Philips N4506 User manual

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PHILIPS

English

Page

3

Keep

pages

85

and

86

open

when

reading

the

Operating

Instructions

Francais

Page

12

Déplier

les

pages

85

et

86

en

lisant

le

mode

d’empioi

Deutsch

Seite

20

Bitte

klappen

Sie

beim

Lesen

der

Bedienungsan-

leitung

die

Seiten

85

und

86

aus

-

Nederlands

°

Pag.

29

Sla

bij

het

lezen

van

de

gebruiksaanwijzing

de

pagina’s

85

en

86

uit

Espanol

Pag.

37

Mantenga

abiertas

las

paginas

85

y

86

cuando

lea

las

instrucciones

de

manejo

Italiano

Pag.

46

Durante

la

lettura

delle

istruzioni

per

I'uso

aprite

le

pagine

85

e

86

Dansk

Side

55

Hold

side

85

og

86

opslaet,

mens

De

leser

brugsanvisningen

Norsk

Side

62

—

Hold

sidene

85

og

86

apne

nar

bruksanvisningen

leses

Svenska

Sida

70

Vik

ut

sidorna

85

och

86

nar

Ni

laser

bruksanvis-

ningen

Suomi

Sivu

77

Pida

sivut

85

ja

86

auki

tutustuessasi

kaytt6oh.

jeeseen

English

Controls

and

connection

sockets

Figures

1

and

2

@

reel

spindles

with

locking

clips

@

recording

level

meter

-

left

channel

@®

overload

indicator

-

left

channel

overload

indicator

-

right

channel

recording

level

meter

-

right

channel

monitor

output

level

control

-

left

channel

monitor

output

level

control

-

right

channel

line

output

level

control

-

left

channel

line

output

level

control

-

right

channel

line

input

sensitivity

control

-

left

channel

line

input

sensitivity

control

-

right

channel

tuner

input

sensitivity

contro!

-

left

channel

tuner

input

sensitivity

control

-

right

channel

‘aux’

input

sensitivity

control

-

left

channel

‘aux’

input

sensitivity

control

-

right

channel

phono

input

sensitivity

control

-

left

channel

phono

input

sensitivity

control

-

right

channel

hinged

transparent

cover

tape-tension

stabilisers

memory

switch

for

counter

counter

zero-reset

button

for

counter

tape

threading

slot

detachable

head-cover

cueing

knob

microphone

sensitivity

switch

volume

control

balance

control

bass

control

treble

control

wind

speed

control

post

fading

control

lock

button

for

post-fading

control

recording

level

control

-

left

channel

recording

level

control

-

right

channel

microphone

recording

level

control

-

left

chan-

nel

@)

microphone

recording

level

control

-

right

channel

line

input

selector

tuner

input

selector

‘aux’

input

selector

phono

input

selector

fast

rewind

key

fast

wind

key

start

key

pause

key

(to

disengage,

press

again)

record

key

@

(record,

playback

and

fast

wind)

stop

key

®

QO@Q@QOQOQOQO©O@OCOOO

OOOOOOOHOOOOOOHO®

®)

monitor

selector

track

selector

speed

selector

6)

DNL

indicator

63

DNL

switch

6}

socket

for

stereo

headset

€)

socket

for

mono

microphone

(left

channel)

or

stereo

microphone,

can

also

be

used

as

an

extra

input

for

radio,

amplifier

or

recorder

6)

socket

for

mono

microphone

(right

channel)

phono

equalisation

selector

€

multiplay

switch

function

selector

mains

switch

mains

on/off-indicator

holes

for

the

support-pins

for

horizontal

use

@

carrying

handle

@

mains-voltage

selector

socket

for

mains

lead

@

type

plate

phono

input

socket

for

HiFi

or

non-HiFi

record

player

‘

’aux’

input

-

auxiliary

input

socket

for

radio,

amplifier

or

recorder

tuner

input

socket

line

in/out

-

combined

input/output

socket

for

radio,

amplifier

or

recorder

@

MFB

output

socket

for

MFB-loudspeaker

en-

closures

@

monitor

output

socket

for

radio,

amplifier

or

recorder

@

remote

socket

-

for

start/stop

remote

control

unit

Note:

Do

not

expose

the

recorder

for

any

great

length

of

time

to

excessive

heat

from

heating

equipment

or

direct

sunshine.

Removing

the

cover

Pull

the

lower

side

of

the

cover

loose

and

lift

it

away

from

the

hinge

recesses.

It

is

advisable

to

replace

the

cover

when

the

recorder

section

is

not

in

use.

Horizontal

use

The

recorder

can

be

used

either

vertically

or

horizontally.

For

horizontal

use

the

two

support

pins

supplied

can

be

inserted

in

the

holes

6}

at

the

rear

of

the

recorder

(fig.

2).

Connecting

the

recorder

to

the

mains

Before

connecting

the

recorder

to

the

mains,

ensure

that

voltage

selector

@

is

set

to

the

local

mains

supply.

if

it

is

not,

turn

the

voltage

selector

with

a

suitable

screwdriver

or

one

of

the

support

pins

supplied

until

the

correct

voltage

value

ap-

pears

in

the

recess

(fig.

2).

Then

insert

the

female

plug

of

the

mains

lead

in

socket

€4

and,

after

this,

insert

the

mains

plug

in

the

wall

socket.

|

Warning:

Always

disconnect

the

mains

lead

before

opening

the

apparatus.

Note

for

users

in

Great

Britain

When

fitting

a

mains

plug

to

the

mains

lead

proceed

as

follows:

The

wires

in

the

mains

lead

are

coloured

in

accordance

with

the

following

code:

Blue

=

Neutral,

Brown

=

Live.

As

these

colours

may

not

correspond

with

the

colour

markings

identifying

the

terminals

in

your

plug

proceed

as

follows:

The

Brown

wire

must

be

connected

to

the

terminal

which

is

marked

with

the

letter

L

or

coloured

Red.

The

Blue

wire

must

be

connected

to

the

terminal

which

is

marked

with

the

letter

N

or

coloured

Black.

Note:

This

apparatus

must

be

protected

by

a3

Amp

Fuse

if

a

13

Amp

plug

is

used

or

if

any

other

type

of

plug

is

used

by

a5

amp

Fuse

either

in

the

plug

or

adaptor

or

at

the

distribution

board.

If

in

doubt

consult

a

qualified

electrician.

Switching

on

and

off

The

recorder

can

be

switched

on

and

off

with

mains

switch

69.

Indicator

lights

when

the

recorder

is

switched

on.

Note:

If

the

tape

moving,

never

switch

off

the

recorder

without

first

pressing

stop

key

Adjustment

for

type

of

tape

in

use

Press

in

the

narrow

sides

of

the

lower

head

cover

@)

and

remove

(fig.

3).

@

If

tapes

with

a

glossy

rear

side

are

used,

bracket

®

must

be

to

the

left

(fig.

4,

position

A).

@

If

rear

side

coated

tapes

are

used,

bracket

®

must

be

to

the

right

(fig.

4,

position

B).

This

prevents

undue

wear

of

the

felt

pressure

pad

®.

Threading

the

tape

@

Place

a

full

reel

of

tape

on

the

left-hand

reel

carrier

(1).

This

reel

must

turn

anti-clockwise

when

unwinding.

Now

draw

out

the

top

of

reel

spindle

®,

turn

it

slightly

and

allow

it

to

spring

back

on

the

reel.

The

reel

is

now

clamped

to

the

carrier.

Attach

an

empty

reel

to

the

right-hand

reel

disc

by

proceeding

in

the

same

way.

@

Check

that

cueing

knob

@)

is in

its

lower

position.

@

Unwind

about

30

cm

of

tape

and,

holding

it

taut

between

both

hands,

lead

it

around

the

tape

tension

stabilisers

@

and

through

tape

threading

slot

@8)

(fig.

1).

@

Still

holding

the

tape

taut,

press

the

start

of

the

tape

against

the

core

of

the

empty

reel

and

turn

this

reel

anti-clockwise

until

it

begins

to

take

up

the

tape.

@

Press

start

key

keep

it

depressed

until

the

leader

tape

and

the

metal

switching

foil

have

passed

through

tape

threading

slot

@,

then

press

stop

key

@.

Note:

When

metal

reels

with

an

insulated

(e.g.

plastic)

centre

are

used,

static

build-up

may

occur

if

the

equipment

is

used

in

dry

atmospheric

conditions.

To

reduce

the

effect

of

this

problem

we

recommend

the

use

of

conductive

plates

which

can

be

clamped

between

the

locking

clips

@

and

the

metal

reels.

These

plates

are

available

indivi-

dually

under

service

code

4822

466

80664.

4

Automatic

stop

When

the

metal

switching

foil

at

the

start

and

end

of

the

tape

passes

the

switching

contact

®

(fig.

6),

any

depressed

keys

are

automatically

disengaged

and

the

tape

stops.

This

automatic

stop

operates

during

recording,

playback

and

fast

winding.

If

tapes

without

metal

switching

foil

are

used,

any

depressed

keys

are

disengaged

by

the

integral

tape-breakage

protection

mechanism.

Four-track

system

This

four-track

recorder

allows

four

recordings

to

be

made

over

the

full

length

of

the

tape.

The

four

recording

tracks

lie

above

each

other.

Each

tape

can

thus

take

four

mono

recordings

or

two

stereo

recordings

(a

stereo

recording

consists

of

two

mono

recordings).

@

To

make

mono

recordings

on

each

of

the

four

tracks,

set

track

selector

to

°1-4’.

Only

re-

cording

level

meter

@

lights.

You

can

now

record

on

track

1.

When

the

right-hand

reel

is

full,

transpose

the

two

reels.

Leaving

the

track

selector

at

‘1-4’,

your

next

recording

will

be

on

track

4.

Again

transpose

the

reels

when

the

right-hand

reel

is

full

and

set

track

selector

to

°3-2’.

Only

recording

level

meter

@)

lights.

The

recording

which

you

now

make

will

be

on

track

3.

When

the

right-hand

reel

is

full,

again

transpose

the

reels,

leaving

the

track

selector

at

'3-2’.

Your

fourth

recording

will

be

made

on

track

2.

When

the

right-hand

reel

is

again

full,

all

four

tracks

contain

mono

recordings

over

their

full

length.

@

To

make

two

stereo

recordings

on

the

four

tracks,

set

track

selector

to

stereo.

Both

recording

level

meters

@

and

©,

now

light.

The

recording

which

you

now

make

will

be

on

tracks

|

and

3.

When

the

right-hand

reel

is

full,

transpose

the

two

reels

as

before.

Leaving

the

track

selector

at

stereo,

you

can

now

make

the

second

stereo

recording,

which

will

be

on

tracks

4

and

2.

When

the

end

of

the

tape

is

reached,

both

pairs

of

tracks

contain

stereo

recordings

over

their

full

length.

Counter

and

memory

stop

Make

a

habit

of

setting

counter

@}

to

’0000"

by

pressing

zero

reset

button

@

immediately

after

threading

a

tape.

You

can

make

a

note

of

the

counter

reading

at

which

each

recording

starts

on

the

index

card

of

the

tape

storage

box.

Later,

you

can

swiftly

locate

any

recording

desired

by

re-

winding

or

winding

to

the

counter

reading

con-

cerned.

Note

that

the

counter

gives

no

indication

as

to

the

length

or

playing

time

of

the

tape.

If

memory

switch

@)is

pressed

in,

the

tape

will

stop

automatically

during

fast

winding,

rewinding

or

playback

when

the

counter

passes

’0000’.

The

memory

stop

is

not

operative

during

recording.

By

setting

the

counter

to

0000’

when

a

recording

is

commenced,

the

beginning

of

this

recording

can,

later,

be

swiftly

located

by

pressing

memory

switch

@Q

and

then

rewind

key

The

memory

stop

is

switched

off

by

pressing

switch

@9

again.

Fast

winding/cueing

The

wind

speed

can

be

varied,

during

fast

winding

and

rewinding,

by

means

of

control

67).

When

function

selector

68

is

in

its

lower

position,

cueing

is

made

possible,

during

fast

winding,

by

moving

cueing

knob

@§)

to

its

upper

position;

this

causes

the

tape

to

be

held

against

the

playback

head.

The

recorded

sound

is

played

back

at

a

speed

that

is

controllable

via

wind

speed

control

@)

and,

with

a

little

experience,

particular

parts

of

recordings

can

soon

be

recognized

and

thus,

quickly

located.

Note:

Do

not

leave

the

cueing

knob

in

its

upper

position

unnecessarily.

When

switching

from

one

tape

travel

function

to

another

(e.g.

fast

rewinding

to

start),

it

is

not

necessary

to

depress

the

stop

button

first.

The

pause

button

@)

does

not

operate

during

fast

winding.

When

function

selector

68

is

in

its

upper

position,

start

key

does

not

operate;

fast

winding

and

rewinding

is

possible

but

without

the

cueing

function.

Dynamic

Noise

Limiter

-

DNL

The

DNL

suppresses

tape

noise

without

greatly

affecting

the

naturalness

of

the

music

signal.

It

operates

only

during

quiet

passages

and

in

the

absence

of

signal

on

the

tape,

which

is

when

noise

is

most

apparent.

The

DNL

operates

during

play-

back

and

during

monitoring

with

monitor

selector

at

’A’.

Thus

recordings

being

made

on

this

recorder

are

entirely

unaffected

by

the

DNL.

The

DNL

is

operated

by

switch

69;

indicator

6)

lights

when

the

DNL

is

switched

on.

Connections

The

recorder

is

fitted

with

DIN

standard

connec-

tion

sockets.

Equipment

fitted

with

DIN

connection

sockets

can

be

connected

to

the

recorder

using

lead

4822

321

20207

(EL

3768/14).

For

the

con-

nection

of

equipment

and

accessories

fitted

with

other

than

DIN

plugs

or

sockets,

adapter

leads

and

plugs

are

available

from

your

dealer.

In

the

interests

of

safety,

consult

your

dealer

if

you

wish

to

connect

equipment

not

having

a

recorder

connection

socket

(e.g.

a

TV-set).

@

Socket

6):

output

for

stereo

headset.

With

the

groove

in

the

headset

plug

opposite

'+’

the

MFB-loudspeaker

enclosures

remain

switched

on.

With

the

groove

opposite

’—’

the

MFB-loudspea-

ker

enclosures

are

switched

off.

@

Socket

6%:

input

for

stereo

microphone

or

for

the

left-hand

channel

mono

microphone

when

making

stereo

recordings

with

two

microphones.

This

socket

also

serves

as

an

extra

input

for

a

radio,

amplifier

or

second

recorder.

The

recording

level

(also

when

using

the

unit

as

a

control

amplifier)

is

adjusted

with

control

and,

when

using

a

stereo

sound

source,

with

the

controls

and

62.

@

Socket

6:

input

for

the

right-hand

channel

mono

microphone

when

making

stereo

recordings

with

two

microphones.

The

recording

level

(also

when

using

the

unit

as

a

control

amplifier)

is

adjusted

with

control

62.

@

Socket

@:

input

for

record

player.

Switch

must

be

in

its

upper

position

when

using

a

non-HiFi

pick-up

cartridge

(crystal

or

ceramic);

in

its

lower

position

the

pre-amplifiers

are

switched

in

for

a

HiFi

pick-up

cartridge

(magnetic

or

HiFi-ceramic).

For

record

players

with

a

built-in

pre-amplifier,

switch

must

be

in

its

upper

position.

Record

players

with

built-in

output

amplifiers

must

be

connected

to

socket

€

or

@

Socket

@):

auxiliary

input

for

radio,

amplifier,

recorder,

combined

gramophone/amplifier

or

electronic

organ.

@

Socket

€§:

tuner

input.

Radios

and

combined

tuner/amplifiers

can

be

connected

to

socket

6%

or

@

Socket

€9:

combined

input/output

(record

and

playback)

for

all

equipment

-

radios,

amplifiers,

combined

gramophone/amplifier

and

tuner/ampli-

fier

systems,

tape

and

cassette

recorders

-

fitted

with

a

recorder

or

diode

connection.

@

Socket

@0:

contro!

amplifier

output

for

MFB-

loudspeaker

enclosures.

The

input

sensitivity

control

on

the

MFB-loudspeaker

enclosures

should

be

set

to

‘1

V’.

@

Socket

@):

monitor

output

for

amplifier

(allowing

listening-in

during

recording)

or

for

a

second

recorder

(allowing

simultaneous

recording

by

two

—

recorders).

The

monitor

socket

provides

an

output

signal

during

use

as

a

control-amplifier

and

both

during

playback

and

recording,

except

when

the

recorder

is

in

the

record/pause

position

with

monitor

selector

@)

in

position

’A’.

@

Socket

@:

socket

for

remote

control

unit,

by

which

the

tape

can

be

started

and

stopped

during

recording

and

playback.

When

the

remote

control

unit

is

employed,

pause

key

@

must

always

be

pressed,

either

together

with

start

key

for

playing

back

or

with

start

key

@4

and

record

key

for

recording.

Input

and

output

controls

To

overcome

the

large

changes

in

output

level

caused

when

switching

from

one

input

source

to

another

this

recorder

is

fitted

with

adjustable

inputs

and

outputs.

Input

sensitivities

can

be

adjusted

as

follows:

@

Set

function

selector

€

to

its

lower

position.

@

Press

record

key

@

Set

the

recording

level

controls

@

and

@)

to

position

‘7’.

e

Lift

up

cover

@

Set

the

appropriate

selector,

determined

by

the

input

used,

in

its

upper

position:

-

Switch

@)

selects

the

line

input

©;

The

input

sensitivity

is

set

via

the

controls

(left

channel)

and

(i)

(right

channel).

-

Switch

@)

selects

the

tuner

input

@;

The

input

sensitivity

is

set

via

the

controls

@2

(left

channel)

and

@

(right

channel).

-

Switch

@

selects

the

‘aux’

input

@;

The

input

sensitivity

is

set

via

the

controls

@

(left

channel)

and

(

(right

channel).

-

Switch

@

selects

the

phono

input

@);

The

input

sensitivity

is

set

via

the

controls

(left

channel)

and

@

(right

channel).

@

Play

the

connected

apparatus

and,

using

thumb

or

coin,

turn

the

appropriate

input

sensitivity

controls

clockwise

until

the

recording

level

meters

@

and

©)

indicate

100%

during

the

loudest

passages

(fig.

5).

The

overload

indicators

@®

and

@

should

just

fail

to

tight.

@

When

all

the

input

sensitivities

have

been

set,

press

stop

key

The

output

levels

from

the

recorder

are

also

adjustable

in

order

to

match

the

recorder

playback

volume

to

that

of

other

input

sources

connected

to

the

amplifier.

To

set

up

the

output

voltage,

a

pre-recorded

stereo

tape

is

required.

@

Connect

the

monitor

socket

@)

to

the

monitor

input

and

the

‘line

in/out’

socket

to

the

tape

recorder

input

of

the

amplifier.

@

Thread

the

pre-recorded

tape,

set

speed

selec-

tor

to

the

appropriate

speed

and

set

track

selector

@9

to

stereo.

@

Set

function

selector

€8

to

its

lower

position.

@

Switch

on

or

start

a

source

connected

to

the

amplifier

(e.g.

a

tuner)

and

set

to

a

particular

volume.

@

Press

start

key

@

to

commence

playback.

@

Alternately

select

on

the

amplifier

tuner,

re-

corder

and

monitor

playback

and

compare

the

relative

volumes

of

recorder

and

monitor

playback

with

the

tuner

playback

volume.

The

monitor

output

level

can

be

adjusted

with

the

controls

©

(left

channel)

and

@

(right

channel)

and

the

‘line

out’

output

level

with

the

controls

@)

(left

channel)

6

and

(g)

(right

channel).

Turn

these

controls

clock-

wise

(louder)

or

anti-clockwise

(softer)

to

adjust

the

relative

volumes.

Use

of

microphones

For

microphone

recordings

you

can

connect

two

mono

microphones,

one

to

socket

and

the

other

to

socket

€§,

or

a

stereo

microphone

to

socket

64.

Depending

on

the

position

of

track

selector

9,

the

recordings

made

in

each

case

will

be

either

stereo

or

mono.

For

mono

recordings

you

can,

if

desired,

connect

only

one

microphone

to

socket

64

or

68.

For

stereo

recordings

the

mono

microphone

for

the

left

channel

must

face

the

left

and

that

for

the

right

channel

the

right

of

the

sound

source.

For

speech

recordings

the

distance

between

mouth

and

microphone

should

be

about

30

cm.

For

music

recordings,

trials

should

be

made

to

determine

the

most

suitable

positions.

To

prevent

unwanted

recorder

noise

being

picked

up

by

the

microphones,

these

should

be

placed

away

from

the

recorder.

If

a

large

amount

of

background

noise

is

present

whilst

making

speech

recordings,

the

clarity

can

be

increased

by

setting

the

microphone

sensitivity

switch

@6

to

'~

20

dB’

and

reducing

the

distance

between

mouth

and

microphone

to

5-10

cm.

Switch

@

should

also

be

set

to

’~

20

dB’

if

you

are

recording

sounds

at

very

high

levels

or

with

very

high

peaks

(e.g.

beatgroups).

Listening-in

during

recording

(monitoring)

You

can

check

what

is

going

onto

the

tape

by

monitoring

during

recording.

Monitoring

through

a

headset

is

of

particular

advantage

when

making

microphone

recordings

since

it

averts

the

danger

of

the

microphone

picking

up

sound

from

the

loudspeakers

and

thus

causing

a

whistling

noise

(‘howling’

or

‘acoustic

feedback’).

By

means

of

monitor

selector

@,

which

operates

only

during

recording,

you

can

choose

between

‘after

tape’

and

‘before

tape’

monitoring.

-

‘A’

is

the

after

tape

switch

position.

The

signal

which

the

record

head

©

(fig.

6)

has

put

on

the

tape

is

reproduced

immediately

afterwards

by

the

playback

head

©,

Thus

what

you

then

hear

is

the

signal

as

recorded.

Note

that

with

monitor

selector

at

’A’

and

the

tape

stationary

(the

pause

key

being

engaged),

the

playback

head

gives

no

signal

and

so

nothing

is

heard.

-

'B'

is

the

before

tape

switch

position.

In

this

case

what

you

hear

is

the

signal

as

it

sounds

before

the

record

head

has

put

it

on

the

tape.

With

monitor

selector

@)

at

'B’

and

the

tape

stationary

(the

pause

key

being

engaged),

the

signal

as

it

sounds

prior

to

recording

is

continuously

heard.

To

monitor,

proceed

as

follows:

@

Connect

MFB-loudspeaker

enclosures

or

a

headset

(see

Connections’)

or

connect

an

am-

plifier

to

monitor

socket

@.

e

Set

monitor

selector

to

'B’

if

the

tape

is

stationary

or

to

’A’

if

the

tape

is

running.

@

Adjust

the

volume,

balance

and

tone

for

the

MFB-loudspeaker

enclosures

and/or

the

headset

via

the

controls

@),

@,

@

and

69.

When

monitoring

through

an

amplifier

the

volume

etc.

is

adjusted

on

the

amplifier.

Introduction

to

recording

@

Copying

of

gramophone

records

and

recording

of

radio

programmes

is

permissible

only

insofar

as

copyright

or

other

rights

of

third

parties

are

not

thereby

infringed.

@

The

strength

at

which

the

sound

is

recorded

on

the

tape

determines

the

quality

of

the

sound

obtainable

on

playback.

This

‘recording

level’

is

adjusted

via

the

controls

@

and

62

when

recording

via

the

microphone

sockets

64

and

68)

and

by

the

controls

63

and

@)

for

all

other

recordings.

The

recording

level

is

checked

by

reference

to

the

recording

level

meters

@

and

©

and

the

overload

indicators

@

and

@.

In

mono

recording

with

one

mono

microphone,

control

66

is

used

for

input

via

socket

@

and

control

@

for

input

via

socket

@)

@

The

recording

level

is

correctly

set

if,

during

the

loudest

passages,

the

pointers

of

the

recording

level

meters

@

and/or

@)

deflect

just

to

the

100%

mark

(fig.

5)

and

the

overload

indicators

@

and

@

just

fail

to

\ight.

If

the

level

is

too

high

or

too

low,

either

distortion

or

disturbing

tape

noise,

respec-

tively,

will

be

heard

on

playback.

@

During

recording,

any

previously

recording

on

the

same

part

of

the

tape

is

automatically

erased

by

the

erase

head

@)

(fig.

6).

You

can,

however,

erase

a

recording

without

adding

a

new

one

by

keeping

all

recording

level

controls

at

‘0’

as

you

record.

Erasure

is

fastest

with

speed

selector

69

at

"19°

(cm/s).

e@

Recordings

being

made

from

an

apparatus

having

a

recorder

connection

socket

are

not

affected

by

the

settings

of

the

volume

or

tone

controls

of

that

apparatus.

Recording

@

Connect

the

equipment

from

which

you

wish

to

record

to

the

appropriate

socket

and

set

the

corresponding

input

selector

68).

.

.

G})

to

its

upper

position

or,

during

microphone

recordings,

set

all

input

selectors

to

their

lower

position.

@

Set

function

selector

68

to

its

lower

position.

@

Set

monitor

selector

@

to

'B’.

e

Set

speed

selector

69

to

the

speed

desired.

The

lowest

speed

gives

the

longest

playing

time,

the

highest

speed

the

best

sound

quality.

e Set

track

selector

@

to

stereo

or

-

for

mono

recordings

-

to

‘1-4’

or

’3-2’.

@

Press

pause

key

@

Press

start

key

@

and

record

key

@

at

the

same

time.

e@

Allow

the

equipment

connected

to

play,

or

speak

or

sing

into

the

microphone

and

adjust

the

recording

level

as

necessary.

e

Now

start

recording

by

pressing

pause

key

@

again.

Check

the

recording

level

from

time

to

time

and

readjust

it,

gradually,

if

necessary.

e

lf

required,

set

monitor

selector

to

‘A’

for

‘after

tape’

monitoring.

@

For

brief

interruptions

press

pause

key

@

To

stop,

press

stop

key

@.

N.B.:

To

record

with

two

recorders

simultaneously,

connect

the

second

recorder

to

monitor

socket

@)

and

keep

monitor

selector

at

'B’

during

re-

cording.

Playback

The

recordings

made

can

be

reproduced

through:

@

Two

MFB-loudspeaker

enclosures

connected

to

socket

@

and/or

@

A

headset

connected

to

socket

@

(see

‘Con-

nections’):

Set

function

selector

68

to

its

lower

position,

set

track

selector

@

and

speed

selector

@9

to

the

positions

in

which

the

recording

was

made,

press

start

key

@,

adjust

the

volume,

balance

and

tone

with

the

controls

@),

@,

@

and

69

and,

if

desired,

switch

on

the

DNL

with

switch

6.

@

An

amplifier

(or

radio,

recorder

or

gramophone,

serving

as

amplifier)

connected

to

socket

(or

@).

Set

function

selector

8

in

its

lower

position,

adjust

the

amplifier

for

recorder

playback

and

set

track

selector

and

speed

selector

6d

to

the

positions

in

which

the

recording

was

made.

Now

press

start

key

@),

adjust

the

volume,

balance

etc.

on

the

amplifier

and,

if

desired,

switch

on

the

DNL

with

switch

69.

Post-fading

It

is

possible,

during

playback,

to

fade-out

and

fade-in

parts

of

the

recording.

This

is

particularly

useful

when

undesired

applause,

announcements,

background

noise,

etc.

are

present

on

the

tape.

Caution

should

be

taken

when

using

the

facility,

since

incorrect

use can

spoil

the

recording.

It

is

recommended

that

an

old

dispensable

recording

is

used

to

gain

experience

of

this

facility

as

follows:

@

Play

the

tape

and

take

note

of

the

start

and

duration

in

seconds

of

the

piece

to

be

faded-out.

7

@

Rewind

the

tape

to

a

point

before

the

fading

is

required

and

press

start

key

@

Keep

lock

button

@

depressed

with

one

hand

and,

as

the

undesired

piece

approaches,

slide

post-fading

control

63

upwards

with

the

other

hand

(the

sound

will

now

fade

away).

When

sliding

the

post-fading

control

downwards,

the

sound

will

return.

The

fade-in

and

fade-out

speed

is

deter-

mined

by

the

speed

at

which

the

post-fading

control

is

used.

Using

the

recorder

as

a

control-amplifier

if

you

wish

to

use

only

the

amplifier

in

combination

with

the

MFB-loudspeaker

enclosures

and/or

a

headset

connected,

proceed

as

follows:

@

Set

function

selector

to

its

upper

position.

The

recorder

section

is

now

switched

off

(apart

from

fast

winding

and

rewinding).

@

Select

the

required

sound

source

with

the

appropriate

input

selector

@8).

..

@.

The

recording

level

controls

@

and

@

are

not

operative.

@

If

used

as

a

microphone

amplifier,

all

input

selectors

68).

.

.

@)

must

be

in

their

lower

position

and

the

recording

level

must

be

set

with

the

controls

and

@

so

that,

during

the

loudest

passages,

the

recording

level

meters

@

and

®

just

touch

‘100%’

(fig.

5).

The

overload

indicators

@

and

@

are

not

operative.

If

‘howling’

occurs,

the

distance

between

loudspeaker

and

microphone

should

be

increased

or

the

volume

should

be

reduced.

@

Set

track

selector

@

for

stereo

reproduction

to

Stereo

and

for

mono

reproduction

to

’1-4’

or

°3-2'.

@

Adjust

the

volume,

balance

and

tone

with

the

controls

@?,

@8,

@)

and

69.

Mixing

sounds

This

recorder

permits

mixing

of

inputs

from

differ-

ent

sound

sources

e.g.

a

record

player

and

a

microphone,

since

it

is

equipped

with

separate

recording

level

controls

for

the

microphone

inputs

on

the

one

hand

and

for

all

other

inputs

on

the

other.

Thus,

you

may

for

example

record

gra-

mophone

records

and

announce

them

yourself

via

the

microphone.

In

the

case

of

mixed

recordings,

the

recording

level

meters

indicate

the

sum

of

both

levels.

The

mixing

ratio

can

be

adjusted

and

checked

by

monitoring

during

recording.

It

is

advisable

to

use

a

headset

for

this,

in

order

to

avoid

‘howling’.

Multiplay

(sound-on-sound)

When

multiplaying,

you

can

combine

several

mono

recordings

with

each

other.

These

recordings

are

synchronised:

they

keep

good

time

with

each

other,

so

that

it

is

possible

for

example

to

record

a

8

quartet

in

which

every

part

is

played

all

by

yourself,

First

you

make

a

normal

recording

on

track

1.

After

rewinding

the

tape

to

the

start,

you

can

make

your

second

recording

on

track

3,

while

adding,

simulta-

neously,

the

first

recording

from

track

1

to

track

3.

While

making

the

second

recording,

you

can

listen

to

the

first

one

via

a

headset,

so

the

second

recording

is

exactly

synchronised

with

the

first.

Track

3

contains

also

the

first

and

second

record-

ing.

After

rewinding,

you

make

your

third

recording

on

track

1,

while

adding

simultaneously

the

first

and

second

recording

from

track

3

to

track

1.

While

making

the

third

recording

you

can

listen

to

the

first

and

second

recording

via

a

headset.

Track

1

contains

now

the

first,

second

plus

third

re-

cording.

If

desired

you

may

proceed

with

a

fourth

and

a

fifth

recording,

but

you

should

take

into

account

the

so-called

’transfer

loss’,

i.e.

the

deterioration

of

the

sound

quality

when

repeatedly

copying

a

re-

cording.

To

minimise

this

loss

of

quality

it

is

advisable

to

use

the

highest

tape

speed

and

to

record

the

main

part

(e.g.

melody)

at

the

end.

During

the

first

recording,

multiplay

switch

@

must

be

in

its

lower

position.

During

the

second,

third

etc.

recording

the

multiplay

switch

must

be

in

its

upper

position.

After

use,

always

set

the

multiplay

switch

to

its

lower

position.

During

multiplay

recordings,

set

monitor

selector

to

'B’.

Don't

forget

to

switch

track

selector

@

to

the

other

track

before

starting

your

next

recording.

The

recording

level

of

the

new

recording

is

adjusted

with

either

the

control

and

@

or,

during

microphone

recordings

(in

this

case

pos-

sible

only

via

socket

@),

with

control

@.

The

recording

level

of

the

recording

being

added

is

adjusted

with

control

2.

The

illuminated

recording

level

meter

indicates

the

sum

of

the

recording

levels,

so

it

is

advised

to

adjust

the

recording

level

of

the

new

recording

below

normal,

because

the

multiplay

signal

is

still

to

be

added.

The

mixing

ratio

between

the

new

recording

and

the

recording

being

added

can

be

checked

and

adjusted

by

monitoring

during

recording.

When

the

result

of

a

multiplay

recording

is

not

satisfactory,

this

recording

can

be

repeated,

be-

Cause

the

preceding

recording

is

not

erased,

Playback

takes

place

in

the

normal

way

with

track

selector

@)in

the

position

which

was

used

last.

The

second

last

recording

can,

if

desired,

be

erased.

Echo

With

this

recorder,

echo

recordings

can

be

made,

since

the

recorder

is

equipped

with

separate

heads

for

recording

and

playback,

which

are

mounted

‘in

line

(fig.

6).

When

making

an

echo

recording,

the

signal

just

recorded

on

the

tape

by

the

recording

head

©

is

immediately

reproduced

by

the

playback

head

©).

This

playback

signal

is

then

fed

back

to

the

recording

head

and

recorded

_

together

with

the

original

signal.

The

echo-effect

is

due

to

the

distance

between

the

two

heads

and

depends

on

the

tape

speed

used:

at

the

relatively

low

speed

of

4.75

and

9.5

cm/s,

*slow’

echo

effects

are

obtained

and

at

the

higher

speed

of

19

cm/s

a

‘quick’

echo

effect

(‘reverberation’),

can

be

simu-

lated.

Connect

the

monitor

socket

@

by

means

of

an

additional

stereo

connecting

lead

4822

321

20207

(EL

3768/14)

-

to

the

line

in/out

socket

@

or

the

‘aux’

input

socket

@)

when

recording

from

the

microphone.

In

this

case,

turn

back

a

little

the

monitor

output

level

controls

©

and

@).

The

recording

level

of

the

echo

signal

is

now

adjusted

with

the

controls

6)

and

©.

-

to

the

stereo

microphone

socket

@4)

when

recording

from

another

sound

source.

Set

micro-

phone

sensitivity

switch

@)

to

'-20dB’.

The

recording

level

of

the

echo

signal

is

now

adjusted

with

the

controls

@8

and

@).

You

can

now

make

a

mixed

recording

with

the

original

signal

and

the

echo

signal

provided

by

the

monitor

socket.

During

recording,

monitor

selector

@

must

be

in

position

’A’.

The

recording

level

meters

indicate

the

sum

of

the

recording

levels,

so

it

is

advised

to

adjust

the

recording

level

of

the

original

signal

below

normal,

because

the

echo

signal

is

still

to

be

added.

The

mixing

ratio

between

the

original

signal

and

echo

signal

can

be

heard

through

a

headset.

Maintenance

It

is

advisable

to

remove

at

regular

intervals

the

dust

and

dirt

which

has

collected

on

the

heads,

and

we

advise

you

to

do

this

using

cleaning

tape

811/CT,

which

is

played

through

once

as

an

ordinary

tape.

Doing

this,

bracket

&

(fig.

4)

must

be

in

position

B.

Cleaning

should

carried

after,

say,

every

50

hours

of

operation

or,

on

average,

once

a

month.

The

heads

may

also

be

cleaned,

however,

using

a

soft

cloth

or

a

cotton

bud.

To

clean

in

this

way

proceed

as

follows:

e@

Ensure

that

the

recorder

is

disconnected

from

the

mains.

@

Press

in

the

narrow

sides

of

head

cover

@4

and

remove

(fig.

3).

@

Moisten

the

cloth

or

cotton

bud

with

a

little

alcohol

or

proprietary

cleaning

spirit.

@

Now

clean

the

tape

tension

stabilisers

@9,

the

pins

®)

(fig.

6),

the

tape

guides

©,

the

fronts

of

erase

head

@,

recording

head

(©)

and

playback

head

©)

the

capstan

@),

the

rubber

pressure

roller

©

and

the

switching

contact

@.

Never

use

any

other

cleaning

agents

and

do

not

touch

the

heads

with

sharp

or

metal

objects.

@

Allow

all

parts

to

dry

before

replacing

the

head

cover

and

reconnecting

the

recorder

to

the

mains.

@

The

drive

mechanism

must

not

be

lubricated!

Storage

of

tapes

After

use,

return

each

tape

to

its

box,

where

it

is

protected

against

dust.

Store

the

tapes

at

room

temperature,

not

in

the

sun

and

away

from

mag-

netic

fields

created

by

the

recorder,

radio

and

Tv-sets

and

loudspeaker

enclosures.

‘Technical

data

(subject

to

change

without

notice)

@

Switchable

for

mains

voltages

of

110,

127,

220,

and

240

V.

©

Suitable

without

switching

for

50

and

60

Hz

A.C.

@

Power

consumption:

approx.

35

W.

@

Frequency

range

according

to

DIN

45

500/NAB:

19

cm/s:

35-25,000

Hz/35-26,000

Hz;

9.5

cm/s:

35-19,000

Hz/35-20,000

Hz;

4.75

cm/s:

35-11,000

Hz/35-11,500

Hz.

@

Signal-to-noise

ratio,

without

DNL,

acc.

to

DIN

45

500 and

NAB:

19

cm/s:

>60

dB;

9.5

cm/s:

>60

dB;

4.75

cm/s:

>58

dB.

@

Improvement

of

the

signal-to-noise

ratio

in

the

4,000-14,000

Hz

range

using

the

DNL:

>

10

dB.

@

Wow

and

flutter

according

to

DIN

45

500/NAB:

19cm/s:

<0.1%/

<

0.05%;

9,5

cm/s:

<0.15%/

<0.07%;

4.75

cm/s:

<0.3%/

<0.2%.

@

Maximum

speed

deviation

according

to

DIN

45500:

<

+1%.

@

Suitable

for

reels

up

to

18

cm

diameter.

e

Fast

winding

time

for

LP

18

(540m

of

tape):

<

180s.

@

Dimensions:

210

mm

deep.

@

Weight:

10.3

kg

approx.

e

Socket

6,

headphones:

impedance

400-600

2

(pins

4

and

5).

@

Socket

6,

micro

|

+

st:

sensitivity

in

position

’0

dB’:

<0.2

mV/2

kQ

(pins

1

and

4)

or

<

100

mV/

1

MQ

(pins

3

and

5).

@

Socket

6,

micro

r:

sensitivity

in

position

’0

dB’:

<0.2

mV/2

kQ

(pins

1

and

4).

@

Socket

6,

phono:

sensitivity

in

position

"X.TAL’:

<0.6

mV/1.5kQ;

position

MD’:

<0.6

mV/40

kQ

(pins

3

and

5),

max.

attenuation

27

dB

approx.

555mm

wide,

430mm_

high,

@

Socket

@,

aux:

sensitivity

<2

mV/15

kQ

(pins

1

and

4)

or

<100

mV/1

MQ

(pins

3

and

5),

max.

attenuation

30

dB

approx.

@

Socket

@8,

tuner:

sensitivity

<

100

mV/100

kQ

(pins

3

and

5),

max.

attenuation

30

dB

approx.

@

Socket

@,

line

in/out:

sensitivity

<2

mV/20

kQ

(pins

1

and

4)

or

<100

mV/1

MQ

(pins

3

and

5),

max.

attenuation

30

dB

approx.;

adjustable

output

level

0-1

V,

Z,

>50kQ

(pins

3

and

5,

no

output

signal

during

recording).

@

Socket

@,

MFB:

output

level

1

V/750

Q

(pins

3

and

5).

@

Socket

@,

monitor:

adjustable

output

level

0-1

V,

Z,

>50

kQ

(pins

3

and

5,

output

signal

both

during

recording

and

playback).

@

Socket

@,

remote

control

(pins

1

and

5).

Available

accessories

(subject

to

change

without

notice)

@

LP

13-15-18,

High

Output

HiFi

longplay

tape

on

reels

of

13,

15

and

18

cm

diameter.

@

DP

13-15-18,

High

Output

HiFi

doubleplay

tape

on

reels

of

13,

15

and

18

cm

diameter.

@

ER

13-15-18

ML,

empty

reels

of

13,

15

and

18

cm

diameter.

@

4822

466

80664,

one

conductive

plate

for

use

with

metal

reels.

@

811/CT,

cleaning

tape,

for

Cleaning

the

heads

and

tape

guides.

(Not

available

in

Great

Britain.)

@

MFB-loudspeaker

enclosures;

details

of

the

range

of

appropriate

MFB-loudspeaker

enclosures

are

available

from

your

dealer.

@

N

8214

and

N

8308,

omnidirectional

electret

HiFi

microphones.

@

N

8500,

cardioid

electret

HiFi

microphone.

@

N

8403,

electret

HiFi

stereo

microphone.

@

4822

321

20211

(N

6206),

connection/extension

lead,

length

5m,

for

recording

with

two

micro-

phones

and/or

for

extension

of

the

microphone

lead.

@

N6708,

telephone

coil,

for

the

recording

of

telephone

calls.

N.B.

The

recording

of

telephone

calls

is

prohibited

in

certain

countries.

(Not

avail-

able

in

Great

Britain.)

@

4822

321

20207

(EL

3768/14),

stereo

connect-

ing

lead,

with

5-pole,

180°

DIN

plug

at

both

ends.

@

N

6325,

electret

HiFi

stereo

headset.

@

N

6330,

HiFi

stereo

headset

with

twelve

extra

diaphragms.

@

N6718,

remote

control

unit

for

starting

and

stopping

the

tape,

for

use

as

hand-

or

footswitch,

with

switchable

locking

system.

@

SK

10,

splicing

kit,

for

use

when

editing

re-

cordings.

10