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|

7020e

~

STEREO

RECEIVER

RECEPTEUR

STEREO

:

STEREO

MW/UKW

RECEIVER

>

INSTRUCTIONS

FOR

INSTALLATION

AND

OPERATION

MANUEL

D’INSTALLATION

ET

D’UTILISATION

BEDIENUNGSANLEITUNG

_ENGLISH

-

PAGE

2-9.

FRANCAIS

—

PAGE

10-16

DEUTSCH

-

SEITE

17-23

WARNING:

TO

PREVENT

FIRE

ORELECTRIC

SHOCK,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE.

NOTE

to

CATV

system

installer:

This

reminder

is

provided

a

to

call

the

CATV

system

installer’s

attention

to

Article

820-22

of

the

NEC

that

provides

guidelines

for

proper

grounding

and,

in

particular,

specifies

that

the

cable

ground

shall

be

connected

to

the

grounding

system

of

the

building,

as

close

to

the

point

of

cable

entry

as

practical.

NOTE:

Some

NAD

components

are

equipped

with

dual

or

multi-voltage

transformers

(which

is

indicated

on

the

back

panel).

If

you

wish

to

change

the

voltage,

please

bring

your

unit

to

an

authorized

NAD

service

technician

for

in-

ternal

conversion.

ATTENTION:

Quelques

piéces

NAD

sont

munies

de

transformateurs

a

double

ou

a

multi-voltage

(indiqué

au

panneau

arriére).

Si

vous

voulez

changer

le

voltage,

veuillez

apporter

votre

appareil

au

fournisseur

de

NAD

pour

le

transformer.

re

ZUR

BEACHTUNG:

Einige

NAD

Gerate

sind

mit

Um-

schaitern

fiir

unterschiedliche

Eingangsspannungen

aus-

geriistet

(Ein

Vermerk

auf

der

Riickseite

weist

darauf

hin).

Aptierung,

wenn

notewendig,

muB

von

einem

qualifi-

zierten

Techniker

in

einer

NAD

Servicestation

vorgenom-

men

werden.

CAUTION:

TO

PREVENT

ELECTRIC

SHOCK

DO

NOT

USE

THIS

(POLARIZED)

PLUG

WITH

AN

EXTENSION

CORD,

RECEPTACLE

OR

OTHER

OUTLET

UNLESS

THE

BLADES

CAN

BE

FULLY

INSERTED

TO

PREVENT

BLADE

EXPOSURE.

ATTENTION:

POUR

PREVENIR

LES

CHOCS

ELECTRIQUES

NE

PAS

UTILISER

CETTE

FICHE

POLARISEE

AVEC

UN

PROLONGATEUR,

UNE

PRISE

DE

COURANT

OU

UNE

AUTRE

SORTIE

DE

COURANT,

SAUF

SILES

LAMES

PEUVENT

ETRE

INSEREES

A

FOND

SANS

EN

LAISSER

AUCUNE

PARTIE

A

DECOUVERT.

at

the

rear

of

the

speakers

are

also

marked

for

polarity,

either

via

red

and

black

connectors

or

by

labels:

“+”,

1,

or

8

ohms

for

positive,

“—”,

0,

or

G

for

negative.

As

a

general

rule

the

positive

(red)

terminal

on.the

amplifier

is

to

be

connected

to

the

positive

terminal

of

the

speaker,

in

each

channel.

To

facilitate

this,

the

two

conductors

comprising

the

speaker

wire

in

each

channel

are

different,

either

in

the

color

of

the

wire

itself

(copper

vs.

silver)

or

in

the

presence

of

a

small

ridge

or

rib

pattern

on

the

insulation

of

one

conductor.

Use

this

pattern

to

establish

consistent

wiring

to

both

speak-

ers

of

a

stereo

pair.

Thus

if

you

connect

the

copper

colored

wire

(or

ribbed

insulation)

to

the

red

amplifier

terminal

in

the

Left

channel,

do

the

same

in

the

Right

channel.

At

the

other

end

of

the

wire,

if

you

connect

the

copper

colored

wire

(or

the

ribbed

insulation)

to

the

red

or

positive

terminal

on

the

left-channel

speaker,

do

the

same

at

the

right-

channel

speaker.

4.

SPEAKERS

B

A

second

pair

of

loudspeakers

may

be

connected

to

the

amplifier,

using

the

“B”

group

of

terminals,

in

the

same

manner

as

the

connections

made

to

the

SPEAKERS

A

terminals.

If

the

second

pair

of

speakers

is

located

near

the

first

pair

and

will

be

played

simultaneously,

then

they

must

be

correctly

phased

with

respect

to

the

first

pair as

well

as

with

each

other.

But

if

the

second

pair

of

speakers

is

located

away

from

the

first

pair

(in

another

room,

for

example)

or

will

not

be

played

at

the

same

time

as

the

first

pair,

then

their

phasing

need

not

match

that

of

the

first

pair.

Of

course,

as

with

any

stereo

speakers,

the

second

pair

still

must

be

in

phase

with

each

other.

Another

useful

option

for

the

SPEAKERS

B

terminals

is

to

connect

a

second

pair

of

speakers

wired

for

“ambience

recovery,”

enhancing

the

apparent

spaciousness

of

stereo

recordings.

Locate

a

pair

of

small

loudspeakers

along

the

side

walls

of

the

listening

area,

slightly

behind

the

main

listening

area

and

as

far

as

possible

to

the

left

and

right.

(Often

it

useful

to

aim

such

speakers

upward

or

toward

the

rear,

so

that

their

sound

reflects

randomly

off

the

walls

before

reaching

you.)

Connect

a

wire

from

the

(L+)

terminal

to

the

positive

terminal

of

the

left-rear

speaker,

and

a

second

‘wire

from

the

(R+)

terminal

to

the

positive

terminal

of

the

right-rear

speaker.

Make

no

connection

to

the

(L—)

and

(R—)

terminals

on

the

amplifier;

instead,

connect

a

wire

from

the

negative

terminal

of

the

left-rear

speaker

to

the

negative

terminal

of

the

right-rear

speaker.

Thus

wired,

these

rear

speakers

receive

the

left-minus-right

“difference”

portion

of

the

composite

stereo

signal.

_5,

ANTENNA

TERMINALS

In

order

to

make

connections

to

the

four

antenna

terminals,

remove

any

connectors

that

may

be

fitted

on

the

antenna

wires.

Strip

off

1

cm

of

insulation

from

each

wire,

and

in

each

conductor

twist

together

the

exposed

wire

strands.

Depress

the

plastic

tab

below

the

appropriate

terminal.

Insert

the

bared

wire

into

the

small

hole

in

the

terminal,

and

release

the

tab.

The

terminal

will

grasp

the

wire

and

hold

it

in

place.

AM.

Some

form

of

external

antenna

will

be

needed

for

satisfactory

reception,

since

this

receiver

does

not

have

a

built-in

AM

antenna.

For

most

loca!

broadcasting

stations

a

simple

wire

up

to

one

meter

(three

feet)

in

length

will

provide

ample

signal

strength,

and

such

a

single-wire

antenna

is

included

with

the

receiver.

Connect

one

end

of

the

wire

to

the

AM

terminal.

The

remainder

of

the

antenna

may

be

allowed

to

hang

down

behind

the

receiver

or

may

be

tacked

in

place

horizontally

along

the

rear

of

a

wooden-——not

metai—shelf.

(A

metal

shelf

may

interfere

with

reception.

In

that

case

the

wire

should

be

stretched

out

along

the

wall

away

from

the

shelving

and

tacked

in

place.)

You

may

wish

to

experiment

with

the

orientation

of

the

AM

antenna,

in

order

to

find

the

position

that

provides

the

best

reception

of

the

stations

you

listen

to

most

often.

The

short-wire

antenna

usually

will

provide

satisfactory

reception

of

local

AM

broadcast

stations.

But

if

you

wish

to

improve

reception

of

distant

AM

stations,

attach

a

long-wire

outdoor

antenna

to

the

AM

terminal.

As

its

name

implies,

a

~

“long-wire”

antenna

is

a

simple,

straight

wire

whose

length

may

be

anything

from

a

few

feet

up

to

about

100

feet

(30

meters),

mounted

parallel

to

the

earth

and

as

high

as

is

convenient.

In

some

cases

the

effectiveness

of

a

long-wire

antenna

will

be

improved

by

connecting

a

second

wire

from

the

Ground

(G)

terminal

to

a

true

earth-ground,

i.e.

a

copper-plated

rod

driven

several

feet

into

the

earth.

A

substitute

electrical

ground

may

also

prove

effective:

a

cold-water

pipe,

a

steam

radiator,

or

the

third

hole

of

a

modern

electrical

wall

socket.

FM

Antennas.

An

antenna

must

be

connected

to

the

tuner

for

effective

reception

of

stereo

FM

broadcasts.

A

ribbon-wire

“folded

dipole”

antenna

is

included

to

get

you

started.

When

you

stretch

out

the

ribbon-wire

antenna

you

will

note

that

it

is

in

the

form

of

a

T.

The

“crossbar”

portion

of

the

T

should

be

stretched

out

horizontally

and

tacked

in

place—on

a

wall,

on

the

back

of

a

cabinet,

or

on

the

floor.

The

“vertical”

section

of

the

T

goes

to

the

tuner’s

antenna

terminals.

Connect

its

two

wires

to

the

two

300Q

input

terminals.

In

view

of

the

exceptional

sensitivity

of

NAD

tuner

circuits,

you

may

find

that

the

ribbon-wire

dipole

antenna

is

all

you

need

for

reception

of

strong

local

stations.

But

it

is

not

very

efficient

at

rejecting

“multipath”

and

other

forms

of

FM

interference,

and

it

cannot

easily

be

rotated

to

optimize

its

pickup

pattern

for

best

reception

of

stations

in

different

directions.

Therefore,

in

most

cases

you

should

use

a

better

antenna.

The

recommended

options,

in

order

of

increasing

cost,

are

as

follows:

(1)

A

basic

“rabbit-ears”

indoor

TV

antenna

without

auxiliary

coils

or

tuning

switches.

Electrically,

such

an

antenna

is

just

another

dipole

(similar

to

the

ribbon-wire

antenna)

with

its

tuned

elements

made

of

solid

metal,

but

with

the

advantage

that

it

can

be

rotated.

Stretch

out

each

of

its

two

arms

to

a

length

of

307nches

(75

cm),

and

orient

them

horizontally

or

at

a

shallow

angle

less

than

45

degrees

upward.

The

ribbon

wire

emegging

from

the

antenna’s

base

should

be

connected

to

the-funer’s

two

300

terminals

in

place

of

the

supplied

ribbon-wire

antenna.

Now,

for

each

station

in

turn,

after

you

tune

the

station

you

can

rotate

the

antenna

for

best

reception.

(2)

A

more

elaborate

rabbit-ears

indoor

TV

antenna

with

a

tuning

switch.

This

type

of

antenna

does

NOT

have

greater

sensitivity

than

the

simpler

rabbit-ears

unit,

so

if

your

problem

is

that

the

signals

you

want

to

receive

are

weak,

then

an

outdoor

antenna

is

the

only

effective

solution.

But

in

cities

and

in

large

buildings

where

signals

are

strong

but

are

contaminated

by

reflected

“multipath”

signals

that

interfere

with

good

reception,

the

tuning

switch

on

an

elaborate

indoor

antenna

may

improve

reception

by

reducing

the

interference.

(3)

An

electrically

tuned

indoor

antenna.

Again,

such

antennas

usually

do

not

provide

any

advantage

over

the

simplest

type

of

“rabbit-ears”

unit

for

receiving

weak

signals.

But

where

strong

signals

are

contaminated

with

interference,

the

antenna’s

aiming

and

tuning

controls

can

reject

the

interference

and

yield

cleaner

reception.

(4)

An

outdoor

antenna.

Even

the

finest

indoor

antenna,

no

matter

how

elaborate,

cannot

fully

exploit

the

capabilities

of

a

good

FM

tuner.

For

the

lowest

noise,

minimum

distor-

tion,

and

largest

choice

of

well-received

broadcasts,

an

outdoor

antenna

is

the

best

complement

to

a

fine

tuner.

A

roof-mounted

antenna

has

three

fundamental

ad-

vantages.

First,

its

large

size

yields

better

sensitivity

(pulling

in

a

stronger

signal

from

the

desired

station)

and

a

narrower

directional

pattern

for

more

effective

rejection

of

multipath

reflections

arriving

from

other

directions.

Second,

its

loca-

tion

on

a

roof

or

tall

mast

places

it

above

many

sources

of

interference—passing

cars

and

buses,

other

buildings,

etc.

Third,

the

strength

of

received

FM

signals

is

directly

pro-

portional

to

the

height.of

any

antenna

above

the

ground.

If

you

already

have

an

outdoor

television

antenna,

using

a

splitter

to

extract

FM

signals

from

it

may

produce

excellent

results.

However,

many

TV

antennas

are

deliberately

de-

signed

to

be

relatively

weak

at

FM

frequencies

in

order

to

minimize

potential

interference

with

TV

signals

at

nearby

frequencies

(Channel

6

in

the

U.S.).

You

may

be

able

to

use

a

splitter

to

extract

FM

signals

from

an

apartment

building’s

master

TV

antenna

system,

but

usually

this

yields

poor

results

because

many

master

antenna

systems

have

“traps”

to

stop

FM

signals.

The

best

choice

is

a

directional

FM-only

antenna,

mounted

as

high

above

ground

as

is

practical,

and

sepa-

rated

by

at

least

two

meters

(7

feet)

from

other

antennas,

vertically

and

horizontally.

If

desired

stations

are

located

in

different

directions

(more

than

90

degrees

apart),

the

antenna

should

be

mounted.on

a

rotor

for

aiming.

Brand

names

of

good

FM

antennas

in

the

U.S.

include

Jerrold,

Finco,

Wineguard,

Antennacraft,

and

Archer

(Radio

Shack).

Use

shielded

lead-in

cable

rather

than

plain

“twin-lead”

wire,

both

to

minimize

interference

and

to

preserve

strong

signals

during

years

of

weathering.

The

cable

may

be

either

75-ohm

coaxial

or

a

shielded

300-ohm

type.

Disconnect

any

indoor

antenna

before

connecting

the

cable

from

the

outdoor

antenna.

if

you

are

using

a

75-ohm

coaxial

antenna

cable

that

lacks

a

connector,

you

may

attach

its

center

conductor

to

either

300Q

antenna

terminal

and

connect

the

cable

shield

to

the

ground

(G)

antenna

terminal.

This

unbalanced

connec-

tion

provides

the

required

75Q

impedance

for

the

cable.

But

the

300Q

antenna

terminals

are

connected

to

the

FM

tuner

circuit

through

an

internal

“balun”

transformer.

The

75Q

coaxial

socket

is

wired

directly

to

the

tuner

circuit,

bypassing

the

balun

transformer,

so

to

obtain

the

best

possible

sensitiv-

ity,

the

coaxial

cable

should

be

connected

to

the

75Q

socket.

If

you

install

an

outdoor

antenna

yourself,

observe

these

important

CAUTIONS:

;

1.

Do

not

mount

the

antenna

close

to

electric

power

lines.

Plan

the

installation

so

that

the

antenna

mast

cannot

accidentally

touch

power

lines,

either

while

you

are

installing

it

or

later.

2.

Include

a

lightning

arrestor

in

the

installation,

to

protect

both

yourself

and

the

tuner

circuit

from

potential

danger

during

electrical

storms.

6.

PHONO

GROUND

:

if

your

turntable

is

equipped

with

a

grounding

wire

(usually

a

green

wire

terminating

in

a

U-shaped

spade

lug),

connect

it

to

this

terminal.

Turn

the

thumb-nut

counter-

clockwise,

place

the

spade

lug

under

the

nut,

and

tighten

the

thumb-nut

clockwise

to

secure

the

lug.

If

the

grounding

wire

has

no

spade

lug,

strip

off

1

cm

of

insulation

to

expose

the

bare

wire,

twist

the

wire

strands

tightly

together,

insert

the

wire

though

the

small

hole

in

the

shaft

of

the

Ground

terminal,

and

tighten

the

thumb-nut

to

fasten

the

wire.

in

place.

If

you

encounter

a

persistent

low-level

hum

or

buzz

in

the

sound,

connect

a

wire

from

the

Ground

terminal

to

a

true

earth-ground,

i.e.

a

copper-plated

rod

driven

several

feet

into

the

earth.

A

substitute

electrical

ground

may

also

prove

effective:

a

cold

water

pipe,

a

steam

radiator,

or

the

third

hole

of

a

modern

electrical

wall

socket.

7.

PHONO

INPUT

Plug

the

signal

cables

from

your

turntable

into

these

jacks.

If

the

cables

or

plugs

are

color-coded,

refer

to

your

turntable’s

instruction

manual

to

learn

which

cable

or

plug

is

for

the

Left

channel

(upper

jack)

and

which

for

the

Right

(lower

jack).

Be

careful

to.

insert

each

plug

fully

into

the

socket

so

that

the

plug’s

metal

skirt

fits

tightly

over

the

exterior

of

the

socket.

If

necessary,

crimp

the

plug’s

metal

"

skirt

slightly

so as

to

obtain

a

tight

fit

with

the

socket.

8.

VIDEO

SOUND

INPUT

Connect

a

video-related

audio

signal

here,

such

as

the

audio

output

from

a

video

cassette

recorder,

video

disc

player,

TV

monitor/receiver,

or

stereo

television

decoder.

Alternatively,

any

“line-level”

audio

signal

may

be

con-

nected

here,

such

as

the

playback

from

a

spare

tape

deck.

9.

CD

INPUT

Connect

the

audio

signal

cables

from

a

digital

Compact

Disc

player

to

these

jacks.

The

input

signal

will

be

fed

to

the

Volume

control

before

reaching

any

active

circuitry,

so

the

amplifier’s

circuits

cannot

be

overloaded

by

high-level

sig-

nals

from

the

digital

player.

If

you

don’t

have

a

CD

player,

any

other

line-level

signal

source

(such

as

a

spare

tape

deck)

may

be

connected

to

the

CD

input.

10.

TAPE

INPUT/OUTPUT

The

tape

connections

may

be

used

with

recorders

of

all

types:

cassette,

open-reel,

digital,

HiFi

VCR,

etc.

To

make

recordings,

connect

a

stereo

patch

cord

from

the

amplifier’s

TAPE

OUT

jacks

to

the

recorder’s

audio

LINE

IN

sockets

(not

to

its

video

or

microphone

inputs).

To

play

back

tapes,

connect

a

stereo

patch

cord

from

the

recorder’s

audio

LINE

QUT

jacks

to

the

amplifier’s

TAPE

IN

jacks.

The

TAPE

IN/OUT

jacks

may

be

used

to

connect

a

signal

processing

accessory

instead

of

a

tape

recorder.

Ex-

amples

of

such

accessories

include

a

graphic

equalizer,

a

dynamic

range

processor,

or

an

audio/video

contro!

center.

Connect

a

patch

cord

from

the

TAPE

OUT

jacks

to

the

processor’s

inputs,

and

another

patch

cord

from

the

proces-

sor’s

outputs

to

the

TAPE

IN

jacks.

Your

tape

deck

may

then

be

connected

to

the

proces-

sor’s

own

TAPE

jacks.

11.

SOFT

CLIPPING

When

an

amplifier

is

overdriven

beyond

its

specified

power

output

it

normally

produces

“hard

clipping”

of

the

signal

with

harsh

distortion

and

power-supply

buzz

as

the

output

transistors

saturate.

The

NAD

Soft

Clipping

circuit

gently

limits

the

output

waveform

and

minimizes

audible

distortion

when

the

amplifier

is

overdriven.

If

your

listening

involves

moderate

peak

power

levels,

the

Soft

Clipping

may

be

left

OFF.

But

we

recommend

that

it

be

switched

ON

when

playing

music

at

very

high

levels

that

might

exceed

the

amplifier’s

power

capacity.

;

12.

SPEAKER

IMPEDANCE

The

impedance

of

a

loudspeaker

varies

with

frequency,

and

in

many

loudspeakers

the

impedance

is

lowest

at

the

frequencies

where

the

highest

power

demands

occur

in

music.

In

many

“8Q”

loudspeakers

this

minimum

impedance

is

from

4

to

6

ohms,

and

in

“4Q”

speakers

the

minimum

is

typically

3

ohms.

If

you

connect

two

sets

of

speakers

to

the

amplifier,

their

combined

impedance

is

approximately

half

the

impedance

of

either.

For

these

reasons,

all

NAD

amplifiers

and

receivers

are

designed

to

produce

maximum

power

output

into

imped-

ances

of

2

to

6

ohms

at

the

40

(NORMAL)

setting

of

the

Impedance

selector.

If

you

are

not

sure

of

the

true

imped-

ance

of

your

speakers,

or

if

you

are

connecting

two

pairs

of

speakers,

leave

the

Impedance

switch

at

4Q

(NORMAL).

if

you

are

using

a

single

pair

of

loudspeakers

whose

true

impedance

is

above

6

ohms

at

all

frequencies,

you

can

optimise

the

amplifier

for

maximum

power

delivery

at

this

higher

impedance

by

re-setting

the

switch

to

8Q

(HIGH).

To

prevent

accidental

re-setting,

the

Impedance

switch

~

is

held

by

a

slotted

bracket

which

is

fastened

by

a

screw

next

to

the

switch.

Use

a

small

screwdriver

to

loosen

the

bracket

screw,

turning

it

about

a

half-turn

counter-clockwise,

and

then

slide

the

switch

to

the

8Q

(HIGH)

position.

The

bracket

will

move

with

the

switch.

Tighten

the

screw

to

secure

the

switch

in

its

new

position.

CAUTION:

If

the

impedance

switch

is

set

to

8O

(HIGH)

with

loudspeakers

whose

true

impedance

is

lower

than

6

ohms,

or

with

two

pairs

of

speakers

connected

in

parallel,

the

amplifier

will

tend

to

overheat

and

shut

down

when

operated

at

high

output

levels.

The

amplifier

will

resume

normal

operation

after

it

cools;

but

such

abuse

could

also

cause

internal

fuses

to

blow

in

order

to

protect

the

amplifier.

lf

this

occurs,

return

the

amplifier

to

your

dealer

for

service.

FRONT

PANEL

CONTROLS

1.

POWER

_

Depress

this

button

to

switch

on

the

receiver

and

any

other

equipment

plugged

into

the

SWITCHED

convenience

outlet

on

the

rear

panel:

The

frequency

display

will

illuminate

when

the

power

is

on.

To

switch

the

power

off,

depress

the

button

again

and

release

it.

,

if

you

prefer,

you

may

leave

the

POWER

switch

perma-

nently

engaged

and

use

an

external

switch

(such

as

a

clock

timer)

to

turn

the

power

on

and-off.

2.

PHONES

Plug

stereo

headphones

in

here.

The

circuit

will

provide

proper

drive

signals

for

all

conventional

stereo

headphones

regardless

of

their

impedance,

with

just

one

exception:

electrostatic

headphones

usually

are

supplied

with

an

adapter

unit

which

must

be

connected

directly

to

the

speaker

terminals

on

the

rear

panel.

When

a

headphone

plug

is

inserted

into

the

PHONES

socket

the

loudspeakers

are

automatically

shut

off.

If

you

want

to

listen

to

speakers,

you

must

remove

any

plug

from

the

socket.

Before

plugging

any

headphones

in,

turn

down

the

VOLUME

control

for

safety.

And

when

you

are

not

listening

to

the

headphones

it

is

wise

to

unplug

them

from

the

socket.

Otherwise,

when

not

wearing

the

phones

you

might

inadver-

tently

turn

up

the

volume

to.a

high

level

and

feed

a

danger-

ously

strong

signal

to

the

headphones.

You

may

freely

use

headphone

extension

cables.

If

you

want

to

use

a

headphone

Y-connector

to

drive

two

headsets

simultaneously,

they

should

be

identical

models.

Connecting

together

two

headphones

which

differ

widely

in

impedance

usually

will

produce

a

substantial

loss

of

volume

in

the

headset

having

the

higher

impedance

(or

in

both).

3.

EXTRA

SPEAKERS

Press

this

button

to

switch

on

the

extension

speakers

connected

to

the

SPEAKERS

B

terminals

on

the

rear

panel.

Press

and

release

the

button

to

switch

off

the

exten-

sion

speakers.

If

you

have

nothing

connected

to

the

SPEAKERS

B

terminals,

pressing

this

button

will

have

no

effect.

If

you

have

connected

speakers

wired

for

“ambience

recovery,”

use

this

button

to

select

ordinary

stereo

(with

the

button

out)

or

spatially

enhanced

ambient

stereo

(with

the

button

in).

4.

BASS

The

Bass

control

adjusts

the

relative

level

of

the

low

frequencies

in

the

sound.

The

electrical

response

of

the

amplifier

is

flattest

when

the

control

is

set

in

the

detent

at

the

12

o'clock

position.

Rotation

of

the

knob

to

the

right

(clock-

wise)

increases

the

level

of

low-frequency

sounds,

and

rotation

counter-clockwise

decreases

their

level.

Adjust

the

Bass

control

to

achieve

the

tonal

balance

that

sounds

most

natural

to

you.

At

moderate

rotations

away

from

center

the

effect

of

the

Bass

control

is

subtle,

because

its

action

is

confined

to

the

lowest

audible

frequencies

where

significant

energy

is

sel-

dom

found

in

recordings.

Only

at

large

rotations

away

from

center

is

there

a

substantial

boost

or

cut

at

the

mid-bass

frequencies

that

are

common

in

music.

5.

TREBLE

The

Treble

control

adjusts

the

relative

level

of

the

high

frequencies

in

the

sound.

The

response

of

the

amplifier

is

flattest

when

the

control

is

set

in

the

detent

at

the

12

o'clock

position.

Rotation

of

the

Treble

control

to

the

right

(clockwise)

increases

the

level

of

high-frequency

sounds,

and

rotation

counter-clockwise

decreases

their

level.

Adjust

the

Treble

control

to

achieve

the

tonal

balance

that

sounds

most

natural

to

you.

‘

Boosting

the

Treble

increases

the

brilliance

and

clarity

of

details

in

the

sound,

but

also

makes

any

noise

more

promi-

nent.

Turning

down

the

Treble

makes

the

sound

mellower

while

suppressing

hiss

and

record

surface

noise;

but

too

much

Treble

roll-off

will

make

the

sound

dull.

6.

BALANCE

:

ig

Se

mae

Shas

gk

gd

Pe

Re

The

Balance

control

adjusts

the

relative

levels

of

the

left

and

right

channels.

It

has

no

effect

on

recordings

being

made.

A

detent

at

the

12

o’clock

position

marks

the

point

of

equal

balance.

Rotation

of

the

Balance

control

to

the

right

(clockwise)

decreases

the

level

of

the

left

channel

so

that

only

the

right

channel

is

heard,

thus

shifting

the

sonic

image

to

the

right.

Rotation

of

the

control

to

the

left

shifts

the

sonic

image

toward

the

left

speaker.

ideally

the

detented

center

position

of

the

Balance

control

will

be

the

normal

setting.

But

several

common

circumstances

may

cause

unequal

balance,

requiring

an

off-center

setting

of

the

Balance

control

to

restore

the

most

uniform

spread

of

stereo

sound

between

the

speakers.

These

include

unequal

output

from

the

two

channels

of

the

phono

cartridge,

different

acoustical

environments

around

the

two

loudspeakers,

or

simply

a

listening

position

that

is

closer

to

one

speaker

than

to

the

other.

Adjust

the

Balance

control

to

produce

a

natural

spread

of

sound

across

the

space

between

the

speakers,

with

any

monophonic

sound

(such

as

a

radio

announcer’s

voice)

appearing

as

a

phantom

image

centered

midway

between

them.

7.

TAPE

MONITOR

When

this

button

is

pressed

it

over-rides

the

Input

Selector

buttons

and

lets

you

hear

the

playback

signal

from

your

tape

recorder

(or

any

other

device

connected

to

the

TAPE

IN

jacks

on

the

rear

panel).

If

you

have

a

signal-

processing

accessory

(such

as

a

graphic

equalizer

or

dy-

namic

expander)

connected

to

the

TAPE

IN/OUT

jacks,

pressing

TAPE

allows

you

to

hear

the

processed

signal.

CAUTION:

If

you

have

nothing

connected

to

the

TAPE

IN/OUT

jacks,

or

have

a

tape

deck

connected

but

not

"running,

when

you

press

TAPE

you

will’hear

nothing

but

silence—regardless

of

what

other

selector

buttons

you

may

press!

To

disengage

the

tape

monitor

circuit

and

restore

the

normal

signal

path,

press

the

TAPE

button

again

and

release

it.

The

standard

purpose

of

the

TAPE

monitor

is

to

allow

you

to

listen

to

recorded

tapes,

and

also

to

check

on

tape

recordings

as

they

are

being

made.

If

you

have

a

three-head

tape

deck

that

allows

off-the-tape

monitoring

during

record-

ing,

the

TAPE

monitor

switch

will

let

you

hear

the

playback

signal

from

the

tape

immediately

after

it

is

recorded,

so

that

you

can

check

on

its

quality.

(Of

course,

you

must

also

set

the

Source/Tape

switch

on

the

recorder

to

Tape.)

The

signal

to

be

recorded

on

tape

is

chosen

exclusively

by

the

Input

Selector

pushbuttons,

and

is

not

affected

by

any

other

controls

(Volume,

Balance,

tone

controls,

etc.).

COPYING

TAPES:

If

you

want

to

copy

a

recording

from

one

tape

deck

to

another,

connect

the

playback

cable

from

the

“source”

deck

(the

machine

containing

the

tape

to

be

copied)

to

the

CD

input.

Connect

the

“copying”

or

“dubbing”

recorder

to

the

TAPE

IN/OUT

jacks.

Press

the

CD

button

to

hear

the

source

tape

and

feed

its

signal

to

the

copying

recorder.

If

you

then

press

the

TAPE

MONITOR

button

you

will

hear

the

signal

after

it

has

passed

through

the

copying

recorder’s

electronics.

if

you

need

greater

flexibility

in

connecting

and

copying

among

multiple

tape

decks,

the

best

method

is

to

purchase

an

external

switch-box,

connect

it

to

the.

TAPE

IN/OUT

jacks,

and

connect

the

tape

decks

to

the

switch-box.

(Example:

the

Radio

Shack

#42-2105

switch-bdx

contains

facilities

for

monitoring

and

copying

among

three

tape

decks.)

8.

INPUT

SELECTOR

(CD,

Video,

Phono,

AM,

FM)

These

interlocked

buttons

select

the

input

signal

for

listening

and

for

recording.

This

is

the

signal

that

you

will

hear,

assuming

that

the

TAPE

MONITOR

is

disengaged.

Regardless

of

the

setting

of

the

TAPE

MONITOR

switch,

the

selected

input

signal

will

also

be

fed

to

the

TAPE

OUT

~

jacks

for

recording

or

signal-processing.

9.

MONO

This

button

blends

the

two

stereo

channels

together

to

produce

monophonic

sound.

This

blend

minimizes

rumble

and

surface

noise

in

old

monophonic

records.

The

button

must

be

OUT

for

normal

stereo

listening.

The

MONO

button

also

disables

the

stereo

FM

circuits

in

the

tuner.

Normally

the

tuner

receives

monophonic

trans-

missions

in

mono

and

automatically

switches

on

its

multiplex

decoding

circuits

when

a

stereo

FM

broadcast.

is

received

(as

shown

by

the

FM

STEREO

indicator).

But

when

a

very

weak

FM

stereo

signal

is

received,

it

may

be

excessively

noisy

because

of

the

multiplex

encoding

technique

used

for

stereo

broadcasting.

In

that

case,

depress

the

MONO

button

to

lock

the

tuner

in

the

mono

mode,

in

order

to

obtain

consistently

quieter

and

cleaner

sound.

Remember

to

disengage

the

MONO

button

when

you

re-tune

to

a

stronger

signal.

As

long

as

the

MONO

button

is

engaged,

no

broadcasts

can

be

received

in

stereo.

If

you

record

a

broadcast

with

the

MONO

button

en-

gaged,

the

recording

will

be

in

mono.

If

you

record

the

signal

from

any

other

input

(Phono,

CD,

et

al),

the

effect

of

the

MONO

button

depends

on

whether

the

TAPE

MONITOR

button

is

engaged.

If

the

TAPE

MONITOR

is

not

engaged,

then

pressing

MONO

will

blend

the

input

signal

into

mono,

and

the

monophonic

signal

will

be

recorded.

If

the

TAPE

MONITOR

is

engaged,

then

pressing

MONO

will

affect

only

the

sound

that

you

hear

as

it

returns

from

the

recorder;

the

signal

going

to

the

tape

will

be

recorded

in

stereo.

10.

LOUDNESS

This

button

engages

a

“loudness

compensation”

circuit

which,

at

low-to-medium

settings

of

the

Volume

control,

boosts

the

bass

response

of

the

amplifier

in

order

to

com-

pensate

for

the

human

ear’s

diminished

sensitivity

to

low-

frequency

sounds

at

low

loudness

levels.

The

circuit

also

provides

a

slight

treble

boost

to

overcome

the

“masking”

of

subtle

high-frequency

details

by

background

noise.

Instead

of

using

this

button,

you

may

prefer

to

use

the

tone

controls

to

obtain

the

tonal

balance

that

sounds

most

natural

to

you,

at

any

volume

level.

11.

VOLUME

The

Volume

control

adjusts

the

overall

loudness

level

of

the

sound.

It

has

no

effect

on

the

level

of

the

signals

fed

to

the

TAPE

OUT

jacks

for

tape

recording.

The

Volume

control

is

designed

for

accurate

tracking

of

its

two

channels,

so

that

the

stereo

balance

will

not

shift

noticeably

as

the

loudness

of

the

sound

is

varied.

12.

TUNING

DISPLAY

The

display

shows

the

broadcast

frequency

to

which

the

receiver

is

tuned.

On

the

FM

band

the

last

digit

will

be

either

0

or

5,

since

tuning

occurs

in

increments

of

0.05

MHz.

13.

CENTER-TUNE

INDICATOR

This

light

glows

when

the

tuner

is

accurately

tuned

to

the

center

of

an

FM

station’s

broadcasting

channel.

14.

FM

STEREO

INDICATOR

This

LED

illuminates

when

a

stereo

FM

broadcast

is

being

received

and

decoded

by

the

tuner’s

multiplex

decoder

circuit.

Note

that

if

the

MONO

button

is

engaged,

all

broad-

casts

will

be

received

in

mono.

If

an

EM

station

is

broadcasting

only

in

mono,

or

if

a

stereo

broadcast

signal

is

too

weak

for

reasonably

noise-free

reception

in

stereo,

then

the

tuner

will

automatically

switch

into

the

mono

mode,

and

this

light

will

not

illuminate.

Also,

if

you

have

mis-tuned

away

from

the

center

of

a

station’s

broadcast

channel,

the

stereo

decoding

circuits

may

not

lock

~-onto

the

signal

and

it

may

be

received

only

in-mono.

-

15.

TUNING

PRE-SETS

You

can

store

the

frequencies

of

ten

favorite

stations

(5

FM

and

5

AM)

in

these

pre-sets,

using

the

ENTER

button.

Then,

to

tune

those

stations

from

day

to

day,

just

press

the

appropriate

pre-set

button.

The

pre-sets

preserve

their

frequency

assignments

when

the

power

is

switched

off,

or

when

the

AC

line

cord

is

unplugged,

for

a

period

of

at

least

two

weeks.

Thus

you

can

re-arrange

your

stereo

system,

or

move

the

equipment

from

room

to

room,

without

losing

the

pre-set

frequencies.

But

if

you

leave

the

power

off

for

a

month

or

more,

you

may

have

to

re-program

the

tuning

pre-sets.

16.

MEMORY

ENTER

This

button

engages

the

Memory

Enter

mode.

Use

this

mode

to

enter

the

frequencies

of

your

favorite

stations

in

the

ten

pre-sets

(five

pre-sets

on

the

FM

band

and

another

group

of

five

pre-sets

on

AM).

The

procedure

is

as

follows.

1.

Decide

which

station

you

want

to

assign

to

each

pre-set.

On

each

band

you

may

arrange

the

stations

in

any

order

that

you

find

convenient

(or

easy

to

remember):

alphabetical

(1=

WABC,

2=WCBS,

3=WNYC

..

.),

nu-

merical

(1=BBC1,

2=BBC2

...),

or

in

order

of

increas-

ing

frequency

(1=

89.7,

2=90.9,

3=

95.3,

etc.).

If

you

are

not

certain

of

the

frequencies

of

the

stations,

check

the

station/frequency

directory

in

a

local

newspaper

or

broadcasting

guide.

2.

Select

the

FM

or

AM

band,

as

appropriate.

Using

the

Up/Down

Tuning

control,

manually

tune

to

the

first

station

on

your

list.

Press

the

ENTER

button,

then

press

Pre-set

#1

to

store

the

first

station

in

the

tuner’s

memory.

NOTE:

After

you

press

ENTER,

you

will

have

ap-

proximately

ten

seconds

to

store

a

station

in

one

of

the

pre-sets.

After

that

interval,

the

ENTER

mode

will

auto-

matically

de-activate.

3.

Tune

to

the

second

station

on

your

list.

Press

the

ENTER

button

and,

within

ten

seconds,

press

Pre-set

#2

to

store

the

second

station.

4.

Tune

to

the

third

station

on

your

list,

press

ENTER,

and

press

Pre-set

#3

to

store

the

station.

Continue

in

this

manner

with

any

other

stations

that

you

want

to

store

in

the

remaining

pre-sets.

Then

switch

to

the

other

tuning

band

(FM

or

AM)

and

repeat

the

process

for

the

second

set

of

five

pre-sets.

Incidentally,

if

you

make

a

mistake

or

change

your

mind,

it

is

not

necessary

to

re-program

ail

five

pre-sets

in

sequence.

You

can

re-program

any

pre-set

simply

by

tuning

to

the

desired

frequency,

pressing

ENTER,

and

pressing

the

pre-set

that

you

want

to

re-program.

After

you

finish

programming

the

pre-sets,

you

may

wish

to

post

your

list

of

stations

and

associated

pre-set

numbers

nearby

for

reference.

CAUTION:

In

day-to-day

operation,

be

careful

not

to

press

the

ENTER

button

by

accident.

Doing

so

will

activate

the

ENTER

mode,

and

if

you

then

press

any

of

the

pre-set

buttons

you

will

unintentionally

re-program

that

pre-set.

You

would

then

have

to

manually

re-tune

to

the

station

you

wanted,

and

re-ENTER

it

into

the

pre-set.

If

you

acciden-

tally

press

ENTER,

you

can

force

the

circuit

to

back

out

of

the

ENTER

mode

by

briefly

switching

to

the

other

tuning

band

(e.g.,

from

FM

to

AM

and

back),

or

by

tapping

the

Tuning

rocker.

17.

SEARCH

MODE

When

the

SEARCH

button

is

engaged,

the

tuner

scans

in

a

station-by-station

mode

rather

than

in

small

frequency

increments.

When

the

Up/Down

Tuning

rocker

is

tapped,

“the

tuner

scans

up

or

down

in

frequency

and

automatically

stops

at

the

next

station

whose

signal

is

strong

enough

for

good

reception.

;

If

you

want

to

tune

to

a

weak

station,

or

if

you

want

to

fine-tune

the

tuner

manually,

disengage

the

SEARCH

mode

(button

OUT),

allowing

the

Up/Down

Tuning

rocker

to

tune

in

small

increments.

18.

UP/DOWN

TUNING

The

Up/Down

Tuning

control

is

a

“rocker”

switch

that

allows

you

to

tune

up

and

down

the

AM

or

FM

radio

spectrum.

Depress

the

right-hand

section

of

the

rocker

in

order

to

tune

to

higher

frequencies,

or

the

left-hand

section

to

tune

to

lower

frequencies.

When

the

Tuning

rocker

is

pressed

momentarily,

the

tuned

frequency

shifts

up

or

down

by

one

step,

unless

SEARCH

has

been

engaged.

(If

SEARCH

is

engaged,

the

tuner

will

scan

in

a

station-by-station

mode

rather

than

in

fixed

tuning

steps.)

In

North

America

the

size

of

this

tuning

step

is

10

kHz

on

the

AM

band.

In

Europe

and

elsewhere

the

tuning

step

is

9

kHz

on

AM.

In

either

case

the

tuning

step

for

the

FM

band

is

0.05

MHz. Each

time

the

Tuning

rocker

is

tapped,

the

tuned

frequency

will

shift

up

or

down

by

this

minimum

tuning

-

increment,

as

shown

on

the

digital

frequency

display.

If

the

Tuning

rocker

is

held

down

with

continuous

pressure

rather

than

just

tapped,

the

tuning

pauses

briefly

and

then

scans

rapidly

up

or

down

in

frequency.

Thus,

to

manually

tune

a

station,

the

procedure

is

to

press

continuously

on

either

side

of

the

Tuning

rocker

until

the

tuned

frequency

is

close

to

the

desired

broadcast

fre-

quency,

and

then

fine-tune

by

tapping

the

Tuning

rocker

until

the

digital

frequency

display

exactly

matches

the

sta-

tion’s

broadcast

frequency

as

listed

in

a

local

newspaper

or

broadcasting

guide.

If

you

know

the

exact

broadcast

frequency,

simply

set

the

tuner

to

that

frequency.

If

you

know

only

the

approximate

frequency,

tune

to

the

vicinity

of

the

station

and

then

fine-tune

for

best

sound.

On

FM,

fine-tune

until

the

center-tune

indicator

is

illuminated.

A

NOTE

ON

OVERLOAD

PROTECTION

Because

NAD

amplifiers

sound

so

clean

and

musical

when

driven

beyond

their

nominal

power

ratings

and

when

used

to

drive

low-impedance

loudspeakers,

you

may

be

tempted

to

stress

this

amplifier

beyond

its

design

capacity.

it

can

safely

and

cleanly

drive

impedances

as

low

as

2

ohms

with

wide-range

musical

signals

whose

peak

level

is

50

watts

or

more,

but

it

may

overheat

if

called

upon

to

deliver

high

power

continuously

into

a

low

impedance.

Thus

you

may

play

music-at

volume

levels

which

cause

the

brief

transient

peaks

and

climaxes

in

music

to

exceed

the

amplifier's

rated

power

by

a

considerable

margin

(and

with

Soft

Clipping

the

music

will

continue

to

sound

good

at

those

high

peak

levels).

But

if

you

overdrive

the

amplifier

continu-

ously,

rather

than

only

on

brief

musical

peaks,

the

output.

transistors

may

overheat.

This

is

particularly

likely

if

you

set

the

SPEAKER

IMPEDANCE

switch

to

8

OHMS

and

then

try

to

drive

very

low

impedances

at

high

volume

levels.

Severe

abuse

of

this

type

could

cause

internal

fuses

to

blow

in

order

to

protect

the

amplifier.

These

fuses

are

not

intended

to

be

replaced

by

the

user;

if

the

amplifier

shuts

down

you

should

return

it

for

service.

\

If

this

occurs,

you

should

examine

whether

a

pattern

of

unintended

abuse

may

have

contributed

to

the

failure.

For

example

you

may

have

a

loose

strand

of

speaker

wire

causing

a

partial

short-circuit

either

at

the

speakers

or

at

the

amplifier’s

speaker

terminals.

The

impedance

of

your

speak-

ers

may

be

lower

than

you

think;

if

you

are

not

sure,

set

the

SPEAKER

IMPEDANCE

switch

to

4

OHMS.

You

may

be

com-

bining

maximum

bass

boost

with

high

volume

settings.

Or

you

may

simply

be

playing

the

music

at

continuously

high

power

levels

that

demand

a

larger

amplifier

with

high-power

transistors

and

bigger

heat-sinks.

cise

ware

shear

=

3 8

eb

Oe

yy

eh

ete

3

Bocas,

_

IN

CASE

OF

DIFFICULTY:

A

TROUBLE-SHOOTING

GUIDE

SYMPTOM

No

sound.

No

sound

in

one

channel.

POSSIBLE

CAUSE

Power

not

on.

Line

cord

unplugged.

Tuner

selected

but

tuned

to

a

blank

frequency

between

stations.

CD

input

selected

with

no

CD

playing.

‘Tape

Monitor

engaged

with

no

tape

playing.

Headphone

plug

inserted

in

PHONES

jack.

Internal

fuses

blown

to

protect

the

amplifier

from

short-circuited

speaker

wires

or

from

overheating

caused

by

overdriving

the

amplifier

into

a

low

im-

pedance

with

the

Impedance

Selector

at

8

ohms.

—

Balance

control

turned

full-left

or

full-right.

Loudspeaker

connecting

wire

pulled

loose

(check

all

connections,

both

at

speakers

and

at

the

amplifier).

Connecting

cable

pulled

loose

or

making

poor

contact

in

socket.

Rotate

plugs

in

sockets

to

restore

contact.

Short-circuit

in

a

defective

con-

necting

cable.

Wiggle

all

cables,

especially

where

they

enter

plugs.

Dirty

contact

in

a

switch.

Exercise

all

front-panel

switches

to

restore

clean

wiping

contact.

Low-frequency

hum

in

phono.

Turntable

grounding

wire

not

connected.

Ground-loop

hum.

Install

polarized

AC

plugs

properly

in

polarized

wall

sockets

(in

which

one

slot

is

longer

than

the

other).

Try

reversing

any

non-

polarized

plugs

in

their

sockets,

to

find

the

orientation

that

yields

the

least

hum.

SYMPTOM

Low-frequency

hum

in

phono.

(continued)

Hum

in

tape

playback.

Distorted

reception

of

FM

stations.

POSSIBLE

CAUSE

Turntable

located

too

close

to

the

am-

plifier

(especially

to

its

left).

Locate

the

turntable

to

the

right

of

the

amplifier.

Phono

cables

routed

too

close

to

the

amplifer’s

power

transformer

(at

left-rear).

Phono

plugs

making

poor

contact

in

socket.

(Also

check

any

phono

plugs

in

the

turntable

base.)

Tape

deck

located

too

close

to

amplifier

(directly

above

or

below).

Tape

deck

located

too

close

to

television

set.

Plugs

making

poor

contact

in

sockets.

“Multipath”

reception.

Rotate

antenna

to

find

the

orientation

that

provides

best

reception.

(The

best

orienta-

tion

may

vary

from

station

to

station.)

Raise

the

height

of

the

antenna.

If

your

building

has

steel-frame

or

steel-

reinforced

concrete

construction,

move

your

FM

antenna

outside,

and

use

a

shielded

75-ohm

coaxial

lead-in

cable.

if

all

else

fails,

switch

to

Mono

reception.

Whistle

or

buzz

in

AM

or

FM.

Weak

bass;

diffuse

stereo

imaging.

Video

game,

computer,

or

computerized

game

operating

nearby.

AM

only:

static

due

to

electric

motors

or

fluorescent

lights.

Minimize

by

tun-

ing

to

a

strong

station,

or

install

an

external

antenna.

Speakers

wired

out

of

phase.

Swap

connections

at

the

back

of

ONE

speaker.

FRANCAIS

INSTALLATION

Placez

cet

appareil

sur

une

surface

plate

et

stable.

Le

transformateur

de

cet

appareil

émet

un

champ

magnétique

modeste.

Nous

vous

conseillons

donc

de

ne

pas

y

superpo-

ser

ou

d’y

placer

&

cété

une

platine

munie

d’un

phonolecteur

&

bobine

mobile.

_

De

plus,

cet

appareil

émet

une

certaine

chaleur;

il

requiert

conséquemment

un

certain

degré

de

ventilation.

Ainsi

prenez

soin

de

ne

pas

en

obstruer

les

bouches

d’aération

se

trouvant

sur

les

parties

supérieure

et

inférieure

du

chassis.

ATTENTION:

Afin

d’éviter

tout

risque

d’incendie

ou

de

choc

électrique,

ne

jamais

renverser

sur

cet

appareil

un

liquide

quelconque.

Au

cas

ou

cela

se

serait

produit

acciden-

tellement,

mettez

immédiatement

l’appareil

hors-circuit

et

débranchez

le

cordon

d’alimentation.

De

maniére

générale,

attendez

que

le

liquide

s’évapore

avant

de

remetire

l’appareil

en

marche.

Toutefois,

dans

certains

cas

(par

exemple,

si

vous

avez

renversé

une

solution

autre

que

de

l’eau

ou

de

l'alcool

dénaturé),

il

vous

est

conseillé

de

contacter

au

plus

‘vite

votre

concessionnaire.

Ne

jamais

essayer

de

modifier

ou

de

réparer

cet

appareil

personnellement.

En

cas

de

panne,

contactez

votre

concessionnaire.

«

10

LE

PANNEAU

ARRIERE

1.

AC

LINE

CORD

(Cordon

d’alimentation)

Branchez

le

cordon

d’alimentation

a

une

prise

CA

murale.

2.

AC

OUTLETS

(Prises

CA)

Vous

pouvez

y

brancher

les

cordons

d’alimentation

d’autres

composantes

hifi.

Utilisez

la

prise

active

(switched)

pour

le

raccordage

des

produits

exclusivement

électroniques

(par

exemple

un-tuner,

donc

mis

sous

tension

par

I’enclen-

chement

de

la

touche

d’alimentation).

Utilisez

l’autre

prise

(unswitched)

pour

le

raccordage

d’appareils

requérant

des

opérations

mécaniques

(par

exemple,

une

platine

ou

un

magnétophone).

Ces

produits

doivent

étre

activés

par

leurs

touches

d’alimentation

respectives.

3.

SPEAKERS

A

(Enceintes

A)

Si

la

distance

entre

votre

amplificateur.et

vos

enceintes

acoustiques

n’excéde

pas

six

métres,

nous

vous

conseillons

l'utilisation

d’un

cable

semblable

a

un

cordon

de

lampe

électrique.

Toutefois,

si

elle

excéde

six

métres,

nous

vous

conseillons

l’utilisation

d’un

cable

plus

épais—surtout

si

vous

utilisez

des

enceintes

a

impédance

basse

ou

deux

paires

d’enceintes

acoustiques

branchées

en

paralléle.

Séparez

les

deux

fils

du

cable;

enlevez-en

environ

un

centimetre

d’isolant.

Torsadez

soigneusement

les

fils

ainsi

dénudés.

Enfoncez

ensuite

la

touche

au-dessus

de

chaque

borne

d’enceinte

afin

de

découvrir

l’encoche

y

correspon-

dant.

Insérez

les

fils

dans

l’encoche

et

libérez

la

touche.

La

borne

gardera

le

cable

en

place.

Répétez

ce

procédé

afin

de

raccorder

le

deuxiéme

fil

Al’autre

borne.

Ayant

ainsi

raccordé

la

paire

d’enceintes,

vérifiez

que

vous

n’avez

causé

aucun

court-circuit

entre

les

fils

de

chaque

cable.

La

paire

d’enceintes

A

doit

étre

rac-

cordée

aux

bornes

supérieures

de

l’amplificateur

et

la

paire

B

aux

bornes

inférieures.

Mise

en

phase.

Lorsque

vous

utilisez

deux

enceintes

en

mode

stéréophonique,

elles

devraient

opérer

en

phase

mutuellement

afin

de

produire

un

relief

acoustique

maximal

et

se

renforcer

mutuellement

au

lieu

d’affecter

de

maniére

défavorable

leur

rendement

global

lors

des

passages

a

basse

fréquence.

Vous

pouvez

ainsi

vérifier

la

mise

en

phase

de

vos

enceintes:

Raccordez

les

deux

enceintes.

Placez-les

face

contre

face

a

quelques

centimétres

|’une

de

l’autre.

Jouez

une

piéce

musicale

et

écoutez

attentivement.

Inversez

ensuite

les

connexions

d’une

enceinte.

Ecoutez

une

fois

encore.

La

connexion

produisant

le

meilleur

rendement

grave

est

la

bonne;

l’autre

enceinte

devrait

étre

branchée

de

maniére

identique.

Ayant

raccordé

les

enceintes

aux

bornes

appropriées,

assurez-vous

que

vous

n’avez

Causé

aucun

court-circuit

entre

les

differents

fils

et

bornes.

Placez

ensuite

les

enceintes

aux

endroits

vous

convenant

le

mieux.

Si

vous

ne

pouvez

déplacer

vos

enceintes,

vous

pouvez

néanmoins

en

vérifier

la

mise

en

phase

en

vous

basant

sur

la

polarité

des

cables

de

raccordage.

Vous

observez,

a

larriére

de

l’amplificateur,

que

chaque

canal

stéréophonique

se

compose

de

deux

bornes:

une

rouge,

l’autre

noire.

La

borne

rouge

représente

la

polarité

positive,

la

borne

noire,

la

négative.

Vous

remarquerez

également

une

composition

similaire

des

bornes

al’arriére

de

chaque

enceinte

acous-

tique.

De

maniére

générale,

raccordez

la

borne

positive

[rouge]

de

|’amplificateur

a

la

borne

positive

de

l’enceinte

de

chaque

canal.

Afin

de

faciliter

le

raccordage

des

enceintes,

les

deux

fils

du

cable

de

connexion

de

chaque

canal

sont

généralement

différents;

par

exemple,

vous

pouvez

distinguer

les

fils

l’un

de

l’autre

en

vous

basant

sur

leurs

couleurs

respectives.

En

vous

référant

a

ces

couleurs,

ou

a

toute

autre

indication,

rac-

cordez

les

deux

enceintes

de

maniére

identique.

En

d’autres

mots,

si

vous

raccordez

le

cordon

rouge

du

cable

a

la

borne

rouge

(positive)

du

canal

droit

de

l’amplificateur,

vous

devriez

raccorder

la

borne

rouge

(positive)

du

canal

gauche

de

~~

maniére

identique.

Raccordez

l’autre

extrémité

du

cordon

rouge

a

la

borne

positive

de

l’enceinte

dans

chaque

cas.

4.

SPEAKERS

B

(Enceintes

B)

Vous

pouvez

raccorder

une

deuxiéme

paire

d’enceintes

acet

amplificateur

en

utilisant

les

bornes

d’enceintes

B.

Effectuez

les

connexions

comme

indiqué

sous

la

rubrique

«Enceintes.A».

plus

haut.

Jee

at

ate

ooh

Fore

Ane

ws

Si

la

deuxiéme

paire

d’enceintes

se

trouve

tout

prés

de

la

premiére

et

vous

désirez

les

activer

simultanément,

assurez-vous

que

la

mise

en

phase

des

deux

paires

soit

iden-

tique.

Toutefois,

si

la

deuxiéme

paire

se

trouve

dans

une

autre

salle

et

vous

ne

désirez

pas

activer

les

deux

paires

simultanément,

nul

n’est

besoin

de

vérifier

que

la

mise

en

phase

des

deux

paires

soit

identique-Toutefois,

vous

devriez

au

préalable

vous

assurer

de

la

mise

en

phase

effective

de

la

deuxiéme

paire

d’enceintes

indépendemment

de

la

premiére.

Alternativement,

vous

pouvez

utiliser

les

bornes

pour

enceintes

B

afin

d’ameéliorer

le

relief

acoustique

de

votre

salle

d’écoute.

Placez

une

paire

d’enceintes

compactes

des

deux

cétés

de

la

salle

d’écoute

(souvent

il

est

utile

d’agencer

ces

enceintes

de

telle

maniére

que

le

son

qu’elles

produisent

soit

réfléchi

par

les

divers

objets

se

trouvant

dans

la

salle

d’écoute

avant

de

vous

parvenir).

Branchez

la

borne

positive

du

canal

gauche

de

|’amplificateur

a

la

borne

positive

de

'enceinte

de

gauche,

et

la

borne

positive

de

l’enceinte

de

droite

ala

borne

positive

du

canal

droit

de

l’amplificateur.

Raccordez

ensuite

les

bornes

négatives

de

chaque

enceinte.

Un

tel

raccordage

de

la

deuxiéme

paire

d’enceintes

vous

permettra

de

percevoirla

difference

entre

les

deux

canaux

du

signal

stéréophonique.

5,

ANTENNA

TERMINALS

Avant

de

procéder

a

tout

raccordement

d’un

antenne

aux

quatre

bornes

de

raccordement

il

y

a

lieu

d’enlever

tout

dispositif

de

raccordement

des

fils

de

l’'antenne.

Dénuder

ensuite

les

fils

d’antenne

sur

environ

1

cm

et

torsader

les

brins

ainsi

exposés.

Enfoncer

la.

touche

en

plastique

au-dessous

de

chaque

borne

et

introduire

le

fil

correspondant

dans

l’encoche

prévu

acet

effet.

Ensuite

lacher

la

touche.

Le

dispositif

de

la

borne

maintiendra

le

fil

en

place.

ANTENNES

AM

AM.:

Le

tuner

n’est

pas

muni

d’une

antenne

AM

incor-

porée.

Il

ya

donc

lieu

de

raccorder

une

antenne

extérieure

pour

obtenir

une

réception

satisfaisante.

Dans

le

cas

de

la

plupart

des

stations

de

radio

il

suffit

de

se

servir

d’un

simple

fil

d’environ

un

métre

de

long

pour

obtenir

un

signal

de

puis-

sance

convenable.

Le

tuner

est

livré

avec

une

antenne

de

ce

type.

Raccorder

un

bout

de

ce

fil

a

la

borne

AM.

II

n’est

pas

nécessaire

de

fixer

le

fil

mais,

pour

le

cacher,

on

peut

le

fixer

sur

le

rebord

arriére

d’une

étagére

en

bois,

de

fagon

horizon-

tale.

(Les

étagéres

en

métal

sont

strictement

a

éviter

parce

qu’elles

peuvent

diminuer

la

puissance

du

signal

ala

réception.

Dans

le

cas

ou

I’étagére

est

en

meétal,

’antenne

doit

étre

fixée

au

mur

defacon

solide

et

éloignée

de

|’étage-

re.)

ll

y

a

lieu

d’essayer

plusieures

orientations

du

fil

pour

trouver

la

meilleure

orientation

qui

produit

la

meilleure

récep-

tion

de

vos

stations

de

préférence.

Dans

la

plupart

de

cas,

!’antenne

a

fil

court

produira

une

réception

satisfaisante

des

stations

AM

locales;

mais

dans

!e

cas

des

stations

AM

plus

éloignées,

il

y

a

lieu

d’utiliser

une

antenne

AM

a

fil

long».

Tout

comme

son

nom

|’indique,

cette

antenne

est

composée

d’un

simple

fil

droit

dont

la

longueur

peut

aller

de

quelques

métres

jusqu’a

30

métres.

Elle

doit

tre

disposée

de

fagon

horizontale,

paralléle

au

sol

et

a

une

hauteur

convenable.

On

peut

parfois

augmenter

l’efficacité

de

|’antenne

en

attachant

un

fil

a

la

borne

de

masse

du

tuner

qui

sera

ensuite

relier

a

la

terre,

c’est-a-dire,

a

une

barre

11

métallique

plaquée

en

cuivre

et

enfoncée

a

environ

un

métre

dans

la

terre.

A

défaut

de

cette

possibilité

on

peut

lé

fixer

a

un

tuyau

d’eau

d’alimentation

en

eau

froide,

un

radiateur

a

vapeur

ou

bien

la

masse

prévu

dans

une

prise

électrique

a

trois

fils.

ANTENNES

FM

La

réception

de

programmes

FM

exige

l'utilisation

d’une

forme

d’antenne

extérieure

quelconque.

Le

fabricant

vous

a

fourni

une

antenne

de

300

ohms

en

forme

de

T.

Etendez

la

partie

supérieure

de

l’antenne

horizontalement

en

la

fixant

au

mur,

par

exemple,

et

branchez-en

la

partie

verticale

aux

bor-

nes

de

300

ohms.

Vu

’extréme

sensibilité

des

tuners

NAD,

vous

pourriez

trouver

ce

type

d’antenne

plus

que

satisfaisante

pour

une

bonne

réception

des

stations

locales.

Elle

ne

sera

toutefois

pas

idéale

dans

toutes

les

circonstances,

n’étant

pas

en

mesure

de

rejeter

les

distortions

diversifiées

et

d’autres

formes

d’interférence

en

modulation

de

fréquence.

De

plus,

vous

ne

pourrez

pas

la

pivoter

pour

vous

obtenir

une

récep-

tion

optimale

des

stations

situées

dans

différentes

directions.

Donc,

dans

la

plupart

des

cas,

nous

vous

conseillons

d’utiliser

une

antenne

d’une

qualité

supérieure.

Nous

vous

proposons

les

options

suivantes:

(1)

Une

antenne

TV

intérieure

dépourvue

de

centréle

de

syntonisation.

Techniquement,

une

telle

antenne

ne

differe

aucunement

de

celle

fournie

par

le

fabriquant.

Elje

a

toutefois

cet

avantage:

vous

pouvez

la

pivoter.

Etendez

les

deux

bras

de

|l’antenne

et

orientez-les

horizontalement

ou

a

un

angle.

Ce

type

d’antenne

doit

6tre

branché

aux

bornes

d’antennes

de

300

ohms.

Vous

pouvez

ensuite

faire

pivoter

l’antenne

pour

une

réception

optimale

des

signaux.

(2)

Une

antenne

TV

intérieure

comprenant

un

bouton

de

syntonisation.

Ce

type

d’antenne

n’est

aucunement

plus

sen-

sible

que

celle

décrite

précédemment.

Donc,

si

les

si

gnaux

que

vous

recevez

sont

trop

faibles,

la

seule

solution

réside

dans

installation

d’une

antenne

extérieure.

Joutefois,

dans

de

grands

immeubles

ou

dans

de

grandes

villes

ou

les

signaux

sont

puissants

mais

contaminés

par

des

distortions

diversifiées,

la

touche

de

syntonisation

pourrait

bien

amé-

liorer

la

réception

de

vos

programmes

en

rejetant

certaines

formes

d’interférences.

a“

(8)

Une

antenne

intérieure

a

syntonisation

électrique.

Une

fois

encore,

ce

type

d’antenne

ne

vous

sera

d’aucune

utilité

si

les

signaux

que

vous

recevez

sont

trop

faibles.

Tou-

tefois,

elle

vous

aidera

a

améliorer

la

reception

de

votre

tuner

dans

des

situations

ou

les

signaux

régus

quoique

puissants,

sont

contaminés

par

des

distortions.

(4)

Une

antenne

extérieure.

Elle

vous

permettra

d’ex-

ploiter

au

maximum

les

qualités

de

votre

tuner,

vous

garantis-

sant

un

bruit

de

fond

minimal,

un

minimum

de

distortion

et

un

choix

de

stations

plus

vaste.

Une

antenne

extérieure

comporte

trois

avantages

fon-

damentaux:

premiérement,

la

sensibilité

d’une

antenne

augmente

par

rapport

a

ses

dimensions,

vous

permettant

d’attirer

un

signal

plus

puissant

et

de

rejeter

de

maniére

effective

les

distortions

diversifiées

provenant

d’autres

direc-

tions

grace

a

un

diagramme

directionnel

étroit;

deuxiéme-

ment,

son

emplacement

sur

un

toit

la

met

au-dessus

de

plusieurs

sources

d’interférences

—

voitures,

autobus,

et

d’autres

batiments

avoisinants.

Et

troisiemement,

!a

puis-

sance

des

signaux

captés

augmente

par

rapport

a

la

hauteur

de

l’antenne.

Si

vous

possédez

déja

une

antenne

TV

extérieure,

utili-

sez

un

démodulateur

pour

en

extraire

les

signaux

FM.

Ceci

pourrait

produire

d’excellents

résultats.

Toutefois,

de

telles

antennes

sont

congues

délibérément

afin

d’éviter

les

distor-

tions

possibles

provenant

des

signaux

en

modulation

de

fréquence

en

les

maintenant

a

leur

plus

faible.