PT ROT tt SATAY eee >/NAD) 1300 Sas ohn a se MONITOR SERIES INSTRUCTIONS FOR INSTALLATION AND OPERATIONeee eer PT ROT tt 1 Paws a PEraonemwon 38S Faroe se here ieee 18 booty" = Eee Aine tt Renn TUT Recs, HE tetera ha | eelPTA ena i Ail ial REAR PANEL CONNECTIONS * 1.AC.LINE CORD Plug the AC ine cord into 3 "Sve" wal cocket 4: AG OUTLETS (not In UK. model) “The AC powerline cards af other stereo components ‘may be plugged into these accessory outlets. The SWITCHED ‘outlets are intendod for all-olactranie products (power amp, tuner, equaizer, or other signal processor), and wil be ‘swliched on and off by the main POWER button. The UNSWITCHED outlets should be used to power products involving mechanical operations (eg. a turntable, OD player, fr tape doet) such products should be sutehed on and of win theic own power switches. ‘The UNSWITCHED owlets can also be used to power any davice containing a clock timer, of a digital tuner that requires uninterrupted AC power to manta siaion tuning information stored in ts memory. ‘The SWITCHED outlets can be used with a power ampifer that haa a rated output of 150 watts/channel or less. Alarger power ampifier, or one with three-wire power cor. ‘should be plugged directly into a wall out and chovid be fumed on and an va ts ov Power switch 3. PHONO INPUT Plug the signal cables from your tumtable into these jacks. ifthe eables or plugs are color-coded, refer fo your furtable’ insvucion mancal to eam whieh cable op fs forthe Left channel (upper jack) and whic for the (lower jack). De careful to inser each plug full nto the seal at in lugs metal kt fs ty ov tn ‘exterior of the socket, i necessary, cr js metal ‘seit slightly so a8 to obtain a fight ft wt PHONO GROUND Tryour tumiable is equipped with a grounding wire (usually a green wire terminating in 2 U-shapad spade lug), Connect tf this terminal. Tum the trurb-nut counter- doctewise, place the spade hug under the nut, end tighten the thumb-nut clockwise to secure the lg. tthe grounding Wire has no spade lug, strip oft em of culation to excoee the bare wire, twist the wire strands tighly together. insert the-wire through the smal hole in the shat othe, Ground terminal, and tighten the thumb-nut to fasten the wire inplece. Ht you encounter a persistant low-level hum or buzz in the sound, connect a wie om the Ground terminal to 4 tue arth ground, lc. a copper pated rod driven several feet into the earth. A substtite electrical ground may also prove ‘effective: a cold water pipe, a steam racieto, or the third hole fof amodem electrical wall socket 5. MM/MC SELECTOR This switch sels the inpur sensinay and gain of the phono preamlferereut. Set according t the out level St your phono cartndge. Set ine switch at MM for cartnages Of the moving magne, induced magnet, moving flux, and roving ron (variable reluctance) types, and for “highoutous” ‘moving-ool pickups, i. those wilt a raled output of 10 rv for greater If your earuiage Isa low-outpar moving col plsup (win 2 rated output of less than 1.0 mV}. se the Switch at MC. Hare i another way to determine the prelerred satin of the MM/MC Sutich. Begin by setting 10 MM, Aller you have ‘completed the installation and wisg ofthe system, Bay & ‘he £0 ‘The ighining fash wit arownaad, win an aqulatera! langle, ir tended taal ine wise of he presen of ‘unsuited “cangerous vonage” wrn he produc enc ‘ute: al may be of surest arate consiian SATAY ‘inet elect shock fo persons, ‘record. You should dyfain a satistingly foud volume level win a VOLUME contra setting betweeti 9 o'clock and 3 ‘o'clock. If you have to tim up the VOLUME cartel beyond 3 o'clock t Qet adequately loud sound, tum the VOLUME back, down and fe-sel the MMIMC switch fo MC. 6, PHONO CAPACITANCE (MM ONLY) ‘This switch selects the input cagacitance of the phono prearpitier It onables you to eplimiee the lead capacitance for those canttiges whose frequency response is afiected by this parameter Ifyou are using a low-inductanes pickup (such as 2 ‘Grado or Micro-Acoustcs). oF a moving-col carige, then the eating of the CAPACITANCE elector is unimportant. But with many high-inductanea magnelic pickups the eanact- (ance setting will aucibly ator the sound of the pickup. In ord to eoloct the best value of proamp input capaci- tance you must fist determine the total capactance recom- mended for tho cartidge. This usualy vl bo included in the maker's specications, and i may aiso be mentioned In magazine reviews of the cartridge. Next, subtract the capacitance of your turntabe's tone anm wiring and signal cables. (Check the specifications ‘supplied with the tonearm. or write to the manufacturer of the tonearm. oF as a last resort assume a typical value of 150 DF) After this subtraction. what remains isthe desited value ‘of proamip input capacitance. Get the CAPACITANCE se lector to the nearest value. itis not necessary to match the computed value exact; with most phono pickups a variation (0f 50 pF one way or the other will produce onty a very sight change in frequency response. Example: suppose you are using @ Stanton 8818 pickup canvidge in & Pioneer turntable. Stanton specties a recom mended lead eapacttance of 275 pF for the eartridge, end the Ploneer turntable has @ cable capacitance of abit 100 pF Subtracting: 275 minus 100 equals 175 pF £0 you chould ‘50 he CAPACITANCE selector to the nearest value, 200 pF, It you preter, you may simply set the CAPACITANCE. selector by war while listening fo recordings that are etroag in high-requency overtones. Typically, when the capacitance is too low the upper-midrange (the soprana voice renge) wil be softened and the response at the highest frequencies will 'be peal, leading to edgy violin lone and increased surface noise. Too high a vaius of capacitance will bring the upper midrange Forward whila rling ef the extreme highs, 7.TUNER INPUT ‘Connect the audio signal eabe from an AMM {0r video) tuner to this pat of jacks. 8. VIDEO SOUND INPUT Connect a viseo-related audio signal here, such a3 te aucia ouput tom a video cassette recorder, vdeo cise player TV montorreceive, of stereo television decoder Altematvdly, any Tine-level” audio signal may be con- nected here, such 23 te playback rom a spare tape deck. 9. CD INPUT Connect ine auc signal cables tom a cigtal Comact Dice player to thoes jacks. Ifyou don't have a CD player, any olherline-evel signal source (such 35 8 Spare tape deck) may be connected tothe input i ‘The axeamation pin win an euler anglais tended Peereer “.BT Aer tt 10. TAPE. INPUT/OUTPUT ‘The tape conneotions may be used with recorders of _olltynes: cassette, micro-cascatto, open-recl, digital, ete. ‘make fecordings, cannect a stereo patch cord from the euipifier’® TAPE 1 output jacks to the recordar’s LINE IN Jacks (not to its micropnone inputs). To play back tapes, ‘connect a stereo patch cord from the recorder's LINE OUT jacks to the ampifiers TAPE 1 input jacks. ‘1. TAPE 2 INPUT/OUTPUT “These jacks allow you to connect a secoad tape re order of any typo, and the amplifier Is wired to permit ‘copying tapes trom one recorder to the other. Connect = ceable from the TAPE 2 output jacks lo the recorder's LINE IN Jacks, and another cable from the recorder’s LINE OUT jacks fo the TAPE 2 input jack. ‘The TAPE 2 jacks may ba used for a signal processing accessory instead of a second tape recorder. Examples of such eecassories include a dynamic ranga processor, a dynamic noise fter, or any other device whose ‘operation depends on the setting of a signal threshold. Connect = patch cord fram the TAPE 2 outpus jacks to the processor's inputs, and another patch cord fram processor's Outputs to the TAPE 2 input jacks. 42, EXTERNAL PROCESSOR INPUTIOUTPUT ‘An equalizer o other signal processor may be con- nected hera, loaving the Tape connections free for tape recorders. Connect 4 stereo patch cord from the pre- ‘amelifer’s External Procoscor Out jacks tothe main input Jacks of the processor. Connect a second cable trom the ‘main output jacks of the processor to the preampliiar’s External Processor In jacks. “The Extemal Processor s “downstream” from the Tape _hections, 80 is processing may be used to ster the: .$60nd of the playback (rom tapes as wel as from other ‘sourees. But the processing cannot be used to ater signals that are belng recorded. Ityou want 1o record the processed sound, connect the processor to Tape 2 instead. and copy the processor's output CAUTION: to prevent evecrric SHOCK 00 NOT USE THIS (POLARIZED) PLUG WITH AN EXTENSION CORD. RECEPTACLE OR OTHER OUTLET UN- less THE BLADES CAN of ruuY INSERTED TO PREVENT BLADE EX. POSURE. ATTENTION: pour preven tes CHOCS ELECTRIOUES NE PAS UTILISER CETTE FICHE POLARISEE AVEC UN '“ONGATEUR UNE PRISE 0 \_-RANT OU UNE AUTRE sonTIE OG COURANT SAUF SI LeS LANES PEUVENT ETRE. INSEREES A FOND SANS LAISSER AUCUHE PARTIE & DECOUVERT, SATAY ‘onto Tape 1 (or vice versa). Or you may simply eoanact & (ape deck to the processor's own Tape InvQut jacks. ‘The Extemal Proceszar lui is identical to the Tepe ‘routs, except hat does not partcpata in the Copy {omction. H you connect a tape deck tothe External Pro- cessor J2CkS. you may use the Exlemal Processor button on the front panel as a tape monitor (ls hear the output trom thal {ape deck). Tapes may be copied trom Tane 1 or Tape 2 {o Extemal Processor, by seting Copy to OFF and Monitor worore. 42. OUTPUT (NORMAL) ‘Tris isthe normal ouipu om the preamp, Connect & stereo signal eable from these jacks tothe main input jacks (nour power armitier. you have an equalizer, ambience reproduction unt, or ‘other signal processor that needs fo De installed in ha signal ‘path, connect acable from the NORMAL output jacks la the Input ofthe provassor. and a Second cabie trom the ouput ot the processor to the main input of your power ameter. “Tha praamp has a low output impedance. Itean drive ‘several amps connected in paral, and ican be used wrth long eighal eables In ardor to diva pawer ampere thal are locates near the speakers (or “powered” speakers hav- ing buit-n power amolfiers). i 14. OUTPUT (HIGH) il ‘Atthie special prosmp output the signal lavalis approxi- mately 18 a6 righer tan atthe normal Gutpu. You may use these jacks if your power ampitier requires an input level of more than 2 vols to drive it to ful cutput. The High-level ‘output jacks also may be used to drive professional stucio auipment; tram thage jacks the preamp can drive loxd impedances as low as 600 ohms and can delver undistorted ‘Signals up to 15 vots (+25 dim) to a high-impedance load. NOTE: The fron-panel Phones socket is wired in poralel with the High lovol proamp output. When low. lrmpecance neadationes are plugged iio the iront panel, thay wl feduce tha signa lovel nd avaitabie headroom aline Higheiavel ouput Peenepeaeer SATAY BT Aer tt FRONT ranebcontaos 1. POWER ‘Depress this button to switch on the pre-amplier and ‘ear panel. To switch the power of, deprass the ‘and release it. Ityau prefer. you may leave the POWER awileh pecma- rently engaged afd use an extemal switch (such as & clack Aimer) totum the power on and ft. ‘The proampifar is equpped with a tum-on deley that automattcally mutes te preamp outputs for several seconds, Until the the preamp's creuts aro fuly stabilized, This prevents tne transmission of tum-on transiants fo the power ampiifiac The same circuit mutes the outpis instantly vwnen ins powers switched of 2. PHONES Plug stereo headptiones in here. The cur Wil provide proper drive signals forall conventional stereo headphones fegardiess oftheir impedance, wit ust one exception: electrostatic headphones usualy are supplied wit an adpt- {2 unit which must be connected crecty to the speaker {erminais on your power ampifer. Insecion of a plug nto the PHONES socket automat- ‘ally mutas the signal atthe normal PREAMP OUTPUT jacks, hus shurting of ine loudspeakers. in order to resume listoning to loudspeakers you must unplug te hesdshenes trom ine PHONES socket. You may freely use headphone extension cablas, Ifyou want fous a headphone Veonnectarto drive two Reedsets simutaneously, they should be Kentcal madels, Connecting together twa headphones tha ifr wisely ix impedance Lsually wl produce a substantial oss of vluma the rithmic ones orn. INFRASONIC FILTER OFF “The output rom a record player usualy canine strong ‘but nauciba impulses af inrasorie frequencies (Below 20 Ha) due to disc warps, stylusenearn resonance, and vibrations reaching tne turntable. If these are amplticd at full strength, they may waste amplliar power and procuce xcessive woofer cone excursions, mudying the sound. ‘The infresoni fier attenuates these unwanted signals, ‘The fitaris normaly i-creut (wih the Button OUT), andi 1s especially desirable have ft In-ceult whan a large low frequency boost is being appted via the BASS conte 1 you want 1 bypass the intrasone iter, depross the INFRA OFF button, As long as the button is OUT the fiter is active. ‘A second intrasoric filer is inciudad in the BASS EQ rauit and is auiomatealy engaged when whe bass ecualza- tion is used, I1is not fected by ie INERA OFF button. BASS EQ ‘This circuit boosts the tawest bass frequencies, thase balow 60 Hz. in virtually all foudspeakers the Useful output (lls aff at requencies Below the woofer/cabinet resonanco (which typically occurs betwoen 40 and 70 Hz). The BASS. Ed Gireurt compensates for this lof, extending the uso responce of the speakers significant tower in frequency. 4 your loudspeakors alroady have extended and powerlul deep-bass rasponse, the BASS EQ provides-——- ‘other benefits: 1 thalps to correct the rolled.off base in some recordings. “It provides effective “loudness compensation” tore ‘Store aubjectively correct tonal balance at low volume levels. + Ithelpa to compensate for istening-raom acoustics, (Standing waves” in the room tend to weaken the low base and reinforce the mid-bass at typical fstening positions.) Of cour very fow frequencies are not found ina aust, nxt Sksorngs abe efect ftw ES Eo ‘often wont be abvous. Somelmes you may ha that swtch- Ing tin and out does not produce any apparent change in the sound, simply because the recording contains no energy at very low trequancies, But usually the BASS EQ wil Provide an audible (and occasionally a dramatic) strengtten- ng of the deepest bass, 7 ‘The BASS EO circuit alco includes an infrasonic filter ‘hat rls off the response below 25 Hz to prevent inappro- Priate amplifeation of nen-musical signals below the aucdo range. i ‘ion af a high playback volume level the GASS EQ, and ‘a bass-heavy Input signal could overdrive the amptiier into 'and—mare important—everdive your wooters ‘beyond their sate excursion Amis, causing tha voice-coi's to clatter against the magnet back plates. ' ticularly serious with small wooters, those Smalier than six Inches in diameter. which usualy are nat designed to accent high power levels at the lowest frequencies.) As long as a Speaker sounds good It prabably ia OK: but distorted or ‘unmusical sounds, sucit as elatiering oF buzzing. signal distress in a wooter. Be alen, also, for signs of acoustic feedback (rn which the low-frequency vibrations from the speakers are picked up by the recore-playing stytus and are re-amplited). If you encounter a sustained low-frequency roar, oF frequent groove-jumping, immediately tum dewn the Volume snd ‘Switch off the BASS EQ until a more nearly vibration-ree mounting for tre turntable is found. S.BASSRANGE ‘The “semi-parametrio™ Base control provides a pre- cisely determined boost or cut over a frequency range that is two octaves wide at the -8 dB points and is centered at the trequency chosen by the Bass Range selector. The ‘amount of beast or eutis determined by the rolalion of the Bass control, ‘A boost or cut nat Is Centered at SO He (and therefore spans the two-cctave range from 25 Hz to 120 Hz) can dramatically change the amount of bass energy in the signal without altering the timbre ofthe musical midrange. For example, a bass reduction cantered at 50 Hz can remove hum or rumble from a poor recarding without making the ‘sound objectonably thin ‘A boost centered at 120 Hz can increase the skin-thump- Ing impact of rock music without overdrving the woofer at ‘ery low frequencies. But to emphasize the sold foundation ‘of large-scale orchesiral or pipe-orgen sound, choose a ‘boost centered at 50 Hz. For a massive augmentation of the deopest bess. combine Bass EQ with a moderate Bass boost at ihe 50 Hz satting. loom standing waves and boundary reflections (oH walls and floor) often thicken the mid-bass sound around 120 Hz. A slight bass reduction centered at 120 Hz may dramat- ccally improve the ciarity and defintion of mid-bass sound, while the @ass EQ circuit keeps tha deep bass etrong. ‘At the low-frequency settings of the Bass Range se- . lector. the Bass control afters the strength of the low bass ‘without changing tne timbre of the musically Important mid- ‘ange, The 260 Hz setting, on the other hand, alters the Overall tonal balance of recordings. Use a sight boost at 250 Hz to add warmth and body to a thin recoreing, ta recoroing {s thick ana congested in the lower midrange {a common fault with closely-miked male vocals}, a reduction centered at £250 Hz may improve the clarity and definition cI he eound.Peer SATAY PT Aer tt 8.BASS. ‘The Base control adjusts the cetatve level ofthe iow \ requencies in the sound. The electrical response of the ‘xmplifer is fattest when the contol is get in te detent a! the 12 O'clock postion. Rotation of the kneb to the right (cloek- wise) increases the level of low-(requency sounds, and fotation counterclockwise dacreases thor lavel. Adjust the Bass control o achieve the tgnai balance that sounds mest natural to you. ‘Tho elfect of ine Bass contol depends an the setting of the Bass Range selector ‘The Bass contro! has no effect i ho Bypass button ic engaged. ‘7. TONE CONTROL BYPASS ‘When this bution is pressed the Bass and Treble crcults ‘are completely bypassed. providing a direct eignal path from, ‘he Volume central tothe input of the power amplifier “The Bass FO and the Infraconie fite are not affected by the Bypass switch. ‘The Bypass switch provides a convenient way to evalue ate Various Settings of the Bass and Treble controls (and thoir respective Range selectors) By adjusting the tone con {tols and then switching thom in and out of the signel path, you can easily evaluate ine effect on the musical sound. 8. TREBLE: i ‘The Teeble control adjusts he relative level of the high frequencies in the sound. The cespenso of he ampiter ie fattest when the conisol Is set in the Getont atthe 12 o'clock position. Rotation of the Treble canta! te the right (clockwise) ipereases the level of high-frequency sounds. and rotation, ‘counter-clockwisa decreases their evel, Adjust the Teeble Introl to achieve the tonal balance that saunds most dra to you ‘Boasting the Treble Incroases the briliance and clarity of details in Ure sound, but also makes any noise mare prone ‘nent. Turning down the Treble makes the sound molawor ‘while suppressing hiss and recard surface noise: but 100. much Treble coltott will make the sound cul. ‘The effect of the Treble contol depends on the setting of tne Teble Range selector ‘The Tieble control nas na affect tthe Bypass button Is engaged. 9. TREBLE RANGE ‘The “semi-parametric” Table control provides a pre= cisely determined boost or cut aver a Irequency range that is two octaves wide at tho -3 dB points and is centered at the frequency chosen by the Treble Range selector. The amount of boost or evt le determined by the rotation of the Treble conuo'. ‘A boost or cut that Is centered at 12 kHe (and therefore ‘spans the two-octave range from 6 kHz to 24 kHz) can dramatically alter the amount of high-frequency energy inthe signal without attring tho basie midrange timbre. For exam ple, a boost centered at 12 kH7 can increase the “ait” in a ‘eeording without making the sound excessively brignt while ‘2 rolitt can recuce annoying hiss o¢ distortion without ‘making the sound too dul Tho apparent brightness or duiness of the sound is Influenced by tha strength of musical avertanes in the 6 KHZ. Fg, Use a treble boost with a center frequency of 6 KHz 10 ‘en a dull recording, or a sight treble cut at 6 KHz (9 ‘smooth the sound of a recording that is too bright o stent. Tho frequency range around 3 kH2 ig called the “pres- “ence” range: A boost centered al this frequency can empha size 2 melodie Ine or improve the articulation ol & vocal, ‘With a sight reduction a3 KHz you ean amacth a too forward vocal or increase the apparent distance and depth of recordings that sound too clase and fat. Assight Treble reduction (11 o'clock) at 3 kHz, combined with a alight Gass boost (1 o'clock) at 250 He, eat give hard-sounding CDs the warm, mellow tonally of an'LP. 10. TAPE COPY [Tha Copy switch setects the signal that is fed to the Tape Out jacks tor recording or signal processing. I has three settings. 2" both. Use the Moriterewitch fasten tothe signal gong fhrough either recorder (Taps 1 0° Tape 2), or ta hear the Input signs (Monitor OFF). ltyou have connected 3 tape recorder to Tape 1 and a signal pracesso to Tape 2, the selected input signal may 'be recorded on Tape 1 and wil also be fed to the signal pro= ‘Se8sor. Use the Monitor swiich to check the signal being re~ ‘corded (Tape 1), orto hear the output ofthe signal processor (Tape 2). 7 1>2. When the Copy switch is set at 1>2, the play- back signal fram Tape 1 ie fed to Tape 2 Out. This permits recordings to be copied fram Tape 1 to Tepo 2 Use the Monitor switch to hear ether the source (Tape 1) gr the copying recordar (Tape 2). yeu switch the Monitor OFF you may isten to any other signal seurce (CD, Phono, et a) while the copying proceeds. Changes inthe setting of ‘the Monitor awitch do not affect the tapa copying process, you have connected a signsl-crocessing accessory to ‘Tape 2, then ine playback signal fram Tape 1 will be feo the processor. Uso the Monitor swich to hear te processed Playback signal (Tape 2) or the diret tape playback Caps 1), 2>4. Wher the Copy switen is set at 2>1, the direction ©f copying is reversed: the playback signal fromn Tape 21s ed f0 Tape 1 Out. This permits recorcings te be conied from Tape Z to Tape f. you have connected a signal-pracessing accestory {othe Tape 2 inpuvoutput jacks, you can use i 10 alter the -s0und being recorded on Tape 1. Whan the Copy awiteh ig Salat 24, the selorcted input signal (CD, Phono, et al) is fed to Tape 2(ihe signal processor): then the output of lne pros cessor is fed (6 Tape 1. Use the Monitor switch to Rear the un= ‘processed input signal (CFF). the processed signal (Tape 2) Or the recording of the processed signal (Tape 1, NOTICE: Tape copying is a convenience intended for pete ‘anal use. If you copy commercialy-produeed recordings end Sell or giva away the copies, you may be violaing tne conye ‘ight or the property ngnts ofthe producer of the recording, 11 TAPE MONITOR ‘The Monitor switch lets you hear the output signal from tape decks (or aignal processors) connected to the Taps 1 ‘and Tape 2 jacks. “The normal setting ofthis switch is OFF, to let you hear the signal chosen by the Inout Selector When the Manilor. ‘Switch Is engaged. it over-ndas the Inout Selector ard iets You hear the playback signal from Tape 1 of Tape 2. NOTE: When not listening 19 \apas, remember lo switch {he Monitor OFF so tha! other iepute (CD, Phono, et al) can, be heard, tthe Monitor switcl is engzged win no tape Gack Connected, or with a tane machine connected but not rune ‘ing, you will hear only sitence—resaroless of the satinge of ‘anv other amplifier controls.PT Aer tt ) “Tim standard duspose oFthe Monitor switch is to allow you to listen to recorded tapes,arid also to check on your Mein tape recordinga aa they ae being made. If you have a irve Nead audio recorder that allows fr off-te-tape mon taring, nen by engaging the Monitor swilehes on both tho Empligr and the recorder, you can hear the playback signal {fom the tebe immediately ater its recorded, to monitor is qualiy. With two-head audio recnedars, HIFI VCR, and most digital recorders, the “monitor” signal heard wile recocding {Brot from the tape buts merely the signal passing through the recorders electronics (reluding its Recording Level ‘Sontroa). nts case tha Mondor switch allows You To check {he letvight Balance of the signal asi recorded. “The Monitor eviteh selects only the playback signal rom tape recorders (oF from signal processors} has a0 effect ‘on tho eignals that are being recorded, Selection of @ signal tor recording is controled ony by the Input Selector and tre Copy awach. {you have connected a signa-processing accessory (such as a graphic equalizer to Tape 2. eat tha Manitor [Switch fo Tapa 2 when you want to heat the processed ‘Signal, Retum the Morita othe OFF positon whan you went to bypass the processor and hear he orginal, Unprocessed Signal. 12, INPUT SELECTOR (CD, VIDEO, PHONO, TUNER) “These butions seloct ine input signalfor the preamolter. It the Copy switeh is OFF. the selected nut signal i fed tg the Tape crouis for recording. "ifthe Monitor and EPL switches are OFF, tha salected Input signal is fed to te power amir. (the Monitor is set tp Tape t oF 2, overrides tho input Selector I the Extemal Processor i engaged, overces both the Input Selector and the Tepe Monitor) 13, EXTERNAL PROCESSOR Press this button to hear the output of any signal- processing accessory connected to the EPL jacks. For ‘example, ifthe ig 2 special equatizor ueod with your loudspeakers, press this button IN when you want 0 hear the equakzed signal, and leave this button OUT whan ‘the equalizason is nol wanted (ie. when using headahones “or extension speakers). (you the Extemal Procossor button when no processor is connected (or when a precessor Is connected but turned off, you will hear only slonce—regardless of any ther control setting. Ifyou use the EFL connections for an extra tape regorder, prose thie button to hear the output signal from the recorder, Leave tie bution OUT to hear ihe signal chasen by {he input selector and Tape Moritor. 44. MONO ‘This button blands the two stereo channels together to produce monophonic sound, This blend minimizes rumble land surlare noise in old monophonic records, The button ‘must be OUT for normal stereo listening. 15. NULL (L— FR) MODE ‘When the Null bution ie engaged, the normal stereo output is raplaced by the stereo “difference” signal (L minus A). if the two channels are identical in level and phase, the difference is 26r0 (Fut). This test mode has several uses, as follows. (NOTE: For these tests. the proampiior's Mono button must Be OUT. fn mono the . - F'stereo diflerenca signal is cancelled.) (1) Antenna aiming. in stereo FM, and in the North ‘Ameriean MTS system for stereo lolevision sound. the mono (C+ R) portion of ine sound ir transmitted as the “base band” signa, while the stereo (L — R) portion is broadeast as SATAY Peer a subeariet. This subcarrier becomes nolsy when the signal js weak. and dliorted when reception is atfacted by mult- path antertarencel, When you tune'a stereo broadcast, press the Nut! bution {ohhear its L ~ A suboarrer signal. Adjust tho location and siming of your antenna fo achieve the loudest and clearest sound; then disengage the Null button to resume normaly, stereo listening. This procedure optimizes the stereo reced~, lion for that station, ifthe L ~ A signal from your favorite sta Gon i etl noiy or letorted, you may need a better anterina. (2) Checking stereo separation. Observe the reduction In oudness when the Null bution is pressed. Ifthe volume ‘drops only sighily, tha stereo separation is extreme. with {tle mone energy in the center of the image. {f the voluma deope substantially in the Null made, the sound fas onty a moderate ernount of stereo separation. Somatimes tic Is deiberste; recordings of classical music, {or example, ofen nave stonaly shared informatian in the {wre channaizin order to present a stable image of the instrumem(s) between the loudspeakers. in many recordings the low-bass frequencies are recorded monophonicaly, $2 ‘the L— A signal tends to be bass-shy. Uf the volume drops almost to Zer0 in the Nutf modo, then the signal is monophonic. FM and TV broadcasts are some- {mes found 19 be in mono, even though tho trensmitter's stereo pilot generator remains on, activating the Stereo ineator in your tuner. In popular muse the laad solo is often recorded In mono and willbe substantially canceled in the Nuil mode. But reverberation may be recorded out-of-phase in the to channels, anpearing stiongly Inthe L ~ Risignal. in some Fecordiags you may find that certain instruments or voicos have been recorded out-o-phase fora spacious effect. ‘Simiarty in Dolby Steroo movie soundtracks, on-screen slog fs usually recorded in mono and willbe substantally cancatted in tho Nuil mode. But the L — A signal includes ny Dalby Suround information as well 2s latright ‘sound effec. (2) Phone cartridge set-up. In an LP record groove, side-to-side stylus motion corresponds to mono L + FL information, while vertical mation produces the L— FL Atference signal. The L — R signal ftom LPS is par {ioularty base-sty. This is because record-cuting systems Use low-frequency blend 10 minimize the cutting and play- back problems that can arise from excessively large vvertcal modulations, When instating a phono cartridge. play a mono record ‘orthe L + Rlaleral band of a test record, and engage the Null button. Ifthe loudness remains essentially constant rater then dropping nearly to ze70, one of the channale i wired out of phase. Check the connections at the cai tidge terminals. For minimum sistortion of the stereo signal, the vertical tracking angie (VTA) ofthe playback cartridge must match the VTA of the dise cutter (nominally 18 dagraes), Ths is especialy important with a lne-coniact or Van den Hul stylus. When insialing a pickup cartridge, play several wall. ‘made records wath the Null button engaged. Adjust the VTA, by shiewming the cartridga or by adjusting tha height of the tonearm, 0 obtain the clearest ~ A sound, Also, use the Null mode to evaluate the effect of changes in tracking force. NOTE: Ifthe input signal's mone and is identical in both ‘mrannels, the U— Fi signal is zero (cui). the two channels Sitter in tevel by 1 08, the volume will drop by only £0 48 ‘whien te Null bution is pressed: the ( ~ R output can stil be heard. Rleducing the imbalanca 190.1 48 will drop the L — ‘output to ~60 dB. The channels must be balanced within 2.01 dB to achive a 00.08 nul. Thus with amano input the Null fest is a sensitive icica:or of very small difterenc:.s.Peeeer SATAY PT ROT reT Trt For this reason, when using the Null test with a mono ‘signal, adjust the Balance contol to minimize the L — R Output. This will correct for Gy belence errors in, fr ex- ‘pl, he Weume corto (tha feet earned blame control has tracking errors of 0.5 dB al some settings: of the control) To make this easy, the Balance control has been designed so that slaniicant knob rotations away fom ‘canter produce subtle shits in balance. 16. VOLUME/BALANCE The knurled outer ting ofthis two-section knob ie the Volume control, witich adjusts the overall foudness of the sound. The contral ls designed for accurate tracking ofthe {two channels, 30 that the stereo balance wil not stift naliesably as the Volume contrl setting Ie varied, ‘The center section of the dual knob isthe Balance ‘control, which adjusts the relative levels ofthe left and right channels. A detent at the 12 o'clock position marke the palnt (of equal balance. Rotation of the knob to the right (look \wise) decreasas the level ofthe left channel eo that only the ‘ight channel is heard, thus shifting the sonic image to the IN CASE OF DIFFICULTY: ‘ght. Rotation ofthe knob tothe lft shits the sonic image toward the lef epsaker ‘Adjust the Balance contrat to produce a natural spread ‘of sound across the space betweon the speakers, with any tantric sung (Sue a ara anneal) “appearing az a phantom Image centered midway botwr the speakers. iil mu tWeally the detonted center position ofthe Balance ‘onto! would bes normal setting. But several common Greumetahoes may cause an unequal belance between te ‘channels, equinng a compansatary oft-certersottng of the Balanos contra to restore the most uniform spread of Stereo sound Between te sneakers. Brarple includ unequal ‘utput from the two charinets ofthe phond cantage, diferent ‘austcal anvonments around the wo loudepoaiers, or simply a position tats ser to one esingy ating ‘speaker “These controls donot alec he signals fed to the TAPE ur jacks. A TROUBLE-SHOOTING GUIDE SYMPTOM. POSSIBLE CAUSE ‘SYMPTOM POSSIBLE CAUSE No sound. Power nator, Wesound in Extemal Processor (EPL) bation en= Una eord unplugged. fone channel, gaged with na processor connected - “Tuner selected bul tuned toa blank ann iSienerae i frequency between staions. Laeetrequency Turntable grounding wire not connected, j Video input selected with no video frum in phone. Ground-toop hum. install polarized (or other) auniiary soures playing. AC plugs propery in polarized wall ‘Tape Monitor engaged wan no ‘sockets (in whieh one siot is longer tape playing. than the other). Try reversing aty non Headphone plug in PHONES socket polarized plugs in their sockets, fo find {eur ual ope a reson the orientation that yields the least hum, high output only. Unplug phones to re- “Tumtabie located too close to the ant ‘sore sound via normal output) bltier (especialy tots lef). Locate the fumtable to the right of the amplifier. Na sound in Balance contel tamed fren Pry aa type one channel. or ful-ight. the amottiers power tensiommes Connecting cabie pulled loose or (tlettresr). making poor contact in socket. Rotate hana plugs making poor contact in ‘lugs in sockets o restore contact, ‘socket. (Also check any chon pugs Broken wre ina connecting cable. in the turntable base.) Wiggle all cables, especialy where they enter piugs. Hum in tape Tape deck iocated too dose playback, amplifier (directly above or below), Dirty contact in a switch. Exercise all tront-panel switches to restore clean wiping contact Power amplifier tuned off ‘Tape deck located 100 clase 19 television eet. Plugs making poor contact in sockets,