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Tape 2 for recording. (The TAPE 2 button musters, or simply a listening position that is closer to one
remain engaged throughout the recording).speaker than to the other. (In general, for the best
Disengaging the TAPE 1 MONITOR will break thestereo imaging, your chair should be at precisely the
source signal path to TAPE 2 recorderOs electronics.same distance from both speakers.)
To record from any other source, press the appro-Recordings often contain small errors in channel
priate Input Select button. For example to copy thebalance, typically no more than 2 dB; but this is
soundtrack from a video onto an audio tape, selectenough to degrade stereo imaging. Small compen-
the Video input. The selected signal will be fed tosating changes in the setting of the Balance control
both Tape 1 and Tape 2 for recording. By engagingcan significantly improve the apparent depth and sta-
the Tape 1 Monitor you can hear the selected soundbility of the stereo image.
as it passes through the Tape 1 recorder.
A note about copying: Tape copying is a conve-WIRING EXTRA SPEAKERS FOR AMBIENCE
nience intended for personal use. If you copyA useful option for the SPEAKERS B terminals is to
commercially-produced recordings and sell or giveconnect a second pair of speakers wired for Oambi-
away the copies, you may be violating the copyrightence recovery,� enhancing the apparent
or the property rights of the producer of the recording. spaciousness of stereo recordings. Locate a pair of
CAUTION: WHEN TAPE 2 IS SELECTED ONLYsmall loudspeakers along the side walls of the listen-
ONE TAPE MACHINE SHOULD BE SET INing room, slightly behind the main listening area and
RECORD MODE. IF BOTH ARE SET IN RECORDas far as possible to the left and right. Often it is use-
ful to aim such speakers upward or toward the rear,
MODE WITH TAPE 2 SELECTED, A FEEDBACKso that their sound reflects randomly off the walls
LOOP RESULTS WHICH MAY CAUSE A LOUD
WHISTLE OR HOWL. SUCH FEEDBACK COULDbefore reaching you.
DAMAGE YOUR AMPLIFIER OR LOUDSPEAKERS.From the (L+) red terminal in the OB� group, connect
a single wire to the positive terminal of the left-rear
CONNECTING A SIGNAL PROCESSOR TOspeaker. Connect a similar wire from the (R+) red ter-
minal to the positive terminal of the right-rear speaker.
PRE-OUT AND MAIN-INMake no connection to the black (L�) and (R�)
The amplifier contains two independent sections or
stages: the control preamplifier (including the phonoterminals on the amplifier; instead, connect a wire
from the negative terminal of the left-rear speaker to
preamp and most front-panel controls), and the powerthe negative terminal of the right-rear speaker. Thus
amplifier (which provides the power to drive loud-wired, these rear speakers receive the left-minus-right
speakers). In normal operation the preamp and
Odifference� portion of the composite stereo signal.
power amp are connected together via factory-If you have connected speakers this way, engage
installed U-shaped metal jumpers that bridge theSPEAKERS B when you want to hear spatially
PRE-OUT and MAIN-IN jacks. Check to be sure that
they are fully inserted into the jacks and that nothingenhanced surround-sound stereo. Disengage SPEAK-
ERS B to return to conventional two-speaker stereo.
is touching them.
By removing the metal jumpers (after first switching
OFF the POWER), you can connect various signal-A NOTE ON OVERLOAD PROTECTION
Because NAD amplifiers sound so clean and musi-
processing accessories in the path between preampcal when driven beyond their nominal power ratings
and power amp: an equalizer, a surround-sound pro-
cessor, a stereo image enhancer, an electronicand when used to drive low-impedance loudspeakers,
crossover, etc. To use a signal processor, connect ayou may be tempted to stress your amplifier beyond
its design capacity. It can safely and cleanly drive
stereo patch cord from the PRE-OUT jacks to the pro-complex speaker impedances with wide-range musi-
cessorOs line-level input jacks, and a second patch
cord from the processorOs output jacks to the amplifi-cal signals whose peak level is 50 watts or more, but
it may overheat if called upon to deliver high power
erOs MAIN-IN jacks. CONTINUOUSLY into a low impedance.
If you remove the metal jumpers, save them in case
you may want to disconnect the signal processor andThus you may play music at volume levels that
cause the brief transient peaks and climaxes in music
return to normal operation at a later time. If theto exceed the amplifierOs rated power by a consider-
jumpers should be lost, a conventional stereo patch
cord can be used to connect PRE-OUT to MAIN-IN inable margin. (With Soft Clipping the music will
each channel. continue to sound good at those high peak levels.)
But if you overdrive the amplifier continuously rather
than only on peaks, the output transistors may over-
WHY 12 OOCLOCK IS NOT ALWAYS THEheat.
BEST BALANCE SETTINGThis is particularly likely if you try to drive two pairs
Ideally the detented centre position of the Balanceof speakers, or speakers having a very low
control would be the normal setting. But several com-impedance, at high volume levels. If the amplifier
mon circumstances may cause unequal balance,stops playing, switch off the power for a few minutes
requiring an off-centre setting of the Balance controland allow the output stage to cool. If overheating was
to restore the most uniform spread of stereo soundthe fault, the receiver will operate normally when it is
between the speakers. These include unequal outputturned back on. But severe abuse of this type may
from the two channels of the phono cartridge, differentcause internal fuses to blow to protect the amplifier. If
acoustical environments around the two loudspeakthe amplifier stops playing and the green Power LED-
NA D
10 |
ACEC
NAD
