
avoid clipping.
To prevent distortion due to loudspeaker
overdriving or amplifier clipping, you may wish
to engage a limiter on a channel. When enabled,
a compressor will attenuate audio above the
threshold set by the Limiter Value for that
channel back down to that value. For instance,
if the limiter is enabled and set to -3dBFS, any
audio that exceeds -3dBFS will be reproduced
at -3dBFS. By their nature, limiters are not ideal
acoustic solutions, but this feature can prevent
subjectively worse sounding distortion, or in
extreme cases, damage to loudspeakers or
amplifiers. If you find that you are aggressively
using the limiter function, you are encouraged
to upgrade loudspeakers and/or amplification.
Speakers may be set to one of the following 4
Small: Channel is high pass filtered according to the
HPF frequency and slope. Bass is routed to subwoofer
channels according to frequency and slope defined
by LPF frequency and slope. Small speakers cannot
have subwoofer or LFE bass mixed in.
Large: Channel is not band limited. Channel can
have subwoofer and/or LFE bass mixed in.
Large and Sub: Channel is not band limited, but a
copy of bass for this channel is routed to subwoofer
channels as well. Set the frequency below which bass
should be sent to the subwoofer and the slope at
which the crossover occurs.
Large with Sub: This special case enables you to
effectively split a full range loudspeaker into a “small
speaker” plus “virtual subwoofer”. The HPF frequency
and slope define the characteristic of the “small
speaker” portion. LPF frequency and slope define the
virtual subwoofer characteristic.
Phase Invert
Check the box for any channel you in which you
wish to invert polarity.
Expert Bass Management
When it is desirable to fine tune subwoofer
integration beyond what is possible in Standard
Bass Management Mode, you may select Expert.
The flexibility within can achieve greater subwoofer
integration, but should only be used by calibrators
with sufficient skill otherwise comparably poor
results may be inevitable. Compared to Standard
mode, Expert includes the following features:
Additional Size/Filter options
Ability to separate HPF and LPF frequency and slope
per channel
1. Size/Filter
Ability to mix SUB bass (not just LFE bass) back into
channels set to Large, Large and Sub and Large with
Output Mapping
Should you wish to map a physical analog
output channel to a loudspeaker other than
the default assignment, you may do so from
the Main Speakers page. Click Output Mapping.
Using the New Output column on the right of the
pop-up menu, select a new output channel. If you
choose a currently occupied new output channel,
that channel will be automatically reassigned. Save.
Full Range, Low Pass Filtered, Middle (band pass), or
High Pass Filtered audio. Two-way speakers will not
have Middle option.
Multi-way Loudspeaker Setup
During the initial Theater Definition setup, you
have the option of defining the front LCR speakers
as multi-way. Doing so will assign 2 or 3 output
channels to each speaker instead of 1. In this
configuration, more than 1 amplifier will be used
per loudspeaker, and the SP4 will perform the
crossover function for each loudspeaker.
All settings in the Bass Management section
detailed in “Individual Channel Adjustments” on
page 17 and “Expert Bass Management” on page
19 also apply and will not be covered again here.
This section only describes the differences notable
for multi-way loudspeaker configuration.
1. Signal
Note that in this example (Left Front is a 3-way
active loudspeaker), Each of the first 3 channels
receives the same Left Front signal.
2. Channel Name
By default, the channel names are named by
the signal they receive and proceeded by a
sequential number. For clarity, you may wish
to rename these according to the signal they
reproduce e.g. Left Front High, Left Front Mid,
Left Front Low.
3. Multi-way Management
Use this section to filter the signal for each
Section: Choose whether each channel reproduces
Crossover Frequency: When the section is chosen
as anything other than Full Range, set the crossover
frequency for the Low and High Pass filters for each
Slope: For each filter, select a slope. Options are
Butterworth 6dB / oct, Butterworth 12dB / oct,
Butterworth 18dB / oct, Linkwitz Riley 12dB / oct, and
Linkwitz Riley 24dB oct.
4. Delay
Set the delay of each section. For active multiway loudspeakers, it may be helpful to do this
in milliseconds and measure time-of-arrival
differences at the crossover point when using
LR or BT6 filters to time align each section of a
multi-way loudspeaker.
5. Level
Active multi-way loudspeakers almost certainly
have different sensitivities per module. Set the
relative level of each here. When possible, use
0 as the maximum figure and attenuate other
channels to match the loudest channel. You
can also set global makeup gain for the entire
theater as described in “19. Level” on page 18.
Channel EQ
Each channel can have up to 10 bands of parametric
EQ applied manually. To design EQ curves for
any channel, click the EQ button under the Status
column for that channel. Remember to SAVE often!
SP4 Immersive Surround Processor
1. EQ Bypass
When developing a custom set of EQ per
channel, it is sometimes helpful to bypass
the entire group of EQ to check your progress
against the starting point.
2. Filter Shape
Each filter must begin with a variation of one of
5 types.
Low Pass: Continuously declining output above a
cutoff frequency at a defined rate.
High Pass: Continuously declining output below a
cutoff frequency at a defined rate.
Bell: Band pass or cut filter with a defined center
frequency, boost or cut amount, and Q.
Low Shelf: Boost or cut frequencies below a cutoff
frequency by a fixed amount.
High Shelf: Boost or cut frequencies above a cutoff
frequency by a fixed amount.
For LPF, HPF, and Bell filters, choose
Butterworth 12dB/oct, Butterworth 12dB/oct
inverse, Linkwitz Riley 12dB/oct, Linkwitz Riley
12dB/oct inverse, Butterworth 24dB/oct, or
Linkwitz Riley 24dB/oct.
3. Frequency
Each filter requires that a center or cutoff
frequency be specified. You can enter this
number directly in the text box or increment/
decrement by the amount chosen in the header
row using the +/- buttons to the right. Or, you
can use the slider.
4. Gain
Bell and shelving filters require that you set
the amount of boost or cut. You can enter this
number directly in the text box or increment/
decrement by the amount chosen in the header
row using the +/- buttons to the right. Or, you
can use the slider.
5. Quality Factor / Bandwidth
Bell filters require that you specify a Q. High Q
affects a narrow bandwidth, and low Q affects
a wide bandwidth. You can enter this number
directly in the text box or increment/decrement
by the amount chosen in the header row using
the +/- buttons to the right. Or, click a fractional
or multiple octave button to automatically
calculate Q.
6. Bypass / Reset
In the course of designing your filter, you may
wish to measure or listen to progress compared
to the absence of that filter. Click Bypass to
temporarily omit that filter from the aggregate
curve. Click Reset to reset that filter back to 0.
7. Copy to Channel
You may wish to duplicate your filter set to
another channel without manually rebuilding it
for each identical channel. Select a channel to
copy the current filters to and click COPY.
8. Channel Select
Select the desired channel to equalize here.
Child Theater / Sub Theater
You may optionally create alternate speaker
definitions in your theater with some restrictions.
For example, if you wish to have music playing
before the movie plays before everyone is seated
and quiet, you might only want that music playing
from the overhead speakers so as not to interfere
with conversation. In this case, you can define a
child theater so that stereo left/right audio is played
only through the top speakers (as in the example
Child theaters behave just like zones or main
theaters in that they can be selected as outputs,
programmed into presets and can have multiple
Note that though multiple Child theaters can be
designed per main theater, signal assignment is
common to all.
1. Create Child
From the Main Speakers page, Edit your theater.
Click Create Child. A window will appear with a
list of loudspeaker names and their channel ID.
2. Zone Signal
For each loudspeaker, select the signal to be
played. You may choose Stereo Left, Stereo
Right, Mono, or None. Subwoofer channels can
play Subwoofer signal or None.
3. Keep Dirac Profile
If you have created a Dirac profile for the parent
theater, you have the option to retain that
calibration for the child theater.
4. Save/Close
Save when done, or Close to cancel.
5. Bass Management / Delay Level Phase
Child theaters have comparably limited options
compared to full theaters. If a child theater
includes a subwoofer channel, the full range
channels are forced to small. In this case, you
can adjust the crossover frequency, slope and
subwoofer subsonic filter. If no subwoofer
channel is enabled for the child theater, the
main channels are forced to large. No Expert
Bass Management is available for Child
Zones are mono or stereo, and with or without
video output or can be dedicated to headphone
playback when used with an external headphone
amplifier like the BHA-1. Stereo Audio/Video and
Headphone Zones include provisions for adjusting
lip sync. Audio only zones do not. Zones occupy
unused channels and can play concurrently with
a theater or without one. Note that system wide,
only one input may be selected at once. That is, you
may not have different content playing to a zone
SP4 Immersive Surround Processor
than what is going to the main theater. Zones have
all the same features of a main theater except that
channels are always “large”, they cannot include
subwoofer channels, and they are limited to mono
or stereo. In order to control a zone, it must be
included in the preset that is currently selected in
the remote control. See “Presets” on page 28 for
more details.
Dirac Live
Dirac Live is a highly advanced calibration tool
which uses sophisticated mixed-phase filters to
compensate for loudspeaker and room deficiencies
in order to provide optimal acoustic performance
of your theater. Though all SP4s are compatible
with the Dirac Live Calibration Tool, it is an optional
purchase. The software license and calibration kit
are usually purchased by the installer, however,
they are available for purchase by the end user as
well. If you have not purchased the license and/or
calibration kit and would like to do so, please speak
with your Bryston dealer or with Bryston directly.
All Theaters, zones, and child theaters can be
calibrated with Dirac Live. Presuming you have a
license and calibration kit, prepare your SP4 for
calibration by following the steps below.
1. Define Speakers
For each theater or zone you will calibrate
using Dirac Live, ensure that you have correctly
defined each speaker’s Size/Filter, Frequency
and Slope, multi-way speaker definitions and
other Bass Mangement parameters. (“Individual
Channel Adjustments” on page 17)
2. Download and install Dirac Live
Calibration Tool Software
You can download a Mac or PC version of
the software at
Even if you own a Dirac Live license for another
branded product, it will not work for the SP4.
Only the StormAudio/Bryston branded version
of the software available from Bryston is
Install the software on the laptop you will use to
calibrate the SP4. Enter the e-mail you used to
license the software and your password. Note
that the laptop will need to be connected to the
internet to validate your license.
3. Prepare Calibration Hardware
Although we recommend using the kit we
provide which includes the UMIK-1 USB
microphone, other hardware may be compatible
with the Dirac Live Calibration Tool. This guide
will only cover our hardware.
Connect the UMIK-1 to your laptop. Note the
serial number on the microphone. Navigate to Enter the serial number
to obtain your unique calibration files.
4. Choose Theater or Zone to Calibrate
From the Main Speakers (A) menu
in the SP4 web UI, EDIT (B) the
theater or zone you wish to calibrate.
5. Select Base Profile
Select the profile which will serve as the
basis for your Dirac Live calibration from the
dropdown menu.
6. Setup Dirac Groups
It is recommended that if your theater includes
multiple subwoofers, manually correct levels,
EQ, and delay for each. Then, group all the
subwoofer channels together for the purposes
of Dirac Live calibration. Also, manually build
any crossover and EQ settings for active
loudspeakers. Group separate elements of a
single active loudspeaker together e.g. Low,
Mid, and High components of the LEFT FRONT
should be in a single generator group. Click
the SETUP button (C) beside the Dirac button.
9. Configure Microphone
In the Recording Device dropdown menu,
choose the UMIK-1 (A). Load the microphone
calibration file (B) downloaded in step “3.
Prepare Calibration Hardware” on page 23.
Of the two files downloaded, the one marked
“...90degree.txt“ is preferred when placing the
microphone in an upward facing direction.
Channels that should play together during
calibration should share a group number (D).
7. Initiate Calibration
Press DIRAC (A) to ready the SP4 for calibration.
A popup describing the process will be shown
in the web UI. Verify that you are calibrating the
correct theater or zone based on the correct
profile. If not, cancel and return to step 4. Once
verified, click Start New Calibration.
8. Return to / Open Dirac Live
Calibration Tool Software
It is wise to save the project (C) along each step
of the calibration in order to make recovery from
interruptions easier. Also, measurements can be
reused in order to regenerate a new filter design
following adjustments to the target curve. Click
Set Levels
Open the DLCT software on your laptop. It will
scan the network and automatically find the
SP4 ready for calibration. If it does not, manually
enter the IP address of the SP4. Click Proceed.
Now that the microphone is connected, ensure
that the room is quiet. Adjust the input gain
(A) so the background does not exceed -24dB
in the meters. Set the output volume (B) to a
low level (-40dB for example). Start the test
noise by pressing the PLAY button (C) on the
first channel and adjust the volume to reach
SP4 Immersive Surround Processor
-12dB in the channel’s meter. For each channel,
activate the test noise and correct the channel
volume using the corresponding slider (D) so
that the meter reads approximately -12dB.
Note that all channels are automatically listed
and subwoofers are automatically identified.
Remember that it is important that multi-way
speakers and subwoofers have already been
individually aligned and grouped therefore will
appear as one loudspeaker. Click Proceed (E).
11. Measure Acoustic Response of
Sweet Spot
listening positions. With each measurement,
the waveform graphic will update. Click Proceed
when done with all 9 measurements.
Target Curve
Once all measurements are complete, you
can visualize measurements of each speaker.
You can customize the target curve for
each speaker by (A) limiting the correction
window and (B) dragging anchor points
on the target curve to desired locations.
Place the microphone in the exact sweet spot
of the room at ear level to begin. It must be in
the left-to-right center of the room since it will
be used for loudspeaker distance and level
calculations. Select the type of listening area
you wish to define. Chair is for a single listening
position, Sofa is a somewhat wider range of
listening positions, and Auditorium is the widest.
Start the measurement by pressing the START
button. The measurement waveform graphic is
updated in real time.
12. Measure Acoustic Response of
Remaining Positions
Once the first measurement is taken, that
position will turn green indicating successful
capture. Move the microphone to the next
position indicated in the diagram. Use the View
Menu to rotate the diagram to clearly identify
the next position. Repeat measurements for all
Clicking Auto Target (C) will generate a good
target response curve that respects the
bandwidth of the speaker and does not try to
apply too much gain to areas of low output.
Good target curve design is beyond the scope of
this document, but there are some key points to
Do not attempt to boost bass of a loudspeaker below
its low frequency limit as this will only lead to high
distortion and likely damage
High quality speakers usually benefit from limiting
the correction window to low frequencies.
Ideal curves usually have a slightly downward slope.
A loudspeaker may have a flat amplitude response on
axis, but will rarely be flat off axis.
Aim for identical target curves between channel pairs
(such as Front Left and Front Right) to obtain the best
spatial imaging.
Save the Target Curve (D) for use in another
channel or for other future use. Repeat for all
Export Filters to SP4
In this last step, filters created in “Step 13.
Target Curve” on page 25 are exported to
the SP4 and combined into the new profile
selected “Step 5. Select Base Profile” on page
Note that each time you go through the Dirac Live
process, the former filter design gets replaced. Each
time the calibration is run, a new profile is created
with the new Dirac Live correction.
Return to Speakers Page
Now that you are back at the page where
individual speakers can be edited, you will
notice the new Dirac reference profile you
named in the previous step is selected. New
columns created indicate the calculated Dirac
Delay and Dirac Level. No changes can be
made to this reference profile. Should you wish
to make changes, duplicate the profile, make
desired changes to the duplicate, save changes
to the profile and the theater. See “Profiles” on
page 15.
Drag and drop the blue project file into the
StormAudio-Processor ‘SP4-host’ slot.
Save the project and click EXIT.
save (D) to continue. For corrections made to
a zone, options are not available. Simply click
Settings Menu
Return to SP4 web UI
The SP4 includes a variety of system wide
settings that are set in this menu that govern
behavior of the unit. Ensure these are set
as required for easy operation of the SP4
and any attached devices. These are only
accessible to those with Installer level access
or Expert User if assigned by the Installer.
A popup has been updated to confirm
that you wish to combine the Dirac
Live corrections with the base profile.
For corrections made to a theater, you may
change the default name of the new profile (A).
Select the correct listening area that you used
to make the Dirac Live corrections (B). You may
also change the name of the curve type (C) to
indicate the type of target curve you used. Click
The SP4 has 4 independent DC voltage triggers
which can be configured to modulate the power/
standby status of connected equipment such as
projectors, source components, or amplifiers.
You may keep the default name for each trigger, or
rename them to something more descriptive. Each
trigger has the following options available:
Manual Switching: Turn on to enable a button on
the remote control interfaces that allows a user to
toggle the trigger manually.
Auto Switching: Enabled on Wake activates the
SP4 Immersive Surround Processor
trigger when the SP4 is powered on from standby.
It will not automatically deactivate the trigger when
the SP4 is placed into standby. Enabled on Input
makes the trigger available in the Input Menu. When
set to Y for an input, the trigger activates when that
input is selected from a remote interface. See “8.
Triggers” on page 13. Enabled on Preset makes the
trigger available in the Preset menu. When a preset is
selected in which a trigger is marked Y, the trigger is
activated. Note that Auto Switching trigger behavior
will override any Manual Switching behavior.
Audio/Video General Delay per AV Zone
Disabled on Sleep: Select Y if the trigger should
deactivate when the SP4 is placed into standby.
Active State: Select whether the active state for the
trigger is 12V or 0V.
Settings that govern behavior of the front panel
Delay: You may wish to set a delay of up to 8
seconds. Usually this is done if you are using triggers
to activate amplifiers. If all amplifiers power on at
once, the inrush current could trip a circuit breaker.
Note that all Bryston amplifiers since the SST series
feature SoftStart circuitry which slowly ramps up
power into the amplifier. Bryston amplifier triggers
may be daisy chained so that only once the preceding
amplifier is fully powered does the following amplifier
initiate it’s power up sequence thereby obviating the
need for a delay (or multiple triggers) when using
modern Bryston amplifiers.
Set the global lip sync delay for each theater, A/V,
and Headphone zone here. Max value is 250 ms.
System Setup
Enable fast boot to substantially decrease power on
time of the SP4 at the expense of greater standby
power consumption.
Front Panel
Active Brightness: Brightness of the screen
when the screen is actively being used.
Standby Brightness: Brightness of the screen
when not actively being used.
Standby Timeout: Length of time elapsed
between active use of screen and reduction of
brightness to standby level.
Zoom on Changes: When on, changes made
via remote control (input, volume, etc.) will
temporarily be shown in a large type so these
changes can easily be read from across the
IR Remote Control Function Assignment
Downmix zone: define whether the dedicated
downmix outputs feed an audio only zone or an
audio video zone. When A/V, lipsync adjustment is
available in that zone’s remote control functions, and
that zone’s general delay can be set using the setting
Audio Control Range MAX: Set the maximum
allowable volume. +6db (default), +3dB, 0dB.
Volume Dim Level: To quickly attenuate the volume
(but not mute it), a user can click Volume Dim. Set the
level of attenuation here. Default is -20dB.
Expand Inputs and/or presets to assign up to 6
inputs and 5 presets to discrete buttons on an IR
remote control. Note that many “universal” remotes
also have the ability to cycle through all available
inputs or presets so even if you have more than 6
or 5 respectively setup, they can still be accessed
via IR. Remember that the SP4 has no front panel
IR receiver, so any IR commands need to be sent
to a module connected to the IR input on the back
Presets provide the installer with a way to group
specific settings together into a scene which can
be easily recalled by the end user from a remote
control interface. By using presets, the installer can
make use of the SP4 - a highly complex and capable
theater controller - extremely simple and enjoyable
to operate.
Each preset includes the following settings:
1. Preset Name
Title the preset according to the usage case. For
instance, if the entire family gathers together
to watch movies, Movie Night. Max of 12
2. Active
When Y, the preset shows up in the list of
selectable presets on the remote control. When
N, the preset information is retained, but not
available to select from the remote control.
3. Theater
The preset must include which theater to play.
The list includes Theaters, Child Theaters, and
if the optional SphereAudio license is installed,
SphereAudio. It does not include zones.
4. Profile
Each theater can have multiple profiles to
choose from. Select the profile which will be
loaded by default when the preset is chosen.
5. Dirac Room / Dirac Curve
If the theater is calibrated with Dirac Live, the
listening area and curve description you entered
in “15. Return to SP4 web UI” on page 26 will
be indicated.
6. Audio Zone
You may choose to route audio to 0 or more
zones as well. When zones are checked, they
are accessible and controllable from the remote
control when this preset is selected.
7. Triggers
When triggers are set to Auto Switching: On
Preset as described in “Triggers” on page 26,
they can be assigned to presets here.
8. Upmix
Though the upmixing behavior is accessible
from the remote control at all times, you may set
the default upmix for the preset here.
9. Delete / Create
Delete any unused presets by clicking Delete in
the correct row. Create a new preset by clicking
Any changes to presets must be saved.
SP4 Immersive Surround Processor
is Native, you will see activity on LF, CF, RF, SUB,
LS and RS channels. Useful for verifying if audio
should be present on an output.
If you have purchased the Theater Acoustic
Diagnostic Kit and have installed the monitoring
license that comes with it, you have access to
the Monitoring page which provides detailed
information about the operation of the SP4.
1. Product Information
7. Logging
Model, serial number, IP address and firmware
version information are listed.
2. Basic Status
Indiicator and control over On/Standby, Mute,
and system restart as well as malfunction
3. Temperature / Fan Speed
Two indicators show the current temerature
(black line) and rear fan speed. Orange markers
indicate current settings for system warning and
critical high temperature. These thresholds can
be changed in Monitoring settings by clicking
the gear icon. Default is 55c and 60c.
To view items 4-6, click the VU Meter button to
expand the page.
4. Decoder
Visualize the realtime level of audio channels
being received by the decoder. For example, if
2 channel PCM is being received, you will see
activity on LF and RF.
Visualize audio output on the HDMI outputs and
XLR downmix outputs.
Logging is a useful feature to help identify
strange behavior with potential problems
caused by heat. Click the graph button to show
a line chart of either temperature or fan speed
over time. Use the options in the popup to
choose timeframe, zoom or move around the
plot or export the image.
8. Details
Click to expand a window showing detailed
information about audio and video coming into
the player including format, resolution, color
space, copy protection and more. Important
information about the video transmission is
also detailed. Compare this information against
the compatibilities of connected hardware to
diagnose errors in picture or sound. Further, it
shows real time health of various power supplies
in the unit which power specific modules. This
can be a useful tool to diagnose features that
are malfunctioning.
5. Outputs
Visualize real time audio output of each output
channel on the rear panel. For instance, if 5.1
audio is being received and the current upmix
Web UI Remote Control
Using any modern device with a web browser,
one can access the remote control. When not
logged in as an expert user or installer, the remote
is accessible as well, but the header (above Main
Source) is not visible. The web UI remote control is
best used with a computer or tablet. It can be used
with a mobile phone, but items do not properly fit
the screen. iPad users can also download the iPad
app from the app store.
Mute: Cuts sound to the currently selected theater.
Vol Dim: Immediately attenuates volume by the
amount specified in “Parameters” on page 27.
Default is -20dB.
Loudness: Boosts bass and treble to sound more
impactful when listening at lower levels (green curve)
Cinema EQ: Compensates for mixes that sound too
bright in smaller rooms by slightly attenuating audio
above approximately 5 kHz (pink curve).
LFE Dim: In some cases, movies encoded with Dolby
may have bass that appears to be too loud. Use LFE
Dim to attenuate the LFE channel by -10dB.
1. Input Select
Any inputs enabled on the Inputs setup page
will appear here titled according to your setup.
See “Input Settings” on page 12. The currently
selected input will be highlighted in blue. Tap
any input to select it.
2. Power
Toggle the standby/ON status by pressing this
3. Main Volume
5. Preset & Audio Decoder Options
Use the Preset dropdown menu to select the desired
preset. Remember that Preset includes activating
a specific theater, so if your SP4 includes multiple
theaters, you should have presets available for each.
See “Presets” on page 28.
Audio Stream: Indicates real time information about
the incoming audio of the selected source.
Preferred Upmix: Native plays audio back in the
recorded format and/or channel count according to
Adjust the volume in the currently selected
theater by pressing the +/- buttons. One press is
a 1dB increment.
4. Mute / Dim / Loudness / CEQ / LFE Dim
This section contains easy access to select
SP4 Immersive Surround Processor
the source material. Stereo Downmix will downmix
surround material to 2 channel played through front
left and right (and sub if loudspeakers are configured
as Small or Large and Sub) loudspeakers only.
Dolby Surround, DTS Neural:X and Auro-Matic will
force any legacy surround audio into one of these 3
formats. Immsersive source audio will be rendered
natively and this selection will be grayed out.
DRC: Dynamic range control for Dolby and DTS
streams. On will reduce the range of volume levels
on the soundtrack by compressing the loudest
sounds. Auto will engage DRC when directed to by the
6. Triggers
Any triggers configured for Manual Switching
(see “Triggers” on page 26) will have a button
available here. Clicking one of these buttons will
toggle the trigger and therefore the connected
7. Temporary Audio Adjustments
Even though you may have meticulously
calibrated the theater in Main Speakers settings,
some material may sound best with slight
adjustments. Adjustments here are temporary
and reset to 0 with each change of Preset.
Center Enhance: Adjust the level of the center
channel between -6 and +6dB in 1dB increments.
Surround Enhance: Adjust the level of the surround
channels between -6 and +6dB in 1dB increments.
Sub Enhance: Adjust the level of the subwoofer
channels between -6 and +6dB in 1dB increments.
Bass: Tone control to adjust the bass level in the
entire theater using both the subwoofer and main
channels between -6 and +6dB in 1dB increments.
Treble: Tone control to adjust the treble level in
the entire theater between -6 and +6dB in 1dB
Brightness: Tilt the tonal balance of the presentation
towards darker timbre (negative figures) or brighter
timbre (positive figures).
Lipsync: Temporarily adjust lip sync delay to
accommodate some sources. Note that this is also
reset every time a new input is selected, so if you
find yourself regularly setting this to the same figure,
adjust the delay either per source (“7. AV Delay” on
page 13) or for the entire theater (“Audio/Video
General Delay per AV Zone” on page 27).
8. Zone Control
Within the configuration for each preset, you
may select auxillary zones which may be
enabled. If zones are enabled for the currently
selected preset, you may choose them from
the dropdown menu and individually adjust
volume, bass, treble, mute for each. A/V and
Headphone zones also include a temporary
lipsync adjustment.
Note that at this time, zones will listen to the
same source as the main theater currently
iPad App
Apple iPad users can download the app
called SP4 Remote and control their SP4
using features identical to those found in
the web UI remote control. Once the app
is downloaded, enter the IP address of the
player in the setup screen and press Connect.
Touch one of the 5 icons at the bottom of the screen
to access features found in the web UI remote.
Audio Specifications
Audio Formats:
Max Input Channels
Max Output Channels
Max Input Sample Rate
Bass Management Ch.
Multi-way speaker XO
HDMI Specifications
Dolby Atmos
+ Legacy formats
16 XLR
+ Optional 16 Channel
RCA Dual-Theater
192 kHz
6, 12, 18, 24 dB/Octave
10 band PEQ per channel
Inputs / Outputs
Output Specs
1 ea. HDCP 2.2 / HDMI 2.0
1 ea. HDCP 2.2 / HDMI 1.4
(mirrored outputs)
Input Specs
Max Resolution
Deep Color Support
Control Modules Available:
DC Trigger
3 ea. HDCP 2.2 / HDMI 2.0
4 ea. HDCP 2.2 / HDMI 1.4
4K 60fps 4:4:4 8bpc
Control 4
Rear panel I/O
4 ea.
Software assignable to inputs, presets, on/standby
or manual operation
WebUI: Setup & remote
iOS App: Remote control
100 Mbps Ethernet
Rack Mounting
RCA Output
SphereAudio surround
Monitoring and
diagnostic USB Mic Kit
Dirac Live
Rack ears included
Extra 16 channel RCA
output module
Weight and Dimensions
SP4 Immersive Surround Processor
Installation Notes
SP4 Immersive Surround Processor
Bryston Limited | 677 Neal Drive | Peterborough, Ontario K9J 6X7
Canada | Phone: 705-742-5325 |
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF