Classe audio Ssp-75 User manual

OWNER’S MANUAL

SSP-75

Preamplifier/Surround

Sound Processor

V1.0

SAFETY INFORMATION

1. To prevent fire or shock hazard, do not

expose the SSP-75 to water or moisture.

2. Do not place the SSP-75 close to any heat-

producing device such as a radiator, stove, etc..

3. Connect the SSP-75 only to an AC source of

the proper voltage. The shipping container and

the rear panel serial number tag will stipulate

the proper voltage. Use of any other voltage

willalmost certainly damage the unit and will

void the warranty.

4. Do not open the SSP-75 for any reason, as there

are no user serviceable parts inside. An open unit,

particularly if it is still connected to an AC source,

presents a potentially lethal shock hazard. Refer all

questions to authorized service personnel only.

5. If the SSP-75 will be out of use for an extend

period of time (vacation, etc.), unplug the power

cord from the AC source to prevent any chance of

problems from a voltage surge.

CE NOTICE

All of us at Classé take extreme care to insure that

your purchase will become a prized investment.

We are proud to inform you all Classé Audio

components have been officially approved for

the European Community (CE) mark under CE

Certificate Number C401CLA1.MGS granted on

18 July, 1996.

This means that your Classé product was

subjected to the most rigorous manufacturing

and safety tests in the world. The CE mark certifies

that your purchase meets or exceeds all European

Community requirements for unit-to-unit

consistency and consumer safety.

The SSP-75 is manufactured under license from

Dolby Laboratories Licensing Corporation. It is

additionally licensed under one or more of the

following patents: U.S. number 3,959,950,

Canadian numbers 1,004,603 and 1,037,877.

Manufactured under license from Lucasfilm Ltd.

U.S. patent numbers 5,043,970; 5,189,703; and

5,222,059. European patent 0 323 830. Other

patents pending.

Additionally, the SSP-75 is manufactured under

license from Digital Theater Systems, Inc.

Dolby® Pro Logic®, and Dolby Digital® are

registered trademarks of Dolby Laboratories

Licensing Corporation.

DTS® is a registered trademark of Digital Theater

Systems, Inc.

Lucasfilm and THX are trademarks of Lucasfilm Ltd.

THANK YOU FROM EVERYONE

AT CLASSÉ

Thank you for purchasing the Classé Audio SSP-75

Preamplifier/Surround Sound Processor.

We take great pride in offering components that

combine exceptional sonic performance and long-

term reliability. To do that, we have invested in

extraordinary design and manufacturing facilities.

We trust that you will enjoy your purchase for many

years to come.

CLASSÉ DESIGN PHILOSOPHY

All of our components benefit from the same

rigorous design goal: All Classé products must

reproduce music with the harmonic and spatial

integrity typical of fine instruments heard in a live,

unamplified performance.

Single Circuit Design

To this end, we make extensive use of carefully

optimized versions of the same basic circuit

precisely matched to specific power requirements.

This means that all Classé line level components

and power amplifiers benefit from years of

refinement. However, our efforts do not stop here.

Listening: The Critical Design Element

Once we determine general circuit values for a

particular application, we listen carefully while

exchanging and mixing different parts (transistors,

capacitors, wiring, PC boards, etc.) and adjusting

specific operating voltages within proper

engineering ranges.

Extended Real-World Lifespan

Every Classé component, even the most affordable,

benefits from our painstaking approach to design

parameters. The result is an optimum balance

between the often-conflicting demands of

exceptional performance and long-term reliability.

Our most expensive components gain from even

tighter tolerance parts and highly segmented and

exceptionally robust power supplies with large

reserve-current capabilities.

Our Pride in Manufacturing, Your Pride

in Ownership.

We build all of our components to the highest

possible standards. From multi-layer glass-epoxy

circuit boards to the massive faceplates, every

Classé product is a tribute to both the art and

science of sound reproduction. We hope that you

derive as much pleasure and satisfaction in using

your Classé as we did in producing it.

ABOUT THIS MANUAL

The Classé SSP-75 is a very sophisticated

preamplifier/processor. Even so, although complete

understanding of the SSP-75’s many capabilities

may take some study, its elegant design and

intuitive interface invites daily use by even the

technically challenged.

We strongly urge you to read this Manual carefully

before you connect and use the SSP-75 in your

home theater system. You’ll find answers to

almost all of your questions in these pages. That

knowledge will greatly reduce your efforts as you

configure your system to take best advantage of

the SSP-75’s enormous potential.

We’ve organized the Manual for both the

experienced installer and the novice user.

The Installation Overview (Section 2) is written for

those with technical experience. It provides an

inclusive picture of the SSP-75’s capabilities and

suggests several effective system configuration

strategies.

The following Sections supply step-by-step

instructions to help the less technical user

configure and use the SSP-75 effectively.

As in all such efforts, a little patience will go a

long way to reducing the chances for frustration.

Remember, it took many talented people a long

time to design the SSP-75 and you can’t be

expected to learn everything about it in one

evening!

So relax. And enjoy. You’re about to enter

a wonderful world of high-performance

surround sound.

CONTENTS

SAFETY INFORMATION 2

CE NOTICE 2

THANK YOU 2

CLASSÉ DESIGN PHILOSOPHY 2

ABOUT THIS MANUAL 2

SECTION 1

INPUTS, OUTPUTS AND CONTROLS 4

1.1 FRONT PANEL 4

1.1.1 MODE BUTTON 4

1.1.2 INPUT–AUDIO BUTTON 4

1.1.3 INPUT–SOURCE BUTTON 4

1.1.4 CLIP AND FORMAT LED INDICATOR 4

1.1.5 STANDBY BUTTON AND LED

INDICATOR 4

1.1.6 PANEL INFORMATION DISPLAY 4

1.1.7 MEMORY BUTTON 4

1.1.8 MODE BUTTON 4

1.1.9 MASTER LEVEL CONTROL 4

1.2 REMOTE CONTROL WAND 4

1.2.1 DISP 5

1.2.2 SLEEP 5

1.2.3 STANDBY 5

1.2.4 A.CAL 5

1.2.5 STATUS 5

1.2.6 <AUDIO

1.2.7 AUDIO> 5

1.2.8 THX 5

1.2.9 COMP 5

1.2.10 <MODE 5

1.2.11 MODE> 5

1.2.12 TRIM 5

1.2.13 /\ 5

1.2.14 MENU 5

1.2.15 < 5

1.2.16 ENTER 5

1.2.17 > 5

1.2.18 \/ 5

1.2.19 DIRECT ACCESS KEYS 5

1.2.20 ZONE 5

1.2.21 MUTE 5

1.2.22 \/ VOLUME 5

1.2.23 /\ VOLUME 5

1.3 REAR PANEL 6

1.3.1 INPUT CONECTIONS 6

1.3.1.1 ANALOG AUDIO INPUTS 6

1.3.1.2 5.1 ANALOG AUDIO INPUTS 6

1.3.1.3 DIGITAL AUDIO INPUTS 6

1.3.1.4 VIDEO INPUTS 6

1.3.2 OUTPUT CONNECTIONS 6

1.2.3.1 MAIN AUDIO OUTPUTS 6

1.3.2.2 RECORD AND ZONE AUDIO OUTPUTS 6

1.3.2.3 RECORD OUT 6

1.3.2.4 DIGITAL OUTPUTS 6

1.3.2.5 S-VIDEO OUTPUTS 7

1.3.2.6 COMPOSITE VIDEO OUTPUTS 7

1.3.2.7 IR REMOTE CONNECTORS 7

1.3.2.8 DC OUTPUT CONNECTIONS 7

1.3.2.9 MISCELLANEOUS 7

SECTION 2

INSTALLATION OVERVIEW 7

2.1 SYSTEM HOOKUP: REAR

PANEL CONNECTIONS 7

2.1.1 CONNECTION TO POWER AMPLIFIER(S) 7

2.1.2 AUDIO SOURCE COMPONENTS 7

2.1.3 VIDEO SOURCE COMPONENTS 7

2.1.3.1 DIGITAL OR ANALOG? 8

2.1.3.2 LASER DISC CONNECTION 8

2.1.3.3 DTS CAPABILITY 8

2.1.4 ANALOG ONLY SOURCES 8

2.1.5 VIDEO SOURCE COMPONENTS

CONNECTIONS 8

2.1.5.1 VIDEO INPUT SELECTION 8

2.1.5.2 VIDEO OUTPUTS 8

2.1.5.3 COMPOSITE VS. S-VIDEO 8

SECTION 3

SYSTEM CONFIGURATION 9

3.1 THE MENU SYSTEM 9

3.1.1 INPUT SETUP 9

3.1.2 SPEAKER SETUP 9

3.1.3 LEVEL CALIBRATION 9

3.1.4 DELAY SETUP 9

3.1.5 OSD SETUP 9

3.1.6 SYSTEM SETUP 9

3.1.7 MODE SELECTION 9

3.2 CONFIGURATION PROCEDURES 9

3.2.1 INPUT CONFIGURATION 9

3.2.2 SOURCE CONFIGURATION 9

3.2.3 SYSTEM SETUP 9

3.2.4 MEMORY 9

SECTION 4

GETTING STARTED 10

4.1 UNPACKING THE SSP-75 10

4.2 OPTIMAL PLACEMENT 10

4.3 VENTILATION 10

SECTION 5

SYSTEM HOOKUP 10

5.1 INTRODUCTION 10

5.2 CONNECTING THE SSP-75

TO YOUR POWER AMPLIFIER(S) 10

5.2.1 LEFT AND RIGHT FRONT AMPLIFIER(S) 10

5.2.2 CENTER CHANNEL AMPLIFIER 11

5.2.3 LEFT AND RIGHT SURROUND AMPLIFIERS 11

5.2.4 SUBWOOFER CONNECTIONS 11

5.3 CONNECTION COMPONENTS TO THE

SSP-75, SYSTEM SETUP STRATEGY 11

5.3.1 AUDIO CONSIDERATIONS 11

5.3.1.1 TYPES OF AUDIO INPUTS 11

5.3.1.2 PROGRAMMABLE CHARACTERISTICS 11

5.3.1.3 INPUT ALLOCATION 11

5.3.1.4 CHANNEL CONTINUITY 11

5.3.1.5 CABLE CHOICES 11

5.3.2 VIDEO CONSIDERATIONS 11

5.4 RECORDING AUDIO/VIDEO 12

5.4.1 RECORDING AUDIO/VIDEO ANALOG 12

5.4.2 RECORDING ANALOG AUDIO ONLY 12

5.4.3 RECORDING DIGITAL AUDIO/VIDEO 12

5.4.4 RECORDING DIGITAL AUDIO ONLY 12

5.4.5 PATIENCE IS A VIRTUE 12

SECTION 6

SETUP PROCEDURE 13

6.1 INTRODUCTION 13

6.2 CUSTOM NAME 13

6.2.1 SELECT FROM THE LIBRARY 13

6.2.2 PERSONALIZE A NAME 13

6.2.3 INSTRUCTIONS 13

6.3 COMPONENT VIDEO 13

6.3.1 COMPONENT SETUP INSTRUCTIONS 14

6.4 INPUT SETUP 14

6.4.1 INPUT SENSITIVITY SETUP 14

6.4.2 ADJUSTING INPUT SENSITIVITY 14

6.4.3 INPUT LEVEL SETUP 14

6.4.4 METER SETUP 14

6.4.5 AUTO CALIBRATION OF INPUT 14

6.4.5.1 A.CAL ADVISE 14

6.5 SPEAKER SETUP 15

6.5.1 SPEAKER SETUP DISCUSSION 15

6.5.2 SPEAKER SETUP 15

6.5.2.1 MAIN DISCUSSION 15

6.5.2.2 CENTER DISCUSSION 15

6.5.2.3 SURROUND DISCUSSION 15

6.5.2.4 SUBWOOFER DISCUSSION 15

6.5.2.5 BASS LIMITER 15

6.5.2.6 EXIT SPEAKER SETUP 16

6.6 LEVEL CALIBRATE 16

6.6.1 MANUAL CALIBRATION 16

6.6.2 AUTO CALIBRATION 16

6.6.2.1 PRESS A.CAL 16

6.7 DELAY SETUP 16

6.7.1 MANUAL DELAY SETUP 17

6.7.2 AUTOMATIC DELAY SETUP 17

6.8 OSD SETUP 17

6.8.1 OSD DISCUSSION 17

6.8.2 OSD COMPONENT SETUP 17

6.9 SYSTEM SETUP 17

6.9.1 FACTORY RESET 17

6.9.2 REMOTE ZONE VOLUME CONTROL 17

SECTION 7

OPERATING THE SSP-75 18

7.1 THE INFORMATION DISPLAY SCREEN 18

7.1.0 INTRODUCTION 18

7.1.1 SOURCE NAME 18

7.1.2 MODE INDICATOR 18

7.1.3 AUDIO INPUT 18

7.1.4 MASTER LEVEL INDICATOR 18

7.1.5 OTHER DISPLAY INFORMATION 18

7.1.6 CLIP INDICATOR 18

7.2 TRIM MODE OPERATION 18

7.2.0 INTRODUCTION 18

7.2.1 TRIM OPERATION 18

7.3 OPERATION OF THE REMOTE ZONE 18

7.3.1 CONTROL ZONE FROM ZONE AREA 19

7.3.2 CONTROL ZONE FROM MAIN AREA 19

7.3.3 CONTROL MAIN AREA FROM ZONE 19

7.4 MODE SELECTION 19

7.4.0 INTRODUCTION 19

7.4.1 DTS CINEMA 19

7.4.2 DTS MUSIC 19

7.4.3 PARTY 19

7.4.4 STEREO 19

7.4.5 MONO 19

7.4.6 DOLBY DIGITAL 19

7.4.7 DOLBY PRO LOGIC 19

7.4.8 NOTE: THX FEATURES 19

7.6 FIRST AID 19

APPENDIX A

THX INFORMATION 20

SECTION 1:

INPUTS, OUTPUTS AND CONTROLS

Use the drawings in this section as your guide

to the SSP-75. They show the locations of all

controls, inputs, outputs, remote keys – in short,

everything you need to know about your new

preamplifier/surround sound processor. Read the

notes under each diagram carefully. You’ll find

capsule explanations of all its important features.

Once you have read them, you’ll understand most

of the SSP-75’s capabilities.

1.1 FRONT PANEL

View page to the Left For Front Panel Controls

and Readouts

1.1.1 MODE BUTTON

THESE buttons select up and down from the

available SSP-75 operating modes the mode

(format) that will be utilized for the audio portion

of the currently selected SOURCE. Selection is made

in the following sequence: Cinema, Music, Party,

Mono (Center), and Stereo. Utilizing the two

buttons you can quickly arrive at the mode you

desire. When in Cinema mode either DOLBY PRO

LOGIC, DOLBY DIGITAL (AC3) or DTS is selected

automatically, depending upon the program

material available on the active audio input.

1.1.2 INPUT–AUDIO BUTTON

THESE two buttons select up and down from all

the available analog or digital AUDIO INPUTs the

input that will be utilized for the currently selected

SOURCE. The buttons would generally only be used

during setup to attach the correct AUDIO input

to one of the twelve SOURCEs. (SOURCEs may

be personalized but they are, by default: AUDIO 1

through AUDIO 6 and VIDEO 1 through VIDEO 6).

The audio inputs ‘wrap’ from COAXIAL1, to

COAXIAL 2, to COAXIAL 3, to COAXIAL 4, to

OPTICAL 1, to OPTICAL 2, to AES/EBU, to RF

DEMOD (For external RF demodulator), to ANALOG

and to EXT 5.1. (EXT 5.1, meaning External 5.1,

is utilized to input the six preprocessed analog

channels available from some DVD players. These

analog signals go directly through the SSP-75

without being processed in any way).

There are twelve two channel Analog audio inputs.

Each pair is permanently attached to a particular

AUDIO (1 – 6) or VIDEO (1 – 6) input. (Analog 6

input is only Balanced (XLR) while all the others

are pairs of single-ended (RCA) connectors). When

ANALOG is selected only the attached analog input

is played. Any of the seven digital inputs may be

attached to any of the twelve available SOURCEs.

One digital input may in fact be attached to

multiple SOURCEs. (Each SOURCE may have

attached only one digital audio (or none) plus the

associated analog audio input. The SSP-75 will

automatically play the ‘live’ audio source for any

selected source. If both analog and digital audio

sources are ‘live’ it will automatically select and play

the digital input unless ANALOG has been selected

as the default audio input.

1.1.3 INPUT–SOURCE BUTTON

THESE pushbuttons work the same way as

the Audio buttons described above; selecting

an audio or an audio/video SOURCE for output

to the amplifiers and video projector (or TV).

These pushbuttons select an audio/video SOURCE

by stepping from VIDEO 1 through VIDEO 6 or

an audio-only SOURCE from AUDIO 1 through

AUDIO 6.

Each press of these buttons changes the source to

the next or previous input. For example, if you are

enjoying the AUDIO 1 input, pressing the upper

‘SOURCE’ button will step to AUDIO 2. Conversely,

pressing the lower ‘SOURCE’ button while using

AUDIO 1 will select VIDEO 6. (Any of the twelve

‘SOURCE’ selections can be renamed utilizing

functions only available on the remote control

wand).

1.1.4 CLIP AND FORMAT LED INDICATORS

CLIPPING: The top LED of these four LEDs glows

red to indicate the SOURCEs analog input is being

clipped (over-driven). This event would indicate the

sensitivity of the driven input is set too high.

FORMAT: The remaining three LEDs indicate the

Surround Format of the signal on the audio input.

The SSP-75 recognizes the signal on the digital or

analog input and automatically selects the correct

format to use to properly replay the signal. The

three LEDs indicate which method is present:

Dolby Pro logic, Dolby Digital or dts.

1.1.5 STANDBY BUTTON AND LED INDICATOR

When the green LED is lit the ‘Main’ outputs of the

SSP-75 are in ‘Standby’ or ‘Off’. When in Standby

the ‘Main’ 12 volt DC trigger is Off and there is no

output from the Main outputs. The processor is

waiting for a signal from the remote control or

from the standby button to turn on. When the

button is pushed to activate the SSP-75 the standby

LED goes out and the display also lights briefly with

a ‘Classé SSP-75’ readout. All circuits are powered

on, and 12 volts DC is present at the Main 3.5 mm

DC jack on the rear panel.

The remote Zone can continue to play when the

Main Zone is in Standby, and the Zone can put into

or removed from Standby. Different SOURCEs can

be selected for the remote Zone output when

the remote Zone is on. There is no ‘Standby’

indication on the front panel for the remote Zone.

1.1.6 PANEL INFORMATION DISPLAY

The two lines of information displayed, and the lit

LEDs on the face of the SSP-75 combine to provide

a comprehensive view of its current operating

parameters. All set-up procedures may also be

performed utilizing only the panel display, though it

is easier using the onscreen OSD method. The first

line displays the SOURCE on the left and selected

MODE on the right. ‘THX’ is displayed in the middle

of this line when you use the remote control wand

to select THX playback for any SOURCE.

The second line displays on the left where the

currently connected audio input, and the output

level, (or ‘Mute’) is displayed on the right end of

the line.

While the Remote Zone is being accessed the word

‘ZONE’ appears in the middle of lower line, and all

the information displayed in the window relates to

the operation of the Remote Zone. The layout of

the information is the same as above.

1.1.7 MEMORY BUTTON

The purpose of this button is enable quick

memorization of the current setup of the playing

SOURCE. The audio input and selected format are

memorized along with any video input. The next

time the SOURCE is selected the setup will be the

same. (Any previously memorized settings for the

SOURCE are erased).

1.1.8 MUTE BUTTON

This button fully mutes the SSP-75’s main outputs

and also can be used to mute the Remote Zone

outputs when Remote Zone control is activated. A

second push of the Mute button restores the

previously selected operating levels. Record output

is always unaffected. The Mute button provides a

convenient way to instantly lower the volume when

answering the telephone.

NOTE: Turning the volume up with the volume

knob (or remote control wand), will remove muting,

but turning down the volume while in mute mode

will not remove muting. However; if you reduce the

volume while the audio output is muted, when

muting is removed the new lower volume level will

be present. (There is no indication of the volume

change on the panel display. If you are using a

video output with OSD the reduced volume will be

displayed briefly while the volume is being

reduced). Muting can be removed either with the

mute button or by turning up the volume slightly.

1.1.9 MASTER LEVEL CONTROL

This large knob changes the levels of all the active

channels in either the main room or the remote

zone. In the main room each loudspeaker’s relative

loudness stays in perfect balance with all other

speakers as programmed during setup. The Main

Information Display shows the master level setting

in numbers from ‘-80’ (virtually no output) to ‘+30’

(maximum output).

1.2 REMOTE CONTROL WAND

The keys on the SSP-75 remote are laid out in an

easy to use pattern. The first three rows, from DISP

through MODE > are a set of eleven buttons with

a variety of relatively unrelated tasks which, with

the exception of the STANDBY button, you will

probably use infrequently. The second section is

made up of the three rows beginning with TRIM

and ending with the single key \/. These seven keys

are used during the set up of the basic parameters

of the operation of the surround processor. The

remaining five rows, beginning with AV1 and

ending with the VOLUME /\ key are the keys you

will find yourself using most often. They include all

the direct access keys, the MUTE and VOLUME up

and down keys.

1.2.1 DISP

The first press causes the display to dim by about

90%, a second press returns the display to its

normal brightness. (While dimmed, the display

will brighten when any other button is pressed on

the remote and will return to the dim setting five

seconds after you have stopped pressing buttons).

The dim mode will continue indefinitely until the

dim button is pressed again.

NOTE: It does not reset when STANDBY is

pressed. It will reset to bright if the rear panel

on/off switch is cycled off and on, or if the AC

supply is interrupted

1.2.2 SLEEP

Causes a fifteen minute timer to start, to

automatically put the SSP-75 into standby. Up to

five more presses cause the timer to increase the

time period by 15 minutes and a seventh press will

exit the sleep timer program. At the end of the

programmed time period the SSP-75 will enter its

stand-by mode. Any equipment depending on the

12 volt trigger from the SSP-75 will also ‘turn off’.

The display also dims (or brightens and returns

to dim) when you access the countdown mode,

and also displays the time left in the center of the

second line of the of the display. (The display will

not brighten if a button is pressed). ‘SLEEP TIMER

OFF’ is displayed after you have pressed the ‘Sleep’

button a seventh time, or you merely

press and hold the sleep button.

NOTE: there is no provision to turn on the SSP-75

at a given time. During the last two minutes the

volume gradually diminishes to zero.

1.2.3 STANDBY

Pressing the STANDBY button causes the SSP-75

to turn on if off or off if on. AC power must be

supplied and the rear panel AC rocker switch

beside the power cord must be in the on position.

The ‘Standby’ Mode turns off all outputs and

blanks the display window. The 12 volt trigger

is also turned off and any equipment depending

on the trigger will also ‘turn off’.

1.2.4 A.CAL

‘AUTO-CALIBRATION’ There are provisions within

the setup program to utilize this key to turn on

or off an automatic calibration process for certain

audio functions. Requires the use of the

supplied microphone.

1.2.5 STATUS

Causes the SSP-75 to display on the TV screen

the setup for the currently selected input. The

displayed information includes the name of the

input, the decode mode, the location and type

of input selected.

NOTE: Similar information is always displayed

in the window of the SSP-75

1.2.6 <AUDIO

Causes the processor to scroll through and

instantly change the Audio input being used

to supply either digital or analog audio to the

analog outputs.

NOTE: If any digital input is selected any data on

that input will also pass through the SSP-75

unchanged and be present at the two

digital outputs.

1.2.7 AUDIO>

Causes the processor to scroll through and instantly

change the Audio input being used to supply either

digital or analog audio to the analog outputs.

NOTE: If any digital input is selected any data

on that input will also pass through the SSP-75

unchanged and be present at the two

digital outputs.

1.2.8 THX

Turns on (or off) THX processing of the DTS, Dolby

Digital or Dolby Pro-Logic decoded audio program.

See Appendix A for information on THX

1.2.9 COMP

Turns on (or off) a process to reduce the dynamic

range of a given playback utilizing dynamic

compression. The effect is to prevent the loud

passages from getting much louder than the

normal passages. You can turn it on when you

need to; perhaps at night when you don’t want

to disturb neighbors or family.

1.2.10 <MODE

Cycles through the available decode and play

modes: Cinema (with or without THX), Stereo

(with or without THX), Mono (with or without

THX), Party, Music

1.2.11 MODE>

Cycles through the available decode and play

modes: Cinema (with or without THX), Stereo

(with or without THX), Mono (with or without

THX), Party, Music

1.2.12 TRIM

Allows you to temporarily individually adjust up

or down the volume of the Subwoofer, the Center

speaker and the Surround channels. Utilizing the

> or the < buttons (to the right and left of the

Enter key) you can scroll through the available

speakers and increase or decrease the level of the

output by +16 to -16 dB. Pressing TRIM a second

time memorizes the new value and turns off the

setup. The setup will also memorize and turn off

setup five seconds after last pressing a button.

The trimmed settings are lost and settings returned

to 0 dB when the SSP-75 goes into standby or

AC supply is lost.

NOTE: Program content will continue to play (you

will be able to hear the effect of your trim settings

while changing them), and volume and mute

remote functions continue to work while trim

is accessed.

1.2.13 /\

Utilized during the setup procedures, but inactive

at other times.

1.2.14 MENU

Utilized during the setup procedures. Accesses a

series of setup screens. The screen for the next

setup level appears each time you press the button.

1.2.15 <

Utilized during the setup procedures, and when not

in setup also can be used to search the SOURCE

inputs for the next ‘live’ input.

1.2.16 ENTER

Used during setup to select the preferred entry

1.2.17 >

Utilized during the setup procedures, and when not

in setup also can be used to search the SOURCE

inputs for the next ‘live’ input.

1.2.18 \/

Utilized during the setup procedures, but inactive at

other times.

1.2.19 DIRECT ACCESS KEYS

AV1 through AUD6. Each key directly accesses a

SOURCE. SOURCEs may be assigned a label.

1.2.20 ZONE

While in the Main area, pressing the Zone button

activates control of the remote Zone. If the remote

zone is off, ‘ZONE OFF’ appears in the window for

a few seconds. Pressing the ‘STANDBY’ button after

pressing ZONE will turn the remote zone on or off.

While controlling the remote Zone pressing the

STANDBY, VOLUME _ and VOLUME _ buttons, the

Direct Access keys and MUTE controls the SOURCE

fed to the Zone Audio and Video output jacks.

If you press the ZONE button a second time,

controls revert to main zone operation, or ten

seconds after making your adjustments to the

remote Zone, the SSP-75 reverts to Main area

operation. There is no need to press the ZONE

button when controlling the remote Zone via an

infrared repeater connected to the Zone IR. To

control the main zone from the remote zone

infrared control input press the Zone button first.

1.2.21 MUTE

Mutes the output. Pressing again returns the

volume to the previous level. After muting you may

turn down the level without unmuting, but turning

up the volume unmutes the output.

1.2.22 VOLUME \/

Affects Master Level settings in a manner identical

to turning the front panel Master Level Control

counterclockwise. Pressing the button and releasing

it causes the volume to decrease in a 1 dB step.

Holding the button down will, after a brief pause

after a 1 dB decrease, cause the volume to

continuously decrease in 1 dB steps until the

button is released. –80 dB is the minimum level.

1.2.23 VOLUME /\

Affects Master Level settings in a manner similar to

turning the front panel Master Level Control

clockwise. Pressing the button and releasing it

causes the volume to increase in a 1 dB step.

Holding the button down will, after a brief pause

after a 1 dB increase, cause the volume to

continuously increase in 1 dB steps until the button

is released. +30 dB is the maximum level.

1.3 REAR PANEL

View page at the front for Rear Panel Inputs

and Outputs

1.3.1 INPUT CONNECTIONS

1.3.1.1 ANALOG AUDIO INPUTS

a) VID1 (Line level, single ended: RCA x 2)

b) VID2 (Line level, single ended: RCA x 2)

c) VID3 (Line level, single ended: RCA x 2)

e) VID4 (Line level, single ended: RCA x 2)

f) VID5 (Line level, single ended: RCA x 2)

g) VID6 (Line level, single ended: RCA x 2) (TAPE

MONITOR, FROM VCR OR OTHER A/V RECORDER)

h) AUDIO 1 (Line level, single ended: RCA x 2)

I) AUDIO 2 (Line level, single ended: RCA x 2)

j) AUDIO 3 (Line level, single ended: RCA x 2)

k) AUDIO 4 (Line level, single ended: RCA x 2)

l) AUDIO 5 (Line level, single ended: RCA x 2)

m) AUDIO 6 (Line level, balanced: XLR x 2)

(PIN 2 = HOT)

These analog audio inputs accept a line level

signal from any component equipped with the

appropriate output circuitry. Except for ‘m)

AUDIO 6,’ all analog audio inputs are single ended

circuits with RCA-style terminations. AUDIO 6, the

balanced input, requires three-pin XLR connectors

(Pin 2 = Hot),. The SSP-75 has no internal

provisions for MM or MC phono amplification/RIAA

equalization but accepts line level outputs from a

wide variety of external step-up devices if desired.

Please Note that g) VID6 is an analog TAPE

MONITOR input designed to be connected to the

analog OUTPUT of a VCR or other Audio/Video

recorder. This input would be used with the VID6

RECORD OUTPUT beside it. The VID6 RECORD

OUTPUT should be connected to the analog

audio INPUT of a VCR or other A/V recorder.

1.3.1.2 5.1 ANALOG AUDIO INPUTS

a) MAIN Left and Right (Line level, single ended:

RCA x 2)

b) SURROUND Left and Right (Line level, single

ended: RCA x 2)

c) CENTER (Line level, single ended: RCA x 1)

d) SUB (Line level, single ended: RCA x 1)

Some of the new DVD players have 5.1 analog

outputs which you may prefer to use. In addition,

these analog inputs allow you to use any new

audio format which requires 5.1 channel inputs.

1.3.1.3 DIGITAL AUDIO INPUTS

a) COAX1 (multi-format S/PDIF: RCA x 1)

b) COAX2 (multi-format S/PDIF: RCA x 1)

c) COAX3 (multi-format S/PDIF: RCA x 1)

d) COAX4 (multi-format S/PDIF: RCA x 1)

e) OPTICAL1 (multi-format S/PDIF: Toslink x 1)

f) OPTICAL2 (Multi-format S/PDIF: Toslink x 1)

g) AES/EBU (multi-format S/PDIF: XLR x 1)

b) AC3 (Multi-pin connector for external

demodulator - 1) TO PLAY AC3 ENCODED LASER

DISKS ONLY

The COAX1 through 4 digital audio inputs accept

standard S/PDIF digital signals via 75 ohm coaxial

cables with RCA-style connectors. The OPTICAL1

and 2 inputs use a Toslink-style optical connector

for digital source components with TOSlink digital

output. AES/EBU is designed to be used with the

Balanced style, 3 pin, high end digital outputs,

including our CD players and DACs. The AC3

connector is requires a separate outboard RF

demodulator, and is required only if you will be

playing Laser Discs with an AC3 audio format.

1.3.1.4 VIDEO INPUTS

a) VID1 (Composite: RCA x 1 and separate S-Video:

mini-DIN x 1)

b) VID2 (Composite: RCA x 1 and separate S-Video:

mini-DIN x 1)

c) VID3 (Composite: RCA x 1 and separate S-Video:

mini-DIN x 1)

d) VID4 (Composite: RCA x 1 and separate S-Video:

mini-DIN x 1)

e) VID5 (Composite: RCA x 1 and separate S-Video:

mini-DIN x 1)

f) VID6 (Composite: RCA x 1 and separate S-Video:

mini-DIN x 1)(TAPE MONITOR: from VCR or

other A/V)

g) INPUT1 (Component video: RCA x 3)

h) INPUT2 (Component video: RCA x 3)

These inputs accept video signals from various

video source components. Inputs a) through f)

accept a composite video signal and S-Video (Y/C)

signals, depending on the input used. Inputs g)

and h) accept only Component Video.

• Any S-Video input will appear at both the

S-Video outputs and at the Composite Video

outputs. Composite Video input will only appear

at the Composite Video outputs.

• Any Component Video input will only appear

properly at the Component Video output,

though a picture will appear in Black and White

at the S-Video outputs.

Please Note that f) VID6 is a video TAPE MONITOR

input designed to be connected to the composite

or S-Video OUTPUT of a VCR or other Audio/Video

recorder. This input would be used with the VID6

RECORD OUTPUT beside it. The VID6 RECORD

OUTPUT should be connected to the Composite

or S-Video INPUT of a VCR or other A/V recorder.

1.3.2 OUTPUT CONNECTIONS

1.3.2.1 MAIN AUDIO OUTPUTS

(Preamplifier outputs)

a) Multi-channel (L, C, R, LS, RS, & SUB,

Unbalanced: RCA x 6). Analog.

b) Multi-channel (L, C, R, LS, RS, & SUB,

BALANCED, XLR x 6)(PIN 2 = HOT). Analog.

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AUDIO/VIDEO INPUTS

VID1 VID3VID2

VID4 VID6VID5

S-VIDEO INPUTS

COMPOSITE VIDEO INPUTS

OUTPUTS AUDIO INPUTS

RECORD

VID6 AUDIO 1

ZONE2

RECORD

VID6

OSD

MONITORZONE2

VID

AUDIO 2 AUDIO 4AUDIO 3

NO OSD

MONITOR COAX1

S-VIDEO OUTPUTS

COMPOSITE VIDEO OUTPUTS

SUB

VID2 VID3VID1 VID5 VID6VID4

FRONT SURROUND RIGHT

CENTER

RECORD OSD

MONITORVID6

NO OSD

MONITOR

MAIN OUTPUTS

LEFT REAR LEFTRIGHTFRONT

5.1 ANALOG INPUTS

AUDIO 5 FRONT

COAX2 COAX4COAX3

SUB

RECORD

OUT

CENTER

OPTICAL2OPTICAL1

COMPONENT VIDEO

SURROUND

DIGITAL INPUTS

AUDIO INPUTS

RIGHT AUDIO 6

AC-3 COAX

ADAPTOR

LEFT

OPTICAL

OUTPUTS

LEFT

RIGHT

AES/EBU

INPUT1

Cb Cr Y

INPUT2

Cb Cr Y

CENTER SUB

Cb Cr

RS 232 PORT

EXTERNAL CONTROL

MONITOR

RIGHT

LEFT

MIC

A.C. INLET

MAIN

ZONE

IR DC IRDC

BEFORE CONNECTING TO A.C. LINE

ALWAYS TURN OFF UNIT BEFORE

DISCONNECT A.C. LINE BEFORE OPENING UNIT

CHANGING ANY CONNECTIONS

REPLACE FUSE WITH SAME TYPE AND RATING ONLY

CHECK OPERATING VOLTAGE

W A R N I N G

These outputs allow you to easily connect the

SSP-75 to any power amplifier(s). We recommend

utilizing the Balanced outputs to eliminate ground

loops and induced hum and noise. However,

you may use any of these connections in any

combination that does not duplicate channel

assignments. For example, you may use the Front

Left and Right channel balanced XLR outputs to

connect the SSP-75 to the power amplifier(s) for

those speakers and the RCA connectors for other

channels which have no balanced inputs.

1.3.2.1 RECORD AND ZONE AUDIO OUTPUTS

a) VIDEO6 RECORD (Two Channel analog) These

two channels are stereo. These outputs only output

analog information from the VID1 through 5 analog

inputs. They will not output a signal if the audio

source is digital. They should be connected to the

analog INPUT of any Audio/ Video recorder you’re

using. b) ZONE (Two Channel analog) These two

channels are stereo. These outputs only output

analog information from the VID1 through 5

analog inputs and the AUDIO1 through 6 analog

inputs. They will not output a signal if the audio

source is digital.

PLEASE NOTE: Most DVD players have an analog

two channel ‘MIXED’ output in addition to the

Digital, and in addition to any 5.1 analog outputs.

When a 5.1 disc is being played the ‘Mixed’ analog

two channel output is essentially Dolby Pro Logic.

This material and can be utilized as stereo or further

decoded by a Dolby Pro Logic processor. We

recommend that if you wish to record a movie from

a DVD (for your own use) you utilize the ‘Mixed’

two channel output from the DVD Player by

connecting it to the SSP-75 at the same analog

input as the Digital input. For example, plug the

‘Mixed’ analog into VID3 if you are connecting the

Digital audio (5.1) feed into VID3. This signal will be

supplied always to the VIDEO6 RECORD output and

the audio only RECORD OUT. Either of the RECORD

outputs will always supply the analog signal (if any)

from the SOURCE being listened to in the MAIN

room. If you have selected the same SOURCE for

the ZONE output the two channel analog signal

will be sent there too.

1.3.2.3 RECORD OUT

a) (Two Channel analog) These two channels are

stereo, line level. These outputs only line level (fixed

level) output analog information from the VID1

through 5 analog inputs and the AUDIO1 through 6

analog inputs. They will not output a signal if the

audio source is digital. We recommend that if you

wish to record a CD (for your own use) you utilize

the two channel output from the CD Player by

connecting it to the SSP-75 at the same analog

input as the Digital input. For example, plug the

analog into AUDIO3 if you are connecting the

Digital audio feed into AUDIO3. (Also see the

Note below regarding the Digital Outputs).

1.3.2.4 DIGITAL OUTPUTS

a) COAX, Direct feed from the currently accessed

Digital input. Accepts standard S/PDIF digital signals

via 75 ohm coaxial cables with RCA-style connectors.

b) OPTICAL, Direct feed from the currently

accessed Digital input. Accepts a Toslink-style

optical connector for digital source components

with TOSlink digital input.

PLEASE NOTE: either of these outputs may be

utilized to tape the unprocessed digital output from

a DVD player or CD transport or CD Player with a

digital output. A Digital recorder is required, or

separate DAC is required to convert the digital

stream to analog. This feed could also be used with

a DAC which processes 24/96 or 24/192, with the

resulting analog output being connected to the

VID6 input. By Selecting the VID6 SOURCE, which is

the Tape Monitor input, you can listen to externally

processed material, utilizing the advanced switching

network of the SSP-75. Any Digital input (AES/EBU,

COAXIAL or TOSlink), when selected as the

SOURCE for Main room playback, will appear

at the COAXIAL and TOSlink Digital outputs.

1.3.2.5 S-VIDEO OUTPUTS

a) VID6 RECORD, Output to S-Video(Y/C) input

of a VCR or other A/V recorder (No OSD)

b) MONITOR OSD, with On Screen Display

c) MONITOR NO OSD, without On Screen Display

These S-Video outputs direct video signals

from various SOURCE components to selected

destinations. The MONITOR S-Video outputs

transfer a chosen SOURCE’s S-Video signal to any

monitor or TV set with an S-Video (Y/C) input.

We suggest using the OSD output for setup, then

utilizing the non OSD S-Video output for a better

picture.Any S-Video input also appears at the

Composite Video outputs.The VID6 Record

(S-Video (Y/C)) video output always directs the

chosen MAIN SOURCE’s S-Video signal to a

video recording device.

1.3.2.6 COMPOSITE VIDEO OUTPUTS

a) VID6 RECORD, Output to Composite Video input

of a VCR or other A/V recorder (No OSD)

b) ZONE VID (Some SSP-75 – ZONE2 VID) (No OSD)

c) MONITOR OSD, with On Screen Display

d) MONITOR NO OSD, Main Monitor without On

Screen Display

These Composite Video outputs direct video signals

from various SOURCE components to selected

destinations. The MONITOR Composite outputs

transfer a chosen SOURCE’s Composite signal to

any monitor or TV set with an Composite Video

input. We suggest using the OSD output for setup,

then utilizing the non OSD output for a better

picture. Any picture sent to an S-Video Input also

appears at the Composite Video outputs. The VID6

Record (Composite Video) video output always

directs the MAIN chosen SOURCE’s Composite

signal to a video recording device.

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AUDIO/VIDEO INPUTS

VID1 VID3VID2

VID4 VID6VID5

S-VIDEO INPUTS

COMPOSITE VIDEO INPUTS

OUTPUTS AUDIO INPUTS

RECORD

VID6 AUDIO 1

ZONE2

RECORD

VID6

OSD

MONITORZONE2

VID

AUDIO 2 AUDIO 4AUDIO 3

NO OSD

MONITOR COAX1

S-VIDEO OUTPUTS

COMPOSITE VIDEO OUTPUTS

SUB

VID2 VID3VID1 VID5 VID6VID4

FRONT SURROUND RIGHT

CENTER

RECORD OSD

MONITORVID6

NO OSD

MONITOR

MAIN OUTPUTS

LEFT REAR LEFTRIGHTFRONT

5.1 ANALOG INPUTS

AUDIO 5 FRONT

COAX2 COAX4COAX3

SUB

RECORD

OUT

CENTER

OPTICAL2OPTICAL1

COMPONENT VIDEO

SURROUND

DIGITAL INPUTS

AUDIO INPUTS

RIGHT AUDIO 6

AC-3 COAX

ADAPTOR

LEFT

OPTICAL

OUTPUTS

LEFT

RIGHT

AES/EBU

INPUT1

Cb Cr Y

INPUT2

Cb Cr Y

CENTER SUB

Cb Cr

RS 232 PORT

EXTERNAL CONTROL

MONITOR

RIGHT

LEFT

MIC

A.C. INLET

MAIN

ZONE

IR DC IRDC

BEFORE CONNECTING TO A.C. LINE

ALWAYS TURN OFF UNIT BEFORE

DISCONNECT A.C. LINE BEFORE OPENING UNIT

CHANGING ANY CONNECTIONS

REPLACE FUSE WITH SAME TYPE AND RATING ONLY

CHECK OPERATING VOLTAGE

W A R N I N G

1.3.2.7 IR REMOTE CONNECTORS

a) MAIN IR (Xantech compatible: 3.5” mini-jack x 1)

b) ZONE IR (Xantech compatible: 3.5” mini-jack x 1)

The MAIN IR jack allows connection of an external

IR sensor that duplicates the SSP-75’s front panel

IR sensor. This IR input is particularly useful in

installations where the SSP-75 is placed in a closet

or behind the doors of an equipment cabinet, or

in a situation where you wish to have a hardwired

connection. The ZONE IR jack receives IR commands

from the Remote room. It functions precisely

the same as the MAIN IR input. In fact, when

controlling the remote ZONE from the remote area

you must send the ‘ZONE’ command to tell the

SSP-75 the following codes are to control the

operation of the remote ZONE.

1.3.2.8 DC OUTPUT CONNECTORS

a) MAIN DC, Supplies 12 volt DC while the

SSP-75 MAIN area is functional. No voltage when

in ‘Standby’. b) ZONE DC, Supplies 12 volt DC

while the SSP-75 ZONE is operating. No voltage

when ZONE is ‘OFF’.

The SSP-75 can provide a continuous 12 volts DC

to either or both outputs. You can turn the ZONE

on and off and also turn on or off all the other

equipment associated with the ZONE completely

separately from the operation of the MAIN area.

Even while the MAIN area is in standby you can

turn the 12 volt DC for the ZONE on or off by

pressing the ‘ZONE’ button on the remote

control wand and then pressing ‘Standby’.

1.3.2.9 MISCELLANEOUS

a) AC power switch

b) AC power cord receptacle

The AC power switch positively disconnects the

SSP-75 from all AC power when it is in the OFF

position, even if the AC cord is connected to a

live AC outlet. In the ON position, while in the

‘Standby’ mode, the SSP-75’s basic circuits (central

microprocessor and remote sensors) are always

active providing, of course, that the AC cord is

plugged into a live current source.

The AC power cord receptacle is the standard IEC-

type used for test equipment, computers, and high

quality audio/video components. It accepts a wide

variety of detachable AC power cords.

SECTION 2:

INSTALLATION OVERVIEW

This Section discusses the broad concepts of

installation, setup, and menu usage. It is an outline

for the experienced installer, not a step-by-step

guide to all the configuration choices available.

You’ll find examples that suggest possible

approaches incorporating the SSP-75’s remarkable

flexibility. The following Sections contain specific

instructions for each topic outlined here.

View Page to the Left For Rear Panel Input

and Outputs

2.1 SYSTEM HOOKUP:

REAR PANEL CONNECTIONS

2.1.1 CONNECTION TO POWER AMPLIFIER(S)

For Left Front, Right Front, Center, Left Surround,

Right Surround and Sub channels, choose XLR

(balanced), RCA (single ended), or any combination

of XLR and RCA. We recommend XLR.

The SSP-75 contains a digital-domain bass

crossover. For that reason, to avoid adding cross-

over slope to cross-over slope, we recommend that

you consider bypassing any other crossover in the

signal path.

2.1.2 AUDIO SOURCE COMPONENTS

The SSP-75 could conceivably handle up to 18

audio sources because it is capable of automatically

distinguishing between analog and digital signals

and prioritizing them. It will also automatically

recognize and properly decode the different digital

formats available. It is also capable of directing two

separate audio and video signal streams to two

separate locations.

There are 6 dedicated Audio-only SOUCEs (which

only means there is no video input associated with

them), and 6 dedicated audio-video SOURCEs

(which, naturally, means a video input is to be

dedicated to each one). Each Audio-only input can

have a digital or an analog input. During setup you

select which input is to associated with the audio-

only SOURCE. When setting up the Audio/Video

SOURCEs you select which audio and which Video

inputs are associated with each.

The two-channel analog inputs associated with

AUDIO 6 are Balanced (XLR) inputs only.

The SSP-75 can accommodate up to 7 digital audio

sources and up to 11 analog audio sources. Of

course it is extremely unlikely that anywhere near

that many sources would be connected to the SSP-

75. However; as you can imagine, with all this

flexibility, there is very good likely-hood that there

is a way to configure even the most complex

Audio/Video installation.

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AUDIO/VIDEO INPUTS

VID1 VID3VID2

VID4 VID6VID5

S-VIDEO INPUTS

COMPOSITE VIDEO INPUTS

OUTPUTS AUDIO INPUTS

RECORD

VID6 AUDIO 1

ZONE2

RECORD

VID6

OSD

MONITORZONE2

VID

AUDIO 2 AUDIO 4AUDIO 3

NO OSD

MONITOR COAX1

S-VIDEO OUTPUTS

COMPOSITE VIDEO OUTPUTS

SUB

VID2 VID3VID1 VID5 VID6VID4

FRONT SURROUND RIGHT

CENTER

RECORD OSD

MONITORVID6

NO OSD

MONITOR

MAIN OUTPUTS

LEFT REAR LEFTRIGHTFRONT

5.1 ANALOG INPUTS

AUDIO 5 FRONT

COAX2 COAX4COAX3

SUB

RECORD

OUT

CENTER

OPTICAL2OPTICAL1

COMPONENT VIDEO

SURROUND

DIGITAL INPUTS

AUDIO INPUTS

RIGHT AUDIO 6

AC-3 COAX

ADAPTOR

LEFT

OPTICAL

OUTPUTS

LEFT

RIGHT

AES/EBU

INPUT1

Cb Cr Y

INPUT2

Cb Cr Y

CENTER SUB

Cb Cr

RS 232 PORT

EXTERNAL CONTROL

MONITOR

RIGHT

LEFT

MIC

A.C. INLET

MAIN

ZONE

IR DC IRDC

BEFORE CONNECTING TO A.C. LINE

ALWAYS TURN OFF UNIT BEFORE

DISCONNECT A.C. LINE BEFORE OPENING UNIT

CHANGING ANY CONNECTIONS

REPLACE FUSE WITH SAME TYPE AND RATING ONLY

CHECK OPERATING VOLTAGE

W A R N I N G

2.1.3 VIDEO SOURCE COMPONENTS

We have delivered with the SSP-75 a product which

is powerful and flexible, yet simple. We recommend

that you use the audio-only inputs for audio only

sources and use the audio/video inputs for

audio/video sources. This will simplify your

installation process. Note that there is no

performance difference between the audio-only

and audio/video inputs.

PLEASE NOTE: because the SSP-75 can select a

digital or analog signal from the same input; if you

are in a squeeze for inputs you may connect both,

using the separate analog and digital connectors. If

you attach two sources in this fashion you must

provide some way of having only one or the other

source playing, as the SSP-75 will always pick the

digital source over the analog if both are playing.

2.1.3.1 DIGITAL OR ANALOG?

If a source has both digital and analog audio

outputs, use a digital connection. Since the SSP-75

incorporates the newest high performance 24 bit

DACs this will result in the best sonics. Remember

to use proper cables for digital audio connections.

Utilizing a digital cable will also minimize the noise

that might be induced on an analog signal.

2.1.3.2 LASER DISC CONNECTION

Most Laser Disc players have separate PCM (Pulse

Code Modulation) two-channel digital and multi-

channel Dolby Digital (AC-3) RF outputs. These

players will need 2 of the SSP-75’s digital inputs,

one receiving a direct feed from the source’s

PCM outputs and the second sending data to

an (optional) outboard RF (Radio Frequency)

demodulator. You can use a Toslink, Co-axial, or

AES/EBU input for the PCM or DTS input and the

specific input for the demodulated AC3 (Dolby

Digital). Setting the SOURCE configuration to

‘Auto’ utilizes the SSP-75’s ability to prioritize signal

inputs and allows it to recognize DTS, AC3, Dolby

Pro Logic, and CD stereo, depending on which is

being played. See Sections 6.6 and 6.7

for details. DVD players do not require the use

of an RF demodulator.

2.1.3.3 DTS CAPABILITY

The SSP-75 includes advanced DTS digital

decoding capability for those software/hardware

combinations capable of delivering this high

resolution audio format. Automatic switching to

DTS has been programmed into the processor. The

processor gives the higher priority to digital signals,

and the highest digital priority to DTS.

2.1.4 ANALOG ONLY SOURCES

For analog sources with balanced (XLR) outputs

(high quality D/A converters, like the Classé DAC-1),

use AUDIO 6. For RCA connections, use AUDIO 2

through AUDIO 5. The analog inputs AUDIO 1

through AUDIO 6 are permanently associated with

the SOURCEs AUDIO 1 through AUDIO 6.

There are two analog audio record outputs. In most

systems the video output, and its associated audio

output, would be sent to a VCR. To record a DVD

or other source with a digital feed, you must send

the two channel analog output from the DVD

to the analog input directly associated with the

VIDEO SOURCE.

This is due to the fact the decoded digital

information is sent only to the theater speakers.

The two channel (or mixed tow channel) feed from

the player must be available for output at the

record outs. (The SSP-75 has two digital outputs.)

2.1.5 VIDEO SOURCE

COMPONENTS CONNECTIONS

2.1.5.1 VIDEO INPUT SELECTION

Connect video sources to the SSP-75 video inputs.

Utilize the highest quality input from the source,

Component Video being the best, S-Video next,

then Composite Video. To use the Component

Video inputs, the Component Video output must

be used also. (Only S-Video input will convert: to

Composite Video output only).

If the video source is a recorder, (a VCR, for

example) which has only analog outputs, connect

the Video and Audio inputs and outputs to the

VIDEO 6 outputs and inputs (respectively) since the

VIDEO 6 section is essentially a tape loop. As above,

refer to Section 5.8 for details.

2.1.5.2 VIDEO OUTPUTS

Connect the Main Video outputs to the primary

monitor/projector. Connect the SSP-75’s Record

output to a VCR record input. There is both an

S-Video output and a composite video output.

(Record out is the same signal as Main out).

2.1.5.3 COMPOSITE VS. S-VIDEO

Video sources connected to any composite

input can be directed to composite outputs only.

Likewise, an S-Video source is available at the

S-Video outputs and at the Composite Video

outputs. If you will use S-Video connections,

If the system monitor/projector accepts only

composite video, use the SSP-75’s composite inputs

and outputs only. Ignore all S-Video connections.

If the system monitor/projector accepts both

Component Video, S-Video and Composite

Video connections, and you have a mix of Video

connection, use Component Video connections

whenever possible. If a source has only a

Composite Video output (an older model VCR)

you will need to utilize the SSP-75’s Composite

Video Input and Composite Video Output, and

connect to the Composite Video input on the

Monitor/Projector. Refer to the display device’s

manual to make the appropriate selection when

viewing a particular source. Be aware that when

you choose a different video source, you may need

to switch inputs (composite or S-Video) on the

monitor/projector.

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AUDIO/VIDEO INPUTS

VID1 VID3VID2

VID4 VID6VID5

S-VIDEO INPUTS

COMPOSITE VIDEO INPUTS

OUTPUTS AUDIO INPUTS

RECORD

VID6 AUDIO 1

ZONE2

RECORD

VID6

OSD

MONITORZONE2

VID

AUDIO 2 AUDIO 4AUDIO 3

NO OSD

MONITOR COAX1

S-VIDEO OUTPUTS

COMPOSITE VIDEO OUTPUTS

SUB

VID2 VID3VID1 VID5 VID6VID4

FRONT SURROUND RIGHT

CENTER

RECORD OSD

MONITORVID6

NO OSD

MONITOR

MAIN OUTPUTS

LEFT REAR LEFTRIGHTFRONT

5.1 ANALOG INPUTS

AUDIO 5 FRONT

COAX2 COAX4COAX3

SUB

RECORD

OUT

CENTER

OPTICAL2OPTICAL1

COMPONENT VIDEO

SURROUND

DIGITAL INPUTS

AUDIO INPUTS

RIGHT AUDIO 6

AC-3 COAX

ADAPTOR

LEFT

OPTICAL

OUTPUTS

LEFT

RIGHT

AES/EBU

INPUT1

Cb Cr Y

INPUT2

Cb Cr Y

CENTER SUB

Cb Cr

RS 232 PORT

EXTERNAL CONTROL

MONITOR

RIGHT

LEFT

MIC

A.C. INLET

MAIN

ZONE

IR DC IRDC

BEFORE CONNECTING TO A.C. LINE

ALWAYS TURN OFF UNIT BEFORE

DISCONNECT A.C. LINE BEFORE OPENING UNIT

CHANGING ANY CONNECTIONS

REPLACE FUSE WITH SAME TYPE AND RATING ONLY

CHECK OPERATING VOLTAGE

W A R N I N G

For remote ZONE video distribution (sending a

video signal to a second room utilizing the ZONE

output), you must use Composite outputs. You will

probably utilize the composite video inputs and

outputs, though you may use an S-Video input

to the SSP-75. S-Video input will translate to

Composite output.

However, remember that the SSP-75 does not allow

simultaneous connection of both composite and

S-Video to the same SOURCE. If you will be sending

the same picture and sound to Main and ZONE

you must use the S-Video input or a composite.

You could not use the Component Video input

and output.

We strongly recommend that you write down

the connections chosen for each source for

later reference.

SECTION 3:

SYSTEM CONFIGURATION

This Section describes setup decisions and

procedures normally done only during the initial

system setup. This Section leads you through a

typical setup process and shows you how to save

the configuration in non-volatile memory so that

your choices do not disappear when power is lost.

These settings can be recalled in the future to

restore proper system configuration. If something

changes in the system after the initial setup (adding

a new source, or moving speakers, listening

position, etc.) these settings can be revised

and re-saved in the Installation Memory.

We strongly recommend that you write down the

choices you make during an installation. Even if it

is a simple system, there are so many decisions to

be made that it quickly becomes difficult what

choice you made and why you made it. Adding

or changing equipment is far easier when you

can easily refer to your written notes. Plus, if you

choose to upgrade the SSP-75’s software in the

future or perform a system reset, all of the setup

steps must be repeated in their entirety.

Your job during the initial setup is to define the

input. We call the ‘input’ the SOURCE because we

are defining the operation of the input, referring to

the electronics attached to the individual input, and

to the manner in which the information appearing

on input will be handled by the processor.

3.1 THE MENU SYSTEM

The SSP-75’s menu system allows easy

configuration. The ‘menu tree’ has six main

branches: Input Setup, Speaker Setup, Level

Calibrate, Delay Setup, OSD Setup and System

Setup. Each branch is accessed in turn by pressing

the MENU button on the remote wand, or through

the (MODE(and (AUDIO( buttons on the wand.

3.1.1 INPUT SETUP

Allows you to name the selected input, select or

deselect Component Video, set the Input level, and

tailor the analog input sensitivity. You’ll find specific

instructions for all these functions in Sections 6.1

through 6.4.

3.1.2 SPEAKER SETUP

Allows you to identify which speakers are present

and what their size is, plus you can turn on/off

the bass limiter. Section 6.5 contains the

appropriate details.

3.1.3 LEVEL CALIBRATION

Allows you to manually or automatically equalize

the output level from all speakers in the main

listening/viewing area. See Section 6.6 for details.

3.1.4 DELAY SETUP

Allows you to manually or automatically set the

distance each speaker is from the prime listening

position. See Section 6.7 for details.

3.1.5 OSD SETUP

Allows you choose the default Video standard: PAL

or NTSC. You may also allows you o turn on or

turn off OSD for Component Video. See Section

6.8 for details.

3.1.6 SYSTEM SETUP

Allows you to Reset all parameters to Factory

defaults and also enables you to choose between

fixed and variable audio output for the ZONE. The

Factory Default setting is in read-only memory.

When recalled the SSP-75’s operating parameters

are changed to the operating defaults set at the

factory. See Section 6.9 for details.

3.1.7 MODE SELECTION

Allows you to attach the correct digital or analog

audio input to the selected Video input, and to

choose the default playback mode for each

SOURCE. See Section 6.4 for details.

3.2 CONFIGURATION PROCEDURES

Just as every installer is a different person, every

installation will follow a different pattern. However,

we’ve found that following certain steps in

sequence speeds the installation/configuration

process considerably. As you gain experience

with the SSP-75’s capabilities, you may choose a

different pattern but we suggest that you begin

by with the following.

3.2.1 INPUT CONFIGURATION

We recommend your first step in setting up the

processor is to decide which inputs will be used for

the pieces of equipment you will be using with the

SSP-75. There are separate inputs for Audio/Video

and for Audio only. As well there are separate kinds

of inputs for Audio (Digital, with AES/EBU. Co-axial

and TOSlink choices, and Analog, with both

Balanced (XLR) and RCA available). There are

choices too for Video (Component Video,

S-Video and Composite Video).

We recommend you utilize the highest quality

signal available from the equipment feeding the

SSP-75, and also use the best possible signal

available at the outputs of the processor.

3.2.2 SOURCE CONFIGURATION

This is a comprehensive setup section where you

are able to set the performance parameters for all

of the inputs of the SSP-75. For each input you may

select mode (auto, or manual), input (auto, analog,

digital), level, (+/- 16 dB) and Analog Level (+/- 16

dB). All levels must of course be set relative to each

other so as each live input (AV1 through AUD3) is

selected there is little level difference from one to

the next at any given Master Volume level. (See

Sections 6.4 for more details.)

3.2.3 SYSTEM SETUP

This is another comprehensive setup section where

the overall system performance is set. Here is

where the theater system is matched to the

room characteristics and over-all listener taste

is appreciated. You will be asked to select in

turn Speaker setup, Delay setup, Balance setup,

Subwoofer limit and Feature setup. The purpose is

to define the operating character of the overall

system, and to enable the system to sound as

natural as possible in the room it is set up in. In

Speaker setup you are able to define the size and

number of speakers in the room.

In Delay Setup you are able to define the distance

the speakers are from each other as well as how

far they are from the ideal listening position.

We have provided a microphone to make this

procedure automatic.

In Balance setup you are asked to measure the

sound pressure level of the different speakers and

to set them to an approximate balance with each

other. Measurements are made at the preferred

listening position. We have provided a microphone

to make this procedure automatic. You can even

use the microphone to set input sensitivity for

analog and digital inputs.

Subwoofer Limit may be utilized to protect the

subwoofer from being overdriven by what may be

excessive amounts of low frequency information.

Feature setup gives you the opportunity to setup

the internal noise generator (used during Balance

setup), to define which language the screen should

communicate in, to reset to factory specifications,

and to see which software version is currently

installed on the processor.

3.2.4 MEMORY

You must these settings as you progress step-by-

step through the configuration process so that

an interruption will not result in lost effort.

We recommend you make a written copy

of all configuration choices to facilitate

future modifications.

So, that’s the overview of the SSP-75. In the

following sections of the manual we give you

some good advice on everything from getting

it safely out of the box to fully enjoying it in

the years to come.

SECTION 4:

GETTING STARTED

4.1 UNPACKING THE SSP-75

Your Classé SSP-75 is packed in high-density foam

inside a special cardboard container. To remove

the unit, carefully open and spread the box flaps.

(There are heavy duty staples under each end of

the lengthwise tape) Remove the two top foam

piece(s) and then carefully remove the SSP-75 itself.

Be careful with it while it is still covered in the

protective plastic, insuring that you do not rest it

on it’s front or rear, as possible damage to knobs

and connectors can occur. Put it down carefully

on a flat, soft surface. Take it out of the heavy

plastic bag and place the SSP-75 on a sturdy

surface. Carefully inspect it and report any

concealed damage to your dealer immediately.

In addition, look for the following accessories:

1) The Owner’s Manual (which, because you’re

reading it now, you’ve already found!)

2) One detachable AC power cord.

3) One remote control handset (with hex key

and two AAA batteries).

4) One Microphone (with 25’ cable and one

AA battery).

We strongly recommend that you save the

shipping carton and foam inserts. The REQUIRED

replacements are expensive to purchase from us.

The packaging was designed to protect the SSP-75

under almost all circumstances and will be very

useful in protecting the valuable electronic

instrument if you move or need to ship the

unit for any reason.

4.2 OPTIMAL PLACEMENT

Carefully locate the SSP-75. Follow the preceding

safety precautions (Page 3, of this manual)

regarding exposure to heat and moisture. In

addition, we do not recommend placing the

SSP-75 in direct sunlight. Stable, high-strength

shelving or equipment racks specifically designed

for audio/video components are best.

Place the SSP-75 close enough to other

components to allow convenient connection.

This is especially true for source components where

shorter cable runs are best. However, we do not

recommend closely stacking the SSP-75 with other

components, especially tuners, as they may be

affected by radio-frequency emissions from the

SSP-75’s microprocessor array.

Allow at least four inches of free space behind the

SSP-75 to accommodate interconnect cables, power

cords, etc. Four inches of unobstructed free space

above the SSP-75’s chassis cover will allow sufficient

air circulation to dissipate the small amount of heat.

Isolate power amplifiers as much as possible to

avoid the magnetic fields often generated by their

large power-supply transformers. The SSP-75’s

high current output stage is virtually immune to

problems sometimes encountered when the power

amplifiers are far away at the end of long cable

runs. Where you have a choice, we recommend

long interconnects and short speaker cables.

We also do not recommend placing the processor

near power amplifiers because they produce heat.

4.3 VENTILATION

CAUTION: Ventilation is very important. We do not

recommend attempting to operate the SSP-75 if

the ambient temperature exceeds 100 degrees F.

There are components inside which produce heat.

If there is insufficient ventilation around the chassis

the processor will overheat and may act erratically

until they cool. Any cabinet should have adequate

airflow to allow warm air to leave and cooler air

to enter. Positive ventilation is required in some

installations due to the amount of heat generated

by all the associated electronics.

SECTION 5:

SYSTEM HOOKUP

SAFETY NOTE: Before you begin work we very

strongly advise that all electronic equipment be

unplugged from the AC outlets. They should at

least be switched off with the AC switch (NOT in

Standby). Failure to follow the above advice can

(usually WILL) result in damage to speakers and to

electronics and to You.

5.1 INTRODUCTION

Don’t let the quantity of connectors on the

SSP-75’s rear panel disturb you. If you have ever

connected an integrated amplifier or preamplifier

to an audio system, you are well equipped to work

with the SSP-75.

5.2 CONNECTING THE SSP-75 TO YOUR

POWER AMPLIFIER(S)

But read the following comment first!

The SSP-75 will work exceptionally well with almost

any power amplifier or combination of power

amplifiers you choose. You may elect to use mono-

block amplifiers with balanced inputs, a three

channel amplifier with RCA inputs for the Center,

Left Surround, and Right Surround speakers, and a

self-powered subwoofer . . . or any other

combination that best fits your needs.

The SSP-75 lets you use Balanced (XLR) and Single

ended (RCA) jacks for any connections. The choice

is yours. Ask you Classé dealer for assistance if

necessary. They will be glad to help.

Be careful to maintain proper channel continuity.

A little labeling goes a long way. For example,

do not run a cable from the SSP-75’s Sub output

to the amplifier channel dedicated to the Left

Surround speaker: Neither you nor the speakers

involved will respond favorably.

You may choose the balanced XLR outputs for

your theater. Balanced connections have several

advantages and have long been preferred

by dedicated audiophiles for two channel

music reproduction.

5.2.1 LEFT AND RIGHT FRONT AMPLIFIER(S)

Connect the SSP-75’s Left Front and Right

Front Outputs to the Left Front and Right

Front amplifier(s)

Choose XLR or RCA connectors depending on

which style your amplifier requires.

We recommend the balanced XLR connections

for Left Front and Right Front channels, if at all

possible. First, align the three pins and their

receptacles properly and push the connectors

firmly into place until you hear a ‘click.’ This

tells you the cable is seated properly.

RCA-style cables should be twisted slightly as

you insert them into (or remove them from)

the appropriate jack (follow the manufacturer’s

suggestions here).

Using the appropriate cable, connect the

SSP-75’s Left Front output to the corresponding

amplifier input.

Next, connect the SSP-75’s Right Front output to

the corresponding amplifier input.

5.2.2 CENTER CHANNEL AMPLIFIER

Connect the SSP-75’s Center Channel output to

the Center Channel amplifier.

5.2.3 LEFT AND RIGHT SURROUND AMPLIFIERS

Connect the SSP-75’s Left and Right Surround

(rear) Channel outputs to the Left and Right

Surround amplifier(s).

5.2.4 SUBWOOFER CONNECTIONS

Connect the SSP-75’s Sub (Subwoofer) output.

Follow the suggestions above for

RCA-style connections.

If you’re using a passive (non-amplified) subwoofer,

connect the SSP-75’s ‘Sub’ output to the

corresponding amplifier input. Then connect

the amplifier to the subwoofer with appropriate

speaker cable.

If you’re using a self-powered subwoofer (one with

a built-in amplifier), connect the ‘Sub’ output to the

subwoofer’s line level input. In this case, we

strongly suggest that you disable the subwoofer’s

internal crossover as the SSP-75 already performs all

necessary frequency filtering with a sophisticated

digital crossover. The subwoofer’s own crossover,

usually a less capable circuit, is not needed unless

it incorporates system-specific bass contouring or

servo control circuits.

CAUTION: Do not connect a power amplifier’s

output to a subwoofer’s line level input. This will

almost certainly damage the subwoofer, possibly

damage the amplifier, and may harm both units.

Most manufacturers will not honor warranties

on equipment hooked up this way as this

constitutes ‘misuse.’

5.3 CONNECTING COMPONENTS TO THE SSP-75

SYSTEM SETUP STRATEGY

Before you attempt to connect source components

to your SSP-75, take some time to think of the

most convenient ways to enjoy your system.

Remember that the SSP-75 is extraordinarily flexible

and will allow you to easily configure your system

so that the whole family, even the ‘technologically

challenged,’ can use it instinctively.

The information in this Section will help you

think through your system configuration.

However, before you read it, ask yourself

the following questions:

1. What kind of audio outputs do I have on my

source components and which ones do I want to

connect to my SSP-75?

For example, you may ask yourself ‘Does my CD

player have a coaxial digital output in addition to

the analog outputs? Should I use the digital output

and let the SSP-75 handle D/A conversion or use

the D/A converters already in the CD player?’

2. What kind of Video connections will I

use – Component, Composite or S-Video?

Although composite is by far the most popular,

S-Video offers performance advantages provided

that all of your video components, including your

monitor, offer S-Video connectors and will be

placed reasonably close together.

After you’ve begun to answer these questions,

the following information will help you pinpoint

specific issues.

5.3.1 AUDIO CONSIDERATIONS

5.3.1.1 TYPES OF AUDIO INPUTS

As you noticed while reviewing the rear panel

diagram and associated notes in Section 1, the

SSP-75 has twelve analog audio inputs, six for

audio-only components and six for audio/video

components. There are also seven digital inputs,

of which four are Co-axial, two are Toslink and

one is AES/EBU. There is also a special input for the

optional external RF demodulator for use with Laser

Disc Players (necessary if you will be playing AC3

encoded Laser Discs).

5.3.1.2 PROGRAMMABLE CHARACTERISTICS

All analog inputs include sensitivity adjustments to

avoid overloading and to equalize overall sound

levels as you switch from input to input. Section

6.4 provides more details.

All digital inputs include sensitivity adjustments

which make it possible to set output levels from

each SOURCE to the same relative Sound Pressure

Level (SPL).

Each SOURCE may be programmed for a particular

playback mode (Cinema, Stereo, Party, etc.).

5.3.1.3 INPUT ALLOCATION

For example, you would use AUDIO 6 to connect

an FM Tuner with balanced (XLR) analog outputs

because AUDIO 6 has XLR analog inputs only.

Remember that the Digital inputs may be your

primary choice, as then you can use the High End

internal DACs of the SSP-75. You might be required

to use a TOSlink input for connecting the digital

audio output of your satellite receiver, and you

might use the AES/EBU input to connect a Classé

CD transport.

5.3.1.4 CHANNEL CONTINUITY

As you connect your components, make sure that

a source’s left channel audio output goes to the

corresponding left channel audio input on the

SSP-75 – and that the right channel output goes

to the right channel input, etc. If you are using

the 5.1 analog inputs (for some reason) be certain

you are using the correct inputs.(This is important

for analog signal connections only as all digital

audio signals, whether stereo or multi-channel,

carry ‘flags’ that automatically allocate channel

information precisely.)

5.3.1.5 CABLE CHOICES

Cables are an endless topic of debate among

audiophiles and videophiles. Classé Audio does

not recommend any particular cable. However,

we do point out that different connections require

different types of cable. For example, normal analog

audio interconnects are not ideal for either digital

audio or video, but will generally work in

a pinch. Toslink requires an optical cable with

special connectors on each end. No other type

of cable will work. S-Video cables also have no

substitute, and great care must be taken when

plugging them in.

Coaxial digital audio cables, those with RCA

connectors at each end, should have an impedance

of 75 ohms.

Similarly, video cables, both composite and S-Video,

should have a characteristic impedance of 75 ohms.

5.3.2 VIDEO CONSIDERATIONS

5.3.2.1 COMPONENT, S-VIDEO OR COMPOSITE?

The SSP-75 provides both Component, S-Video, and

Composite signal paths. These signal paths

are not independent. Though you can route

independent signals to the Main area and the

Zone area, care must be taken if you intend to

watch a movie or program simultaneously in the

Main and Zone areas. S-Video will convert to

Composite, but Component Video will not. You

may wish to use two connections for your DVD,

utilizing the Component Video and Digital audio for

the Main area using VIDEO 2, and the Composite

Video and Mixed two channel Analog Audio from

the same DVD connected to VIDEO 3. (Zone out has

only Composite Video). Same program,

separate choices.

Simpler systems, those requiring only a single video

signal path, can elect any of the Video selections.

However, we suggest Component Video as that

format usually provides better resolution and a

better picture over-all. S-Video is also a strong

choice over Composite, in most situations. Note

that all video components including the monitor

must be equipped with the appropriate connectors.

For more complex systems needing independent

routing for two video signal outputs we again

suggest Component Video connections for the

main system and S-Video connections for source

components intended for viewing in remote

locations. The SSP-75’s Record video output is both

composite and S-Video. A long run, (from one room

to another), of composite cable will deliver a

superior picture to a long run of S-Video. S-Video is

best over a short run. Generally the VCR is close

and you should use the

Ask your Classé dealer for assistance

5.3.2.2 OBSERVE PROPER CHANNEL

CONTINUITY AND AUDIO-VIDEO GROUPINGS

AS YOU CONNECT YOUR COMPONENTS.

With audio-video components, make sure that the

audio and video cables terminate at the proper

inputs. Also remember to use the proper video

cable.

If you’ve chosen the S-Video signal path, make

sure you don’t inadvertently use a composite video

cable to connect a DVD player’s video output to

the SSP-75.

5.4 RECORDING AUDIO/VIDEO

The SSP-75 does NOT send decoded digital

information to either of the record outputs. The

output from the record outputs is two channel,

but the SSP-75 does not decode digital information

and send it to either of the two-channel record

outputs. Though you may decode from digital dts,

Dolby Digital, or Pro Logic to watch a Movie

utilizing the 6 or more speakers in your theater,

you must connect, in parallel, the mixed two

channel analog feed from the same source to

record it.

The SOURCE being played in the Main area

appears at the two Record Outputs. Only the

Audio/Video SOURCEs VIDEO 1 through VIDEO

5 appear at VIDEO 6 RECORD. All Audio/Video

SOURCEs (including VIDEO 6) and all Audio

SOURCEs appear at RECORD OUT.

There are two digital audio outputs. The data

available is the same data as input to the currently

accessed digital audio input. This information can

be delivered to and recorded by a digital VCR.

5.4.1 RECORDING AUDIO/VIDEO ANALOG

Setup for recording Audio and Video to a non-

digital VCR is described below. VIDEO 6 input and

VIDEO 6 record are a tape loop, so you can not

record VIDEO 6, except at the two channel only

record output. When the primary source is digital

you must be sure you connect the analog output

from the digital source to the same SOURCE the

digital audio is assigned to.

1. DVD > SSP. Use a two channel analog audio

cable to connect the analog output (mixed two

channel) of the DVD player or Satellite receiver, etc,

that you wish to record, to the analog input of the

SOURCE the digital input is assigned. This must not

be VIDEO 6.

2. DVD > SSP. Use an S-Video or Composite Video

cable to connect the video out of the DVD player or

Satellite receiver, etc. , that you wish to record, to

the same SOURCE the digital input is assigned to,

and to which the analog audio is connected. (S-

Video will convert to Composite, but not vice-

versa). Do not connect to VIDEO 6.

NOTE: Component Video does not convert to

either of the other formats, so you must connect S-

Video or Composite Video. Though your best

viewing may be Component Video, you cannot

record it through the SSP-75.

3. VCR > SSP. Use a two channel analog audio

cable to connect the analog output from your

recording component to the VIDEO 6 analog Inputs.

4. SSP > VCR. Use a two channel analog audio

cable to connect the VIDEO 6 Record Output

connectors of the SSP-75 to the audio input

connectors of the recording component.

5. VCR > SSP. Use an S-Video or Composite Video

cable to connect the video out of your recording

component to the VIDEO 6 S-Video or

Composite video input.

6. SSP > VCR. Use an S-Video or Composite

Video cable to connect the VIDEO 6 S-Video or

Composite Video output of the SSP-75 to the

S-Video or Composite video input of the

recording component.

7. Follow the usual recording component

instructions for recording. The record output at

VIDEO 6 always follows the input on the VIDEO 1

through VIDEO 5.

5.4.2 RECORDING ANALOG AUDIO ONLY

Setup for recording Audio to a non-digital two

channel tape machine is described below. When the

primary source s digital you must be sure

you connect the analog output from the digital

source to the same SOURCE the digital audio is

assigned to.

1. SSP > TAPE. Use a two channel analog audio

cable to connect the analog RECORD OUT of the

SSP-75 to the record input of the Tape Machine

or other analog recording component.

2. TAPE > SSP. Use a two channel analog audio

cable to connect the analog output from your

Tape Machine to any analog audio only Input.

(AUDIO 1 through AUDIO 5, unless you want to

use the balanced input of AUDIO 6)

3. Follow the usual recording component

instructions for recording.

5.4.3 RECORDING DIGITAL AUDIO/VIDEO

Setup for recording a digital audio signal plus

Video to a digital Audio/Video recording device

is described below.

There are two digital audio outputs. The

information available at both is the same data as

input to the currently accessed digital audio input. If

you are watching a Movie from a DVD player and

wish to record it for future viewing you can use a

digital VCR or other digital recording component.

1. SSP > D-VCR. Use a digital Coaxial or TOSlink

cable to connect the output from either of the two

SSP-75 digital Outputs to the digital input of the

digital recording component.

2. SSP > D-VCR Use an S-Video or Composite

Video cable to connect the VIDEO 6 S-Video or

Composite Video output of the SSP-75 to the

S-Video or Composite video input of the recording

component. OR:

2B. SSP > D-VCR Use an S-Video or Composite

Video cable to connect the free S-Video or

Composite Video Monitor output of the SSP-75 to

the S-Video or Composite video input of the

recording component. This is a useful workaround if

you are using the VIDEO 6 video output to feed an

analog VCR.

3. D-VCR > SSP. Use a digital Coaxial or TOSlink

cable to connect the digital output of the of the

digital recording component to any available digital

inputs (COAX 1 through COAX 4, or TOSlink 1or

TOSlink 2 or AES/EBU).

4. D-VCR > SSP. Use an S-Video or Composite

Video cable to connect the video out of the DVD

player or Satellite receiver, etc. , that you wish to

record, to the same SOURCE the digital input is

assigned to, and to which the analog audio is

connected. (S-Video will convert to Composite,

but not vice-versa). Do not connect to VIDEO 6.

5. Follow the usual recording component

instructions for recording. The digital output at both

DIGITAL OUT always follows the input on the

SOURCEs VIDEO 1 through AUDIO 6.

5.4.4 RECORDING DIGITAL AUDIO ONLY

1. SSP > D-VCR. Use a digital Coaxial or TOSlink

cable to connect the output from either of the

two SSP-75 digital Outputs to the digital input of

the digital recording component. (If you are using

one digital output for a Digital VCR you may use

the other for the Digital Tape Machine).

2. D-VCR > SSP. Use a digital Coaxial or TOSlink

cable to connect the digital output of the of the

digital recording component to any available digital

inputs (COAX 1 through COAX 4, or TOSlink 1 or

TOSlink 2 or AES/EBU).

5.4.5 PATIENCE IS A VIRTUE !

The SSP-75 is complex in that it handles audio and

video signals to and from many other components

and provides sophisticated audio processing so you

can enjoy many different types of software.

If you elect to install and configure the SSP-75

yourself, hooking everything up properly will be the

most demanding task you face before enjoying its

many capabilities.

Take your time!

SECTION 6:

SETUP PROCEDURE

Setup of the SSP-75 is easy and intuitive, but it will

take some time and effort. As a matter of fact, if

you’re in a rush to see how it works you can just

plug in all the inputs and outputs and turn it on.

But we suggest you follow the instructions

below and get it set up properly. Then you can

enjoy yourself watching and listening to movies

and music. We have made setup simple and

straightforward, so it won’t take you very long.

Though we have set up the procedures in a given

order, it is not necessary to follow them. Setup

screens may be utilized to setup in any order, or

no order. You can skip ahead or start over. Any

setup can be redone or recalibrated as often as

you wish.

Each input, whether Video or Audio, has factors

which are set up independently. This reduces

confusion about what you’re setting up, and

what effect your action will have on other parts

of the operation of the SSP-75. Don’t worry about

setup, as any mistake you might make can be

easily corrected.

Be sure you have the TV Monitor attached to a

video output on the SSP-75 which has On Screen

Display (OSD), or no setup screens will be displayed.

(Of course you can use the display on the face of

the SSP-75 almost as easily). If you will be using

the automatic setup procedures for calibrating the

speakers and setting the correct speaker distances

first plug the supplied microphone in. (The

microphone should have a fresh battery and

its switch should be ON).

6.1 INTRODUCTION

Begin the setup process by selecting the input you

wish to modify. You must select the input first.

Simply press the button on the wand for the

selected input, or scroll through the inputs using

the buttons on the front of the SSP-75. There are

six MENU ‘levels’, each reached by pressing the

MENU key. Although some of the setup procedure

affects all the inputs, you begin the process by

setting up one input.

The first press of the MENU key (on the remote

wand) delivers the first screen below. There are

three other setup screens at this menu level, each

accessed in turn by pressing the right arrow (() key

on the wand. At the first menu level you have

four options. You can change the name, select or

deselect the component video inputs, change the

overall sensitivity of the audio input, and change

the analog input sensitivity. (If you are setting up

an Audio Only input the Component Video screen

will not appear).We will begin by discussing the

available options for the first level. Press the MENU

key to reach the first screen.

6.2 CUSTOM NAME

6.2.1 SELECT FROM THE LIBRARY

From the first screen you may exchange or modify

the name of the input. Changing the name of the

SOURCE enables you to better match the actual

piece of equipment associated with it. Merely press

the /\ (or \/) key to scroll through a wide range of

names stored in a ‘Library’* onboard the SSP-75. If

you’re satisfied with the Library name you’ve

chosen press the ( key to save the change and go to

Component video below. See 6.2.2 below if you

want more personalization.

Input Setup

Input Video 1

ENTER to customize label

to select/adjust

Input Setup

Comp.video None

to select/adjust

Press (video inputs only)

Input Setup

Level 0 dB

to select/adjust

Press again

Input Setup

Analog Input 0 dB

ENTER to engage meter

A>CAL to auto-calibrate

to select/adjust

Press again

6.2.2 PERSONALIZE A NAME

If you wish you can type in your own labels or

modify one of the names you’ve recalled from

the Library. Press the ENTER key to bring up a

screen from which you can customize the name

of the input.

The following screen comes up:

THIS default label can be changed to THIS

customized name:

6.2.3 INSTRUCTIONS

The small arrow beneath the first letter indicates

the letter which can be changed. There are a total

of nine (9) spaces available for a custom name.

Pressing the /\ or \/ key scrolls through a series of

symbols, numbers, spaces, and characters. Find the

one you want, then press the > key to advance to

the next. If you decide to go back you can press the

< key or press the > key to continue from the last

space to the first. When you are finished press

ENTER again. The new name will be added to the

onboard Library following the last name (DVD),

and the default name (VIDEO 1) will remain. Any

custom name you make will become the last name

in the selectable Library list, replacing any previous

custom name.

Note on Library: The Library consists of thirteen or

fourteen names, beginning with the default name

of the input, then COMPUTER, KARAOKE, DVD

AUDIO, TUNER, CD, CABLE-TV, SATELLITE, VCR,

HDTV, TV, LASERDISC, DVD, (Custom Name). The

default name or any other name can be modified,

but the modified name becomes the Custom Name

(displayed name), and original library name remains

in the Library.

6.3 COMPONENT VIDEO

If you are setting up a Video input access the next

screen at this Menu level by pressing the ( key. The

following screen appears:

6.3.1 COMPONENT SETUP INSTRUCTIONS

This setup screen allows you to tell the SSP-75 if

you are utilizing either of the Component Video

inputs. You select from the three (3) choices by

pressing the /\ (or \/) key. Your selection instructs

the internal Video switcher to look for a video

signal at either the S-Video and Composite Video

inputs or at the Component Video input. If you

have a DVD player with Component Video outputs

and a TV Monitor with Component Video inputs

we recommend you utilize them for best picture

quality. However; Component Video inputs will

only output at the Component Video output.

Select ‘None’ if you will be using the S-Video

or Composite Video input and.

NOTE: On Video inputs/outputs: An S-Video input

will output at both the S-Video output and the

Composite Video outputs. A Component Video

input will only appear at the Component Video

output. A Composite Video input will only appear

at the Composite Video outputs. S-Video and

Composite Video outputs have separate connectors

for On Screen Display (OSD) and non-OSD. OSD

for Component Video must be turned on and off.

We recommend non OSD for best picture (after

setup is completed).

6.4 INPUT SETUP

Once you have selected the correct input (by

selecting it from the wand or scrolling to it with

the buttons on the faceplate)

6.4.1 INPUT SENSITIVITY SETUP

Different pieces of equipment have higher or lower

levels of audio signal. Increasing or reducing the

sensitivity of the input helps to ensure that a high

level of input does not overload the preamplifier

stages, nor that a low level of input does not give

too low a level of output. Press the /\ key or the \/

key to increase or decrease the sensitivity. USUALLY

no adjustment is required. Though Digital inputs do

have different signal levels, they will generally give

the same output level for any given volume setting.

See the next screen for information on setting up

the analog inputs.

Input Setup

Input VIDEO 3

ENTER to customize label

to select/adjust

Input Setup

Input SONY DVD 2

ENTER to customize label

to select/adjust

Input Setup

Comp.video None

to select/adjust

Input Setup

Comp.video Input 2

to select/adjust

Press once

Input Setup

Comp.video Input 1

to select/adjust

Press again

Input Setup

Level 0dB

to select/adjust

6.4.2 ADJUSTING INPUT SENSITIVITY

Press the > to reach the next setup screen.

6.4.3 INPUT LEVEL SETUP

Here you can set up the individual Analog inputs.

This setup makes it possible to ensure that as you

switch from one input to another the output sound

pressure levels (SPL) remain the same. There are

two easy ways to set up analog inputs. The first is

to press the ENTER key to reveal the next screen.

6.4.4 METER SETUP

If you have a dynamic analog audio source (like a

CD) playing into this input you can hear the SPL

increase or decrease as you press the /\ and \/ key

on the remote. Using your ear (or an SPL meter)

and the on-screen meter you can set a level for all

the analog inputs. The range is +/- 16 dB, but it is

quite likely that only a small change, if any, would

be needed. Pressing the /\ or \/ key increases or

decreases the analog input sensitivity only. Increase

or decrease the sensitivity when the output level

from this input does not match the output levels

from other analog inputs.

6.4.5 AUTO CALIBRATION OF INPUT

The second easy method of setting up the

individual analog inputs is to let the SSP-75 do all

the work. You can press the A.CAL button at either

the initial Analog Setup screen, or at the meter

setup screen above which appeared after pressing

the ENTER key. Be sure the supplied microphone is

plugged into the MIC jack on the rear of the SSP-

75. (the microphone should have a fresh battery

and its switch should be ON). Place the microphone

at the preferred listening position, preferably at ear

level. Holding the microphone may make more

noise than you realize and throw off its accuracy.

6.4.5.1 A.CAL ADVISE

Before you press the A.CAL button you must

have a dynamic CD, or other source (Tuner, SACD,

Karaoke), playing through the current input.

Press the A.CAL button on the remote. The

screen immediately changes to red and the

following appears:

When you press the A.CAL button to begin the

auto-calibration process the SSP-75 will listen

through the microphone to the level of the output

and gradually raise or lower the level until the

resultant SPL matches a nominal level, then

automatically revert to the previous screen.

Once you have finished with the setup of the

various inputs you will be using you can press the

MENU key again to reach the next setup level:

6.5 SPEAKER SETUP

6.5.1 SPEAKER SETUP DISCUSSION

The second press of the MENU key brings you to

an easy but important part of the setup process.

To help you get the most out of your theater

experience the SSP-75 needs to know how

many speakers your system has and what kind of

speakers they are. In the following section we will

show you how to set up the speakers. You should

read over the following paragraphs before you

decide how you will describe your speakers. How

you define the size and number of speakers has a

direct effect upon how the system will sound when

playing movies and stereo.

Although the default for the main speakers (Left

and Right Front) is set to ‘Small/THX’, you should

carefully decide what you want to accomplish, and

do some experimental listening. When the Front

Left and Right and Center (if one is present) are

set to ‘large’, no information except LFE (Low

Frequency Effects, the .1 of the 5.1 specification)

is directed the Sub-woofer. Many movies have low

frequency information but little or no LFE. Basically,

the Sub-woofer will only get signal during a big

effect, perhaps during an explosion. If you expect

more low frequency information, and a lot of

people do, you may not want to set the front

speakers to ‘large’. When you define the front

speakers as ‘Small/THX’, all Bass information below

80Hz is sent to the sub-woofer, including any LFE.

One setup method, and a method many installers

favour, is to send all information for the Front Left

and Front Right speakers to either one or two sub-

woofers, and from there utilize the cross-over in the

sub-woofer(s) to send the higher frequencies to the

Left and Right Front speakers.

Define Setup that there is no Sub-woofer, and

that the Left Front and Right Front speakers are

‘Large’,and the center speaker is ‘Small’. (Although

there is a Sub-woofer, there is not

one attached to the Sub-woofer output, unless

of course you put one on that output just to

reproduce the LFE signal). This method will direct

all low frequencies and the LFE information to the

‘Large’ speakers, and will also allow the Center

speaker to have the most dynamic range.

All in all, though, the best setup is the one which

sounds best to you.

6.5.2 SPEAKER SETUP

So here we are at the Speaker Setup screen:

Input Setup

Analog Input ?dB

ENTER to engage meter A.CAL to

Auto-calibrate

to select/adjust

Input Setup

Analog Input 0dB

AUTOCALIBRATION

---------|---------8-4-0

Speaker Setup

Main: Large

to select/adjust Speaker Setup

Main: Large

to select/adjust

Input Setup

Analog Input 0dB

---------|---------8-4-0

6.5.2.1 MAIN DISCUSSION

Press the /\ or \/ key to select between ‘Large’

and ‘Small/THX’. Once you have selected a size

press the > key to select the ‘Center’ speaker setup

screen.

Center speakers are pretty important. Buy the best

and biggest you can afford. 60% of all the audio

information is played back through the center

channel, including both dialogue and effects. Clear,

understandable dialogue and uncompressed effects

provide you with the drama and involvement the

Director and actors intended.

6.5.2.2 CENTER DISCUSSION

Press the /\ or \/ key to select between ‘Large’

and ‘Small/THX’ and ‘None’. There are very few

Center speakers available which can be classed

as ‘Large’. Remember that ‘Large’ means the

speaker needs to be flat in frequency response

down to 30 or 40Hz. If you have a center speaker,

and you should have one, it is quite likely going

to sound best if you define it as ‘Small/THX’.

Selecting ‘Small/THX’ sends audio information

below 80Hz (including the LFE) to the Sub-woofer,

or the ‘Large’ Left and Right Front speakers. (No

information is lost).

6.5.2.3 SURROUND DISCUSSION

Once you have selected a size press the > key to

select the ‘Surround’ speaker setup screen.

Press the /\ or \/ key to select between ‘Large’

and ‘Small/THX’ and ‘None’. There are very few

Surround speakers available which can be classed

as ‘Large’. If you have Surround speakers, and

you should have them, they will quite likely sound

best if you define them as ‘Small/THX’. Selecting

‘Small/THX’ sends audio information below

80Hz (including the LFE) to the Sub-woofer, or

the ‘Large’ Left and Right Front speakers if you

have no woofer. (No information is lost).

6.5.2.4 SUBWOOFER DISCUSSION

Once you have selected a size press the > key to

select the ‘Subwoofer’ speaker setup screen.

Press the /\ or \/ key to select between ‘Yes/THX’

and ‘None’. Select ‘Yes/THX’ if you have any

sub-woofer connected to the Sub-woofer output.

If you elect to insert the Sub(s) between the SSP-75

and the Right and Left Front then select ‘None’.

Selecting ‘None’ sends audio information below

80Hz (including the LFE) to the ‘Large’ Left and

Right Front speakers. (No information is lost).

6.5.2.5 BASS LIMITER

Once you have selected a size press the >

key to select the ‘Bass limiter’ setup screen.

The default level is ‘Off’. The purpose of Limiting

the Bass output is to protect your speakers and

your neighbors. It generally does not need to be

turned on. The Limiter action is to prevent the

sub-woofer (or the woofer section of your ‘Large’

speakers), from playing louder than a certain level.

Unfortunately the setup method can damage your

speakers (woofers) so Extreme caution is advised

if you decide you need to set it up.

Press ENTER to engage noise. The woofer will begin

playing pink noise at –44dB and then gradually

raise the level. You need to be listening carefully,

with the remote in your hand, with your thumb on

the V (down button, below the ENTER key). Listen

for any change in the sound other than the volume.

If the speaker(s) begin to distort, immediately press

the \/ (down button, below the ENTER key) to turn

off the automatic increase in volume and reduce

the output level a dB or so below the level at which

distortion began. Distortion may include the woofer

cone banging or rattling against the magnet. DO

NOT allow distortion of any kind to go on for ANY

length of time.

If you are unsure on whether you need this set

up, talk with your dealer and get good advice.

Generally, Bass limiting is not required, even if you

are listening to loud explosions. However; if you

hear low frequency distortion while watching

movies you will need to turn on the bass limiter.

6.5.2.6 EXIT SPEAKER SETUP

Once you have finished with setting up the size and

number of speakers in your theater you can press

the MENU key again to reach the next setup level:

Level Calibrate.

6.6 LEVEL CALIBRATE

Obviously you must correctly set up all the speakers

in your surround system before attempting to

calibrate the speakers. Speakers and amplifiers

can all have different sensitivities or efficiencies.

Calibrating the speakers sets them up to all play at

the same level for the same input to the Processor.

The SSP-75 needs to be instructed how to send

more or less signal to each channel so they all play

at the same SPL when they’re supposed to.

There are two easy ways to calibrate the speaker.

You can do it by hand with an SPL meter, or

automatically using the supplied microphone.

The two ways are equally accurate, but using the

microphone and an internal processor means all the

work is done for you. An SPL meter is inexpensive,

and can be easily found at a RADIO SHACK store.

6.6.1 MANUAL CALIBRATION

Begin the manual correction of speaker levels by

placing the SPL meter at the preferred listening

position (or near the middle of the seating area) at

about seated ear level. Turn on the meter and set it

to 70dB. At the Level Calibrate screen (above) press

ENTER on the wand.

Speaker Setup

Center: Small/THX

to select/adjust

Speaker Setup

Surround: Small/THX

to select/adjust

Level Calibration

Front left: 0.0db

Raising noise level

ENTER to engage noise

A.CAL to auto-calibrate

to select/adjust

Speaker Setup

Subwoofer: Yes/THX

to select/adjust

Speaker Setup

Bass Limiter: Off

ENTER to engage noise

to select/adjust

Level calibrate

Front left: 0.0dB

ENTER to engage noise

A.CAL to auto-calibrate

to select/adjust

Pink noise will begin coming from the Left Front

speaker. Press the /\ or \/ (probably the /\) button to

change the noise level by 0.5dB steps until the SPL

meter reads 75dB. There

is an adjustment range of +/- 16dB. Once begun

the noise will move from Left Front to Center to

Right Front to Right Surround to Left Surround to

Sub-woofer.

(If you press either the < or > buttons the sound

will stop circulating and remain at the current

speaker until you press the < or > button).

When you press either the /\ or \/ button the pink

noise will continue to play at that particular speaker

until three seconds after you stop changing the

level. The noise will continually circle the room, so

you can check the levels of the speakers a couple

of times after you believe you have all of them set

to 75dB. Because the SPL meter is less accurate at

measuring low frequencies you might want to

increase the subwoofer level by 5dB or so.

When you are finished and all speakers have the

same relative output level, press ENTER again to

stop the process.

6.6.2 AUTO CALIBRATION

Automatic Calibration is somewhat easier. You

don’t need an SPL meter, as the SSP-75 has its’

own. Insert the battery (correctly) and turn ON the

microphone. Place the microphone at the preferred

listening position (or near the middle of the seating

area), pointing straight up. (The microphone is

omni-directional in a 180 degree arc, 360 degree

around). Be sure the microphone cable is plugged

into the MIC jack on the rear panel of the SSP-75.

Do not attempt to hold the microphone in your

hand, use an independent support. We recommend

propping it up with pillows or attaching it carefully

to a camera tripod. It is also important that the

room be as quiet as possible during this set up.

Too much noise, whether from a furnace, air

conditioner, people talking or just walking around,

may cause the set-up to fail. You can just start

over when there is less extraneous noise.

6.6.2.1 PRESS A.CAL

Press the A.CAL button on the remote. The

monitor screen immediately changes to red

and the following appears:

Pink noise, at a low level, automatically begins from

the Left Front Speaker and rises slowly in volume.

The SSP-75 generates some noise, listens, then step

by step increases or decreases the SPL until the level

of noise coming back from the speaker is equal to

75dB. It tests each speaker in the same sequence as

above, raising the level to 75dB for each one. The

process automatically stops when all speakers have

been successfully calibrated, unless there is an error.

If there is too much noise the process will cease.

It will also stop if the speaker it is attempting to

play is not attached or if the beginning noise level

output from the speaker is to low. (It will skip those

speakers designated as ‘none’ during setup). Merely

fix the problem and start again. The process

generally begins again with the speaker it stopped

at. We have found some sub-woofers are very

sensitive and require their own input level controls

to be reduced somewhat.

Once you have finished with the Level Calibration

of all of the speakers in your theater system you

can press the MENU key again to reach the next

setup level: Delay Setup.

6.7 DELAY SETUP

Some Notes on Delay Setup:

Delay setup is important to your enjoyment of

movies, and any other Surround mode you use. The

purpose of the setup is to tell the SSP-75 where the

listener is sitting in the room, or actually, how far

all the speakers are from each other and from the

listener. The SSP-75 can then send out the sound

from the different speakers at the correct times so

the sounds of an event get to the listeners’ ears in

the correct order.

This is also an easy setup procedure. You can

measure the distance to each of the speakers in

your system and just put the distances into the SSP-

75 or you can utilize the microphone again and

have the processor figure out how far the speakers

are from the preferred listening position. We

recommend you use the microphone, as the

distances will be automatically corrected for

crossover delays.

6.7.1 MANUAL DELAY SETUP

Use the < or > keys to navigate from one installed

speaker to the next. Measure the distance from

the front of each speaker to the SPL meter or

microphone you used in the Level Calibration

procedure above. Use the /\ or \/ keys to increase

or decrease the number on the screen until it

matches the distance you have measured (within

+/- 6 inches).

6.7.2 AUTOMATIC DELAY SETUP

By using the microphone which is in the preferred

listening position, and using the A.CAL button

you can get the SSP-75 to measure the distance

more accurately.

Press the A.CAL button at any point. Even if

you have set the distances, or even set half the

distances, you can press the A.CAL key and the

processor will begin sending out a series of short,

high pitched noises, moving from speaker to

speaker as it figures out how far each speaker

is from the microphone. The noises may seem

loud, but they will not damage your speakers.

The processor ‘measures’ the time it takes for

the noise to reach the microphone after it has

been played by each speaker.

Again, it is very important there not be any other

noise going on in the room at the same time as the

processor is attempting to set the distances.Once

you have finished with the Delay Setup of all the

speakers in your theater system you can press the

MENU key again to reach the next setup level:

OSD Setup.

6.8 OSD SETUP

Level calibrate

Front left: 0.0dB

AUTO-CALIBRATION

Noise Level -.-

Delay Setup

Front left: 10.0ft

AUTO-CALIBRATION

Speaker dist --

Delay Setup

Front left: 10.0ft

A.CAL to auto-calibrate

to select/adjust

OSD Setup

Default system: NSTC

to select/adjust

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