Classé Sigma-SSP Surround Sound Preamp/Processor
An audio company that has been in the business for nearly four decades must be doing something right. That description aptly fits Classé Audio, a Canadian high-fidelity corporation that has been building preamplifiers and amplifiers since 1980. Classé products have been extremely well received by the press, and, most importantly, by home audio enthusiasts. The Sigma-SSP Surround Sound Preamp/Processor represents Classé’s most recent entry into the home theater.

Out of the carton and into my home theater!
Good packaging reassures me that the component within will be first rate. This was certainly the case with the Sigma-SSP, right down to its custom-fitted baggie. After I saw the “Assembled in China” label, the “Designed by Classé in Canada” label that followed was most reassuring. Like most high-end audio companies that make components overseas, Classé assuredly holds its own B&W group factory to very high quality standards, passing on the savings in labor costs to its consumers.

The black façade is simplicity itself (rack mounting is available with the supplied hardware). Starting the left side, there is a standby/on button changing from red to blue when powered up. Below are an IR window, a 6.35 mm headphone jack, a USB charging host connector designed for iPad™, iPod ®, and iPhone® and for installing firmware updates. Next is an HDMI port for a video camera or laptop computer. At the center is a blue-and-white display flanked on the left by a menu button and on the right a small mute button. A large rotary volume control with a range of -93.0dB to +14dB completes the front panel.

The rear panel is busy but neatly laid out. At the top left are a Main Power On/Off Switch and a power cord receptacle. At the bottom left are an RS-232 port and a CAN-Bus Input/Output. The CAN-Bus allows several Classé components to be interconnected (Note: This feature was not active in the current firmware version of the review sample.] There follow an IR Input and Output, three SPDIF coaxial inputs for digital devices, one SPDIF coaxial output, two optical inputs, a USB-B port for a computer, an Ethernet port for streaming audio via Airplay or DLNA as well as IP control for the Classé app. Moving further to the top right there are seven HDMI inputs and one HDMI output. Below are a pair of analog balanced inputs, a pair of single-ended inputs, and a bank of analog outputs (one balanced, six unbalanced). Of interest are the AUX1/2 outputs that can be configured for either a pair of rear channels, a pair of height channels or two-channel down-mix or mirroring the front L/R channels in a bi-amplified set up.

The remote control unit is very basic and provides mute/source selection/standby functions, volume up/down buttons, play control buttons for USB and network-connected sources, and three function keys (Fkeys) that can be programmed for specific functions or commands. According to company president David Nauber: “the remote for the Sigma SSP fits into our overall strategy for the product. Since we have the [Classé] app and many or most installations are likely to be controlled by either an automation system or universal remote…we did not want to include a full featured remote if it would likely just remain in the box. … As much of the product’s cost as possible has gone into performance.” For those wishing a bigger remote unit, there is the above-mentioned Classé mobile app.

Please Pick a Menu
The Sigma-SSP uses its System Set Up menu that perform the following operations:
Configure up to 18 source component inputs
Adjust loudspeaker parameters
Tailor the display screen
Set volume control parameters
Set up a parametric equalizer
Set up tone controls
Select Remote F key functions
Assign DC triggers
Teach IR commands

This is where the Classé Sigma-SSP surround pre/pro starts to separate itself from the field. Some time and perseverance is required to scroll through the menu screen pages. However, this initial (and lengthy) process is well worth doing for each source component in one’s A/V system. Each source may be assigned a specific name, speaker configuration, favorite mode, video connector, and input offset. The Favorite Mode can assign preselected post-processing sound modes to each source. The Input Offset adjustment allows the Sigma-SSP to address sources with widely varying volume levels, allowing each source to be played back at similar levels within a range from -10 db to +10 db. The SSP can be customized to disable unused inputs, simplifying the source selection process as only the active inputs will be seen together, often on a single screen.

Some home theater owners have multiple analog music sources such as turntables, tape decks, and analog radios. A Digital Bypass turns off digital signal processing that provides a better signal path for such sources. The default display can be customized once all source components are set up; most users will settle for the default home screen.

After all of that work, how did it work?
I have discussed the set up process at length because, as the old adage states, patience is a virtue. After completing the set up, this is easily one of the most versatile and sonically impressive surround processors that I have ever used.

After inserting the Classé Sigma-SSP and the Classé Sigma Amp5 amplifier (reviewed separately) in a multichannel system consisting of Martin Logan ESLs (CLX, EFX, Stage X) and a pair of Balanced Force 212 powered subwoofers, my high expectations for this pre/pro were well met. I could end the review right now by stating “trust me I’m a doctor,” but in the current medical care climate, I better justify my conclusions with some details.

Audio or Video?
When you purchase a surround sound processor, you hope that it will mete out equal justice for sights and sounds. The Sigma-SSP’s sonic virtues that emerged during subsequent listening sessions (after 100 hours break-in) are due in no small part to four Wolfson 8741 stereo DACs with differential output for each channel. The DACs are assigned to left/right channels, center/sub channels, and surround/auxiliary channels.

I listened to a number of audio-only Blu-ray Discs like the Decca reissue of Puccini’s Turandot and Inscape’s American Aggregate on Sono Luminus. SACDs included piano-centric releases like Joel Fan’s West of the Sun (Reference Recordings) and Fiona Joy’s Blue Dream (Little Hartley Music). Both provide great renditions of an instrument that is very challenging to record. A Red Book CD, Susan Nigro’s delightful New Tunes for the Big Bassoon (Crystal Records) offers up the full body and versatility of the orchestra’s largest woodwind. Played into the Sigma-SSP through my Oppo BDP-105 universal disc player, there was superb capture of each selection’s essence, clear and uncolored.

Going to AirPlay sources, the SSP handles a large number of audio codecs: AAC, MP3, Apple Lossless, AIFF, and WAV. DLNA-supported formats are ALAC, MP3, FLAC, WAV, Ogg Vorbis, WMA, and AAC. This will be a boon to those storing music on their Macs or i-devices as I found out first hand with audio files on my iPad and MacBook Air. The USB port handles playback of computer-stored music files with resolutions up to 192kHz/24-bit. Cat Steven’s Tea for the Tillerman, a 192kHz/24-bit download, has powerful guitar licks and distinctive vocals on Wild World. The Sigma-SSP partnered with the Oppo player got everything just right.

The Sigma-SSP’s HDMI 1.4 ports will support all native video resolutions up to 1080p @ 24/50/60 fps. This surround pre/pro neither adds nor subtracts from what you see, leaving the signal processing up to the video source. A potentially important consideration for the future is that the Signa-SSP’s cannot pass a native 4K or 8K signal.* Such source material is currently quite limited but would need a direct connection to a compatible display. The Video Preview function allows the video signal to be seen on the touch screen, particularly useful if the SSP is not in the same room as the home theater. Lossless high-resolution multichannel DTS-HD Master Audio and Dolby TrueHD codecs are supported; Auro 3D and Dolby Atmos are not.* There is a plethora of post-processing modes for handling mono and stereo sources: Movie Plus, Music Plus, Dolby PLII, Dolby PLIIx/PLIIz Music/Movie/ Matrix/Game, Neo6, Neo6 Music/Cinema/Discrete, Dolby EX, Neo6 Music/CinemaES.

Entering the video realm, the Blu-ray playlist included Into The Woods and Unbroken, and a premiere recording of the operatic version of Brokeback Mountain. Streaming Interstellar from the VUDU app on my Oppo player also looked quite impressive in 1080p. There were no obvious glitches at any native resolution from 480p to 1080p. While the less than pristine quality of many cable TV sources was readily evident, after all most so-called high-definition broadcasts are 720p, the 1080i channels like National Geographic and Discovery Networks looked pretty spectacular.

*(Editor’s note: Classé sent us thus note after the writing of this review: “A video board upgrade to HDMI 2.0 with HDCP 2.2 will be offered in the future, so owners may upgrade when and if they need it. Likewise, the audio DSP board is upgradeable so a future version supporting Dolby Atmos will be offered. The SSP is limited to eight channels, so this will translate to 5.1.2. I’m not sure how many customers will require this, but it will be made available for those that do.”)

Answered Prayers
Those who want to build their A/V systems around a do-everything component must consider both audio and video performance. Fortunately, no compromises are needed with the Classé Sigma-SSP surround pre/pro. It handles nearly all the current sight and sound formats letting the source components do the math while the SSP simply propels the results onward to the amplification stage.

The Good
Excellent construction values
Superb versatility
Lots of inputs
Handles nearly all current audio and video formats
Outstanding DACs

The Bad
Remote control has limited functionality
Initial set up is labor-intensive
Cannot handle native 4K video sources or multichannel soundtracks like Dolby Atmos or Auro 3D in their native resolutions

The Definitive Word
The Classé Sigma-SSP delivers superb performance with most of today’s audio/video formats, and would serve as the heart and soul of a top-flight home theater system. Potential buyers should consider downloading the Classé mobile app as the supplied remote has limited functionality. Compared to Classé’s flagship pre/pros SSP-800/CT-SSP (at approximately twice the price) this new unit has fewer balanced outputs and a more limited remote control, but adds more HDMI inputs, and, more importantly USB-B and Ethernet connectivity. Considering its outstanding audio performance and capable video signal management, the Classé Sigma-SSP should be well worth considering for home theater fans either when planning a new A/V system or when upgrading their current A/V systems. Highly recommended.

Classé Sigma SSP surround-sound preamplifier-processor

I reviewed Classé’s flagship preamplifier-processor, the SSP-800, in 2011 (footnote 1), well after its original release, because I wanted to wait for the HDMI 1.4 update and its attendant audio format support. It did just about anything one could expect of a modern pre-pro, and its sound was excellent, whether from digital or analog sources, or whether it processed the sources or transmitted the analog unmolested. Since then we’ve seen the rise of wireless and wired streaming, but the SSP-800 ($18,999) can do that fed by an S/PDIF source or a good external DAC; even today, I’d be hard put to criticize the SSP-800.Four years later, Classé has come up with the Sigma SSP: smaller, lighter, sleeker than the SSP-800, and little more than half the price: $9,999. (The Sigma SSP measured 16.9″ (433mm) W by 3.7″ (95mm) H by 14.4 (370mm) D and weighs 18.1 lbs (8.21kg). All of that is to the good—but has anything been lost?Features? There’s no doubt that the pre-pro market is a varied population. At one end are those who want a pre-pro to anchor a home theater with multiple screens while feeding and controlling remote A/V zones. At the other end are those who want a pre-pro with minimal video facilities but a wide array of analog and digital inputs, including phono, and the ability to bypass any digital conversion for all analog signals. No one product suits all, and, as I’ve been told by Classé’s Dave Nauber, many difficult decisions led to the Sigma SSP, which occupies a cannily chosen middle position a bit closer to the latter extreme.

Consequently, the only video inputs or outputs are HDMI. There are seven HDMI inputs on the rear panel and one on the front, to accommodate lots of modern sources, but only one HDMI output. There are three coaxial (RCA) and two optical (TosLink) digital inputs, but only one coaxial (RCA) digital output. The analog inputs comprise one pair of balanced (XLR) and two pairs of single-ended (RCA) jacks. The analog outputs are one pair of XLRs and eight pairs of RCAs. The Sigma SSP doesn’t support multiple zones, but one pair of its RCA outputs can be assigned as an L/R pair for a remote location or for multiple subwoofers. The SSP-800 has a parametric equalizer with up to five bandpass filters per channel; the Sigma ups that to an even more effective nine filters per channel. So the Sigma SSP has more HDMI inputs than the SSP-800, but doesn’t support composite or component video. Digital in/out is comparable, as is stereo analog in/out, but the Sigma lacks an analog 7.1-channel input as well as the full array of XLR outputs for all channels.

Here’s where the cost analysis came in. How many users today require the 7.1 analog input when all formats but DSD can be decoded by the pre-pro? As for the XLR outputs, Nauber claims that allocating a given budget for each single-ended input permitted engineering to optimize performance for that input, compared to spreading it across the virtually doubled number of parts required for a balanced output. Still, XLR in and out is maintained for L/R, and, significantly, you can avoid A/D conversion to enjoy an entirely analog signal path for all stereo sources simply by opting for digital bypass mode (all DSP processing switched off). “If no processing is applied, analog signals remain in the analog domain, even if not specifically set to digital bypass.”

But the Sigma SSP adds support for DLNA audio via Ethernet and AirPlay—ideas not yet born when the SSP-800 appeared, so we didn’t miss them. Today, however, they’re almost essential, and the Sigma’s implementation of them is excellent, supporting a variety of compressed and uncompressed formats, including ALAC, FLAC, and WAV up to 24/192—all two-channel only, of course, as on every competing product today.

The specs of the Sigma SSP and the SSP-800 are a toss-up. The SSP-800 accepts a marginally higher input level in analog bypass mode, and has a marginally narrower range of frequency-response deviation. On the other hand, the Sigma SSP has lower claimed THD+noise for digital sources, marginally higher output voltage, and slightly better signal/noise ratios for analog sources. But the differences are so slight as to be inconsequential.

Aside from the additions of headphone, HDMI, and USB connectors, the front-panel design is classic Classé: to the left of the crisp and responsive touchscreen are buttons for On/Standby, Menu, and Mute. To the right, nearly flush with the faceplate, is a large volume knob that responds reliably to the lightest touch. A small remote control is provided. It seemed too simple at first, but after setup, it was entirely capable of normal operations.

Setup procedures seemed identical to those of other Classé controllers, so I was able to jump right in using the Sigma SSP’s touchscreen or the OSD. The screen’s ability to display live video will be particularly convenient when the Sigma SSP is kept in a closet or other remote location. I connected my Oppo BDP-103 universal Blu-ray player, music server, and cable box to the Classé’s HDMI inputs and renamed them. The Oppo was also connected to a coax S/PDIF input and a stereo analog input, and the Sigma’s RJ45 jack was connected to my home network. For these inputs I created two configurations: one with bass management and EQ, one without. The latter was for the input from my Mac mini–based music server, which has its own bass management, and Dirac Live EQ. The former was used for all other sources.

At first, I amplified the Sigma SSP’s output with my Bryston 9B-SST2 power amplifier, but I did most of my listening with Classé’s Sigma AMP5 (reviewed below). In both cases, I used the Sigma SSP’s XLR outputs for L/R and its RCA outputs for the other channels, including the subwoofer. I began listening to the analog stereo feed from the Oppo via digital bypass (which many of us call analog bypass) and, with either amp, the Sigma SSP offered a strikingly clean, transparent sound that immediately conjured comparisons with the SSP-800 and other very high-end controllers or preamps. For this, I used my go-to track, mezzo-soprano Marianne Beate Kielland singing Finzi’s “Come Away, Death,” accompanied by pianist Sergei Osadchuk, this time with the Oppo playing the SACD (2L-064-SACD). Further listening to a wider range of sources only reaffirmed that the Sigma SSP can be regarded as a superb stereo analog preamp, and all the rest of its bells and whistles as gifts.

The S/PDIF input fed from the Oppo sounded even better than the analog feed, while the A/D–D/A through the Sigma SSP was marginally but inconsequentially less so. I was more than happy with my local server feeding multichannel files to the Sigma SSP via HDMI at PCM rates of up to 24/192. From the remote server via DLNA/Ethernet, the sound was entirely equal in quality but limited to two-channel files. As a result, I quickly stopped making these tedious comparisons and moved on to more meaningful work, with other sources with two or more channels.

I used the Sigma SSP constantly over several weeks, and everything I tossed at it sounded as good as ever. More than occasionally, it offered more detail, and a more relaxed sound overall. This was particularly true after I’d transferred REW-derived correction filters for each channel, but even unfiltered there was a satisfying balance, coupled with strongly delineated bass and really wide dynamic range. The Sigma SSP offered an impressively spacious yet detailed re-creation of a symphony orchestra from one of my 2015 picks for “Records to Die For,” Dvorák’s Symphony 8 with Manfred Honeck leading the Pittsburgh Symphony (SACD/CD, Fresh!/Reference FR-710SACD)—and presented an audiophile favorite, Sara K.’s Hell or High Water (SACD/CD, Stockfisch SFR 357.4039.2), with all intimacy, warmth, and slam one could desire.

In designing this lower-priced preamplifier-processor, Classé seems to have made all the right choices without sacrificing sound quality in any way. In fact, I suspect that it may be an advance on its older sibling, and on other high-end processors of only a few years ago. A few of the SSP-800’s features were eliminated, and it will be matter of personal preference whether those omissions are a problem. For me, they aren’t; moreover, the new features and cosmetics and the sonic clarity are more than adequate compensation. With digital or analog sources, the Classé Sigma SSP sounds more like a top-tier analog preamp than any pre-pro near its price. As such, it has carved out for itself a unique market niche.

Classé Sigma AMP5 five-channel power amplifier

For the Sigma series power amplifiers, Classé took the switch-mode power supply and proprietary class-D amplifier technology they’d lavished on their Delta CA-D200 amplifier ($8,499) and put it into a new chassis for the Sigma AMP2 stereo amplifier ($6,999). What’s notable is that the five-channel Sigma AMP5, with the same power supply and class-D amp, and identical watts-per-channel and stereo specs, costs only $9,999. If there’s a catch, it’s that the Sigma AMP5 is rated at 200Wpc RMS into 8 ohms, all channels driven, but can achieve 400Wpc into 4 ohms only with two channels driven—like the CA-D200 and the Sigma AMP5. This is due to limitations in AC mains/power and, bench tests aside, will not limit real-world use.

The Sigma AMP5 weighs 23 lbs and is designed into the same small, sleek case as the Sigma SSP. The two models’ front panels, too, are identical, except that AMP5’s central screen is merely decorative, and its only control is a matching On/Standby button. The rear panel is also similar to the SSP’s, with five channels of RCA inputs, but only two channels with XLR inputs. Of course, it’s logical that one would usually choose the latter for the main Left/Right channels, as I did, but there’s nothing to keep you from using all of the RCA inputs, or even from using the XLR inputs for any other channels. On the input (left) side of the rear panel are a USB port (for firmware updates), an RS232 and CAN BUS connectors (for command and control), and IR and trigger in/outs, along with an IEC power port and a fuse post. On the right are five pairs of multiway speaker posts.

I slipped the Sigma AMP5 into the rack, and connected it to the Sigma SSP with XLR (L/R) and RCA cables. I also linked it to the SSP via the CAN BUS (RJ-45) connectors, which let me control and monitor the AMP5 from the SSP’s display and OSD. Nothing unusual or problematic.

Having switched directly over from the Bryston 9B-SST2, I immediately heard that the Sigma AMP5 opened up the midrange and ameliorated the slight nasality I’ve come to expect from my Paradigm Studio60 speakers. Of course, I ran it through the gantlet of standard music test tracks, from solo voice (Marianne Beate Kielland singing “Come Away, Death”) to Saint-Saâns’s “Organ” Symphony, as performed by Christoph Eschenbach and the Philadelphia Orchestra, with organist Olivier Latry (Ondine ODE 1094-5). The midrange and treble were pure and smooth—something of a surprise for a class-D amp—and the bass was powerful, delineated, and extended. More important, the Sigma AMP5 imposed no coloration or character on the music, but seemed utterly transparent. I’ve been enjoying a new recording of Mozart’s Requiem, with Masaaki Suzuki leading the Bach Collegium Japan (SACD/CD, BIS-2091). This is a new version of the work, completed and edited by Suzuki’s son, Masato (organist for this performance), and it doesn’t so much surprise as electrify. The AMP5 revealed an open, continuous soundstage populated by an array of players and singers, each retaining a presence in space—presences that, to my surprise, closely matched the positions of their images in the booklet’s centerfold picture.

I heard a different kind of electricity from Alison Krauss and Union Station’s Live (2 SACD/CDs, Rounder ROUN0515). This set of greatest hits was performed before an enthusiastic audience who assert their presence in the surrounds; the band, up front, is very clear. Despite the lack of any discrete center-channel information, there is no gap or deficit in the presentation of the soundstage. With the clarity and dynamics of the Sigma AMP5 and SSP, I can say, with little hyperbole, that I heard every voice and every plucked or strummed string instrument in this stirring concert, almost as if I were there.

As with the Sigma SSP, Classé has brought to the Sigma AMP5 their acknowledged high-end sound quality at an appealing price. I’ve been impressed with several recent class-D amps, but the Sigma AMP5 brought me a new level of performance that easily competes with or outperforms comparable nonswitching designs. That’s progress.

“…a musically reliable amp with the best possible room correction—the kind that’s suitable for both most music and pretty much all movie and TV content.” Sound & Vision // May 2016. Read the full review

“Overall the AVR-X7200 is an excellent AV receiver and more than deserving of a Highly Recommended award.” AV Forums // March 2015. Read the full review

“If your new Beamer came with headphones, it’d probably come with the P7. The smooth leather trim and elegant bands of chrome along the exterior give way to a sound that’s just as luscious, offering a rich and ruddy lower register, and crystalline treble above. There’s no doubt the price makes them a premium investment, but for the lover of all things lavish on your list, the P7 definitely fit the bill.” Digital Trends

WINNER – Best Standmount Speaker
“Offering bass with speed and definition, sweetness in the treble and an open, explicit view of all musical genres, this compact two-way standmount never disappoints. The CM6 S2 is an attractive speaker that certainly makes a statement, and not just in visual terms.” AV Tech Media Awards 2014/15

AT A GLANCE

For

Startlingly clear, precise sound, Bags of detail, Punchy rhythm, Excellent build, Comfort

Against

Nothing of note

Overview

With gorgeous looks and even better sound, the Bowers and Wilkins P5 Series 2 headphones (evolved from the excellent original P5s) have our full attention. With the Series 2, B&W has finally hit the jackpot: a fantastic pair of cans that are hugely entertaining to listen to.

Performance

We’re struck by how precise and articulate they sound. While the old P5s had a slightly overly rich presentation, the 2s are crystal-clear and have superb timing.

Hans Zimmer’s epic compositions are marshalled with authority and subtle dynamics, while the aggressive guitar shredding of Metallica’s Master Of Puppets is fast, snappy and powerful.

Despite being closed-back headphones, the P5s sound wonderfully open and offer more than enough room for instruments to flourish. It’s a weighty sound that reveals a staggering amount of detail. The bass is deep and muscular while remaining taut and agile.

The top end gives bite and attack, while still leaving plenty of breathing space for a song to reach its soaring crescendo. Voices are delivered with exquisite detail. Harriet Wheeler’s breathy, heartfelt vocals on The Sundays’ Wild Horses soar, with each inflection and nuance laid bare.

The P5s don’t flinch from delivering Tom Waits’s gravel-tinged, whiskey-soaked voice in all its glory, either, further drawing you into the story of each song. These P5s may not be as forgiving as the smooth and rich Sennheiser Momentum over-ears, but neither do they make a fuss when playing low-resolution MP3s.

For all their precision and tight control, the B&Ws never forget to have fun, and you may just find yourself belting along to the rocking melody of Kansas’s Carry On Wayward Son.

Build and design
IEven if the sound quality didn’t impress us, we’d still be drooling over the way the P5s look. They’re stunning. The black-and-metal finish is unchanged – B&W has rightly found no reason to mess with such a sleek and classy combination of materials. The headphone market is saturated with plastic-based design, but the stylish P5s feel special in every way. Build quality is exquisite: the aluminium structure is sturdy yet flexible, while the sheepskin leather ear pads (a little thicker than before – hooray) and headband are luxurious and comfortable.

The closed-back design offers a degree of noise isolation, too, but doesn’t make your ears too hot. Just don’t expect them to stay put if you start head-banging to AC/DC’s latest album.

Compact and light, the P5s are perfect for portable use – they do feel a little snug at first, but they will loosen up in time. The biggest design overhaul lies underneath the surface. Lift off the magnetic ear-pads and you’ll see a brand-new driver design.

Taking inspiration from its flagship P7 headphones, B&W has fitted 40mm full-range drivers with a suspended diaphragm – similar to the way a conventional speaker is designed.

B&W claims this results in a more open and precise sound. Considering how much better they sound than the older version, we’re inclined to agree.

As before with the original P5s, you get two cables in the box: one with in-line microphone and remote control, one without.

While Apple users get the full advantage of playback and volume controls, Android users can only pause and play. We also like that you can swap out the ear pads for new ones when they wear out, and replace the 3.5mm cable easily (and cheaply) if it gets damaged, instead of having to buy a new pair of P5s.

Verdict
There’s some tough competition at this price. The Award-winning Beyerdynamic T51is are the P5s’ most pressing concern; we can’t wait for a group test involving both of them (and the much-loved Sennheiser Momentums, too).

If you’re looking for a premium pair of headphones that look and sound the part, the new P5s should be on top of your list.

AT A GLANCE

Plus

Wi-Fi, AirPlay, Bluetooth built in Analog multichannel ins and outs

Minus

No HDCP 2.2

THE VERDICT

Though it lacks the latest UHD video future-proofing, this mid-line Marantz delivered great sound and solid value.

D+M has a leading role in the audio/video receiver market. It’s actually an amalgamation of two former companies with markedly different (though both distinguished) histories. Denon, born in 1910 and known for a time as Nippon Columbia, was originally a manufacturer of gramophones and discs in Japan. Marantz, in contrast, was born in the U.S.A. in the early 1950s when Saul Marantz of Kew Gardens, New York, started building preamps in his home.

After numerous corporate permutations (which included a three-decade relationship between Marantz and Philips), Marantz and Denon merged in 2002 into what is now called the D+M Group. In 2014, the pro divisions of both brands were acquired by inMusic Brands, a maker of DJ equipment. However, the consumer divisions continue to market AV receivers and other audio products under the D+M umbrella.

Atmos, No. Triple Wireless, Yes.

The SR5009 is one of three new Marantz AV receivers, also including the more powerful SR6009 and Dolby Atmos–capable SR7009. No, the 7-channel SR5009 doesn’t include Atmos decoding—with the exception of Onkyo, which offers three 7.1-channel Atmos-compliant models, AVR makers have chosen to focus their initial Atmos efforts on 9- and 11-channel models that can drive a minimum of four height speakers along with the basic 5.1-channel configuration. But this receiver does offer what I call the wireless triple threat—Wi-Fi, AirPlay, and Bluetooth—and they’re all free of awkward extra-cost dongles. That potentially saves you hundreds and boosts our value rating.

Marantz receivers have a unique convex-curved front panel with a small porthole display. Some models augment the porthole with a larger display hidden behind a flip-down door, though this receiver does not. If you depend on the front-panel display, the porthole’s modest size might be a limitation. The buttons (for sound mode, zone, dimming, etc.) that normally would be behind the door are instead beneath the porthole in plain view, reduced to slivers to avoid marring the clean visual design.

This receiver offers a fuller back panel than, say, a typical $600 model does. There are eight HDMI inputs and two outputs, version 2.0, but minus the HDCP 2.2 digital rights management used for UHD. This is hardly unusual for most 2014 AVR models, but it isn’t an easily ignored omission, either. While it’s hard to know exactly what ramifications this might have for the passthrough of Ultra HD content, it’s clear that at least some future streams and probably the upcoming UHD Blu-ray Discs (now scheduled to appear by the end of 2015) will be encoded with HDCP 2.2, and even HDMI 2.0-compliant models today that lack this latest copy-protection scheme would likely block such signals. The impact of this on your buying decision will depend on how critical you deem future-proofing for UHD video switching.

Also present on the SR5009 are three HD-capable component video inputs and one output. Some of our readers have expressed concern about the disappearance of analog multichannel interfaces from sub-$1,000 receivers. They will be glad to find the 7.1-channel input and 7.1-channel output (with two monophonic subwoofer connections) on this one. The multi-ins would play nice with the multi-outs on your high-res SACD disc player, and the preamp-outs would allow the receiver to serve as a preamp/processor, feeding a separate multichannel power amp. Stereo analog inputs (four) and digital coaxial/optical inputs (two each) are reasonably plentiful, so this receiver will support your two full racks of legacy components, though changing the litter boxes for your 30 cats is still a responsibility you must bear alone.

With Denon and Marantz sharing the D+M stable, it’s no surprise that the SR5009 and some Denon receivers have several traits in common, including the graphic user interface (with its good-looking and highly readable font) and the slightly simplified remote control. Both brands supply cardboard microphone stands for use during auto setup, a helpful plus. Despite these similarities, the two brands have traditionally had different cosmetics and (in my experience) voicing, with Denon typically offering a more “clinical” sound and Marantz a more “euphonic” one. More on that later.

The SR5009 is rated at 100 watts per channel with two channels driven. Another Marantz tradition is to maintain 75 percent of rated power with five channels driven; see our measurements to find out whether this model measures up to that yardstick. Room correction is MultEQ XT, Audyssey’s second-best system—and I consider Audyssey’s second-best to be very good indeed.

In addition to AirPlay and Bluetooth, this receiver can use DLNA via Wi-Fi or Ethernet connections to grab music from a PC, network attached storage drive, or USB external drive. That includes high-resolution files such as DSD; FLAC, and WAV up to 192 kilohertz and 24 bits; ALAC and AIFF up to 96/24; and lossy MP3 and AAC. Gapless playback is supported for all formats, not just for the Apple-approved ones, and Marantz says this is an exclusive (glad I asked!). A sticker on the front panel celebrates the presence of Spotify Connect audio streaming.

Associated equipment included five Paradigm Reference Studio 20 v.4 speakers, Seismic 110 subwoofer, Oppo BDP-83 universal disc player, Micro Seiki BL-21 turntable, Shure V15MxVR/N97XE cartridge/stylus, and—a new/old addition—a Denon PRA-S10 stereo preamp serving as phono preamp. A D+M-related review seemed an appropriate time to rescue this champagne-finish beauty from the back of a closet. It was Denon’s attempt to capture a slice of the high-end two-channel market in the early 1990s. Its phono stage is less colorful, but better balanced, than that of the Onix OA 21s integrated amp I mostly use for this purpose. All movies were on Blu-ray Discs with DTS-HD Master Audio soundtracks.

D=M?
I sometimes break in receivers before running their room correction systems and try not to reach any hasty conclusions. But I couldn’t help noticing after a few hours that this Marantz, au naturel, seemed strikingly similar to the last few Denon receivers I’ve reviewed. That meant a reticent top end, quite unlike Marantz models I’ve known in the past. Is D+M adopting similar voicing for both lines (or homogenizing the critical innards)? Denon says no—that Denon and Marantz products are voiced and sound-tuned by two wholly separate teams, and that the SR5009 also has additional preamp circuitry (their HDAMS module) not found in Denon models.

But both brands not only sounded the same unvarnished but also reacted similarly to room correction. With Audyssey MultEQ XT in play, the room-corrected difference was startling, with remarkable gains in detail, the imaging of objects in the soundfield, and overall soundfield integrity. As I did with the last Denon receiver I reviewed, I preferred MultEQ’s slightly rolled-off Reference setting for movies and the livelier Flat setting for music. Folks, I’m not complaining: This receiver sounded beautiful. Whatever D+M is aiming to do, it’s working.

Homefront, with a proficient Sylvester Stallone screenplay, continues a recent uptick in the quality of soundtracks for Jason Statham action movies. If you like your motorcycles, DEA raids, shootouts, explosions, and other assorted apocalypses well integrated with clear dialogue, you’d like the way the Marantz handled this soundtrack. Audyssey’s bass equalization was spot on, shaping bass above and below the sub crossover to a fare-thee-well, and seamlessly integrating the speakers and sub. One benefit of licensing Audyssey is the option of the Dynamic EQ and Dynamic Volume low-level listening modes. As afternoon turned to evening, a time of day when I like to quiet down, I invoked both modes for the movie’s final half-hour, with Dynamic Volume at its lightest setting. It allowed me to adjust the volume control downward slightly.

Captain Phillips has Tom Hanks at the helm of a merchant ship, squaring off against Somalian pirates. The Marantz continued to effortlessly handle diverse soundtrack elements—tense dialogue, seafaring sounds, all the things that make you feel you’re aboard a ship—and louder passages showed no sign of strain. This demo lingered even later into the evening’s quiet time. As the thunderous quasi-military finale got underway, I turned Dynamic EQ/Volume back on, this time at the medium setting. This enabled an even lower volume setting, yet the soundtrack elements were so well juggled that the almost unbearable tension never abated.

After all those action thrills, the broad comedy of The Grand Budapest Hotel came as a relief. It has one of the most whimsical musical scores I’ve heard in a long time, which the Marantz delivered lovingly—not for the first time, I ascribe human characteristics to hardware—with loads of textural and spatial richness. Balalaikas festooned the soundtrack, and by the time the credits rolled, they had taken over completely, with the Ludmila Zykina State Academic Russian National Balalaika Ensemble executing mad dervishes all over the place.

Black Cow, White Vinyl
I recently added a Masterdisk pressing of Steely Dan’s Aja to my library. (Regrettably, I can’t afford the Cisco pressing that many rave about.) With or without room correction, this best-case content sounded great. I admired the amp’s warm voicing, and it gave the drum kit the meaty weight it deserved, especially (of course) on “Black Cow.” But as much as I liked the amp’s intrinsic sound, the addition of Audyssey MultEQ XT’s Flat setting solidified the imaging, opened up the soundstage, and made every instrument pop—all of which better suited the epic title track, with its warm synths, serpentine guitar solos, and climactic drum solo.

In anticipation of the vinyl box set of The Beatles in Mono, I dusted off my late-1960s Parlophone mono pressing of Rubber Soul. (A large but inaudible scratch on side one had brought it down to a price I could afford.) Combined with the newly installed Denon preamp, the Marantz receiver brought me closer to the music than ever. As well as it worked with Audyssey on, it cohered even more with Audyssey off; Marantz’s amp was born to beatify the Beatles. As an extended encore, I played my late-1970s French white-vinyl copy of The Beatles (a.k.a. The White Album). Despite its inherently brighter tonal balance, it sounded more luscious with Audyssey off. My respect for the Marantz’s intrinsic qualities as an amp continued to grow.

The Marantz showed off its rhythmic virtuosity and tonal richness in John Cage’s Complete Music for Prepared Piano, a three-CD set from Giancarlo Simonacci. The pianist faithfully reproduces Cage’s manipulation of the piano with nuts, bolts, nails, wood screws, pennies, bamboo strips, and weather stripping placed on, between, or under the stretched metal strings. So many of these sounds have been synthesized and tossed into movie soundtracks that they now seem comfortingly familiar.

A less than adequate system might lead you to believe that the sounds on these CDs are in fact synthesized. But it takes great speakers, like my Paradigms, and a solid amp to make them sound realistic and somehow that much stranger. The Audyssey room correction was a great help, bringing out the weird textures of the tortured piano strings. Turning off the room correction deprived them of their incredible complexity and beauty.

The Marantz SR5009 is a solidly engineered surround receiver with an inherently good-sounding amp and the kind of room correction that takes the amp to the next level. The multiple presences of Wi-Fi, AirPlay, and Bluetooth are necessary concessions to the way people listen now, though this receiver also accommodates old-fashioned disc-spinning listeners with the kind of performance that makes a hard-copy music library worthwhile. Once, I came this close to adopting a somewhat beefier Marantz as my reference receiver. The brand’s reputation for delivering great sound continues to be well earned.

Specs
Power Output: 7 x 100 watts (8 ohms, 2 channels driven)
Auto Setup/Room EQ: Audyssey MultEQ XT
Video Processing: Analog Devices NatureVue 4K scaling/passthrough
Dimensions (WxHxD, Inches): 17.3 x 6.3 x 13.4
Weight (Pounds): 33.1
Video Inputs: HDMI 2.0 (8), MHL-enabled HDMI (1), component video (2), composite video (2)
Audio Inputs: Coaxial digital (2), optical digital (2), stereo analog (5), 7.1-channel (1)
Additional: USB (1), Ethernet (1), Wi-Fi antenna (2), IR remote (1), remote (in/out), AM (1), FM (1)
Accessory: DS-A5 AirPlay dock (optional)
Video Outputs: HDMI 2.0 (2), component video (1), composite video (1)
Audio Outputs: Stereo analog (1), 7.1-channel pre-out (1), ¼-inch headphone (1)
Additional: RS-232C (1), 12-volt trigger (1)

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