Dual TG12A User manual

instructions
for
Stereo
Tape
Recorder
TG12A

e 199 —— |
The
Dual
TG
12
A
4-track
Stereo
Tape
Recorder
represents
the
ultimate
in
quality
and
versatility.
It
offers
a
wide
variety
of
recording
techniques,
detachable
speaker
units
for
utmost
flexibility
in
stereo
playback
and
7“
reel
capacity...
all
in
a
compact,
portable
unit.
When
closed,
the
TG
12
A
should
always
be
placed
in
the
vertical
position,
with
the
handle
up.
Reproduction
of
copyright-protected
items
of
music
and
literature
is
permitted
only
with
the
consent
of
the
respective
copyright
owners
(GEMA,
publishers,
record
manufacturers,
etc.).

Dual
TG
12
A
Operating
Controls
©
Track
selector
switch
@
Tape
counter
©
Tape
counter
zero
setting
© ©
Tape
speed
selector
©
Playback
level
control
©
Rewind
@
Start
©
Fast
forward
©
Stop
@
Tone
control
buttons
@
Playback
®©
Microphone
record
EREREER
á
j
®
Radio
record
BSEBBEZ
©
Balance
control
©
Record
level
control
(right
channel)
@
On-off
switch
and
record
level
control
(left
channel)
@
Recording
level
indicator
(left
channel)
©®
Recording
level
indicator
(right
channel)
©
Multi-playback
button
@
Threading
slot
in
take-up
reel
@ Tape groove
868909
Terminal
Board
(at
the
rear
of
the
unit)
@
Output
for
speaker
/
earphones
®
Monitor
output
@
Auxiliary
phono
input
for
sound-on-scund
recording
i
‘
©
Microphone
input
—
right
channel
x
“
@
Microphone
input
—
left
channel
and
stereo
@
Radio
input
for
recerd,
playback
and
stereo
play
®
Voltage
selector
ard
fuse
©
Ground
connection
€ Power cord
SPKR.
PLAYBACK
PHONO/AUX.

Technical specifications
Current
Line voltage
Power consumption
Fuses
Number of tracks
Tape speeds, ips
Frequency response
Signal / noise ratio
Distortion
Wow & flutter
Crosstalk
Tube complement
Inputs
Output
Power output
Auxiliary speaker
Monitoring
Internal impedance of output stage
Tone control
Balance control
Equalization
Reel
capacity
Automatic
tape
stop
Dimensions
(over-all)
Weight
AC 50 cycles, adaptable to 60 cycles
110, 117, 150, 220, 240 V
Approx. 65 W
110—150 V — 0.8 A; 220—240 V — 0.4 A
4, international standard
17/3
33/4
7a
40-9000 cps 40-16.000 cps 40-20.000 cps
> 49 db > 50 db > 52 db
<5% < 5% < 5%
= 03% = 5.0250 =..015.%
40 db
2 X EF 8&6, 2 X ECC 81, 1 X ECC 83,
3 x EL 95,2 X EAM 86, 1 selenium rectifier
Microphone: 2 mV/10 Mohms
Radio: 2 mV / 22 Kohms
Phono: 100 mV/ 1 Mohms
“Radio“: approx. 1.5 V / 18 Kohms
2.5 watts per channel
Approx. 5 ohms
By speaker or earphone
Approx. 1.2 ohms
By 4 push-buttons (both channels)
Record: by separate controls
Playback: by control between two output stages
At 17/, and 33/, ips: 1600 / 100 us
At 71/2 ips: 1600 / 50 us
Max. 7“
By mechanical switch at end of tape
340 mm high, 390 mm wide, 270 mm deep
31 lbs., 141/, oz. (14,5 kg)
2

Dear tape enthusiast:
Congratulations
on
having
selected
the
Dual
TG
12
A
Tape
Recorder.
You
are
now
the
owner
of
a
complete
stereo
instrument
of
superb
quality
and unusual
versatility.
This
recorder
embodies
the
very
latest
advances
in
the
technology
of
magnetic
tape
recording.
Its
motor
drive
—
of
straight-forward,
uncompli-
cated
design
—
is
powerful,
dependable
and
gentle
to
the
tape.
Operating
controls
are
conveniently
arranged,
easy
to
master
and
virtually
eliminate
any
possibility
of
error
on
your
part.
The
specially
designed
stereo
amplifier
serves
as
the
audio
center
for
a
variety
of
applications.
For
example,
you
can
listen
to,
as
well
as
record
from,
all
standard
mono
and
stereo
sound
sources.
In
addition,
you
can
make
both
sound-with-sound
and
sound-on-sound
recordings
without
need
for
additional
equipment.
For
optimum
results,
monitoring
of
all
recording
and
playback
functions
can
be
done
through
the
built-in
speakers
or
earphones,
and
checked
visually
as
well.
The
built-in
stereo
output
also
permits
monitoring
of
the
signal
at
the
instant
it
is
recorded.
With
its
4-track
system
and
choice
of
three
tape
speeds,
the
TG
12
A
allows
you
to
get
the
maximum
recording
time
out
of
every
reel
of
tape,
thus
reducing
your
cost
of
operation.
With
a
single
7“
reel,
for
example,
holding
1800
feet
of
tape,
the
17/,
ips
speed
gives
you
six
full
hours
of
recording
time
in
stereo,
twelve
in
mono
!
Each
channel
is
reproduced
through
its
own
detachable
speaker...
unusually
large
for
a
portable
unit.
The
Dual
speakers
can
be
used
either
standing
or
suspended,
and
at
varying
distances
from
each
other
to
provide
proper
stereo
separation
in
rooms
of
different
sizes
and
shapes.
Now,
to
assure
the
maximum
enjoyment
from
this
fine
tape
recorder,
we
suggest
you
read
this
manual
carefully
and
follow
the
instructions
as
given.

Connecting the Recorder
and preparing for Operation
.
Setting
up
the
recorder
With
the
recorder
in
its
vertical
position,
remove
the
bottom
cover,
then
place
the
recorder
in
its
horizontal
position
and
remove
the
upper
cover.
Do
not
operate
it
on
a
very
soft
surface,
such
as
a
carpet
or
thick
tablecloth,
as
this
will
interfere
with
the
cooling
circulation
of
air
underneath.
. Power supply
Use
only
with
50
cycle
AC.
(Use
with
60
cycle
AC
only
when
adapted
by
a
serviceman.)
Power
requirements
are
set
at
220
volts.
For
other
voltages,
the
selector
@
must
be
set
accordingly.
With
110,
127
and
150
volts,
the
fuse
@
must
be
replaced
by
the
0.8
A
fuse
supplied
with
the
recorder.
To
change
the
fuse,
press
down
on
the
knob
and
turn
to
the
right
until
the
pointer
is
aligned
with
the
slit
and
the
switch
knob
or
fuse
holder
becomes
accessible.
.
Speaker
connections
The
left
speaker
(with
Dual
insignia)
plugs
into
the
SPKR
output
@
on
the
back
of
the
recorder.
The
right
speaker
plugs
into
the
input
on
the
back
of
the
left
speaker.
.
Microphone
connections
For
recording
in
mono,
plug
the
microphone
into
MICRO
LEFT
@.
For
stereo,
the
second
microphone
plugs
into
MICRO
RIGHT
@.
Each
microphone
should
be
placed
on
the
corresponding
side
of
the
sound
source.
A
test
recording
should
be
made
to
determine
the
best
position
for
the
microphones
in
each
case.
Special
stereo
microphones
plug
into
MICRO
LEFT.
The
microphone
inputs
are
designed
for
the
high
impedance
microphones
used
widely
today
for
superior
recordings.
If
microphone
extension
cables
are
needed,
use
only
those
shown
on
page
15.
4

Radio connection
Radio
broadcasts
can
be
recorded
by
use
of
patch
cord
61
A
-
U
50
connected
between
the
RADIO
input
of
the
Dual
and
the
proper
output
of
the
radio
(or
tuner).
If
the
radio
has
a
3-prong
output,
a
special
adapter,
VS
35,
is
required
for
use
with
the
5-prong
patch
cord
supplied.
Older
radios
without
outputs
for
this
purpose
can
be
modified
by
a
serviceman.
Tapes
can
also
be
played
back
through
radios
with
appropriate
inputs.
.
Record
player
and
tape
recorder
connection
To
record
from
either
a
record
player
or
another
tape
recorder,
simply
connect
the
output
of
either
source
instrument
to
PHONO
@.
In
re-recording
from
tape,
connect
patch
cord
61
A
-
U
50
to
the
RADIO
output
of
the
recorder
being
used
as
the
program
source.
.
Loading
the
tape
The
Dual
TG
12
A
handles
all
varieties
of
tape.
For
best
results,
however,
use
tapes
recommended
for
4-track
recording.
Reels
up
to
7“
diameter
can
be
used.
Take-up
and
feed
reels
should
be
the
same
size.
Place
the
full
reel
on
the
left
spindle,
the
empty
take-up
reel
on
the
right.
Now
guide
the
tape
—
without
twisting
—
through
the
tape
groove
@
into
the
threading
slot
@
and,
holding
it
tight,
wind
it
one
turn
around
the
hub
of
the
take-up
reel.
Be
sure
to
follow
the
illustra-
tion.
While
threading
the
tape,
do
not
press
Fast
Forward
@,
Fast
Rewind
@
or
Start
@.
If
the
tape
is
to
be
cut
at
any
particular
point,
first
push
STOP
@.
Then,
using
both
index
fingers,
pull
the
tape
toward
the
front
of
the
recorder
and
then
upward
to
lift
it
out
as
shown
in
the
illustration
on
page
6.
(Detailed
instructions
on
editing
and
splicing
are
on
page
12).
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stereo tracks
10.
11.
12.
Tape speed setting
By
turning
the
Tapespeed
Switch
@,
you
can
select
any
of
the
3
speeds:
17/5,
33/4
or
7'/,
inches
per
second.
The
higher
the
speed
used
in
making
a
recording,
the
better
the
tone
quality.
Speeds
are
given
in
inches
cm’s
above
and
below
the
switch,
respectively.
Tape counter
The
Tape
Counter
@
serves
to
locate
any
specific
point
on
the
tape.
It's
a
good
idea
to
set
the
counter
to
000
with
the
push-button
@
when loading the tape.
Track selector switch
The
Dual
TG
12
A
can
record
either
2
x
2
stereo
or
4
x
1
track
mono
on
one
tape.
For
stere
o
recordings
set
the
Track
Selector
Switch
@
to
the
00
setting.
With
the
Switch
set
on
1—4
and
3—2,
respectively,
you
can
make
four
consecutive
1-track
mono
recordings.
Thus
a
single
reel can be run through twice for stereo, four times for mono.
To
record
in
4-track
mono:
Set
selector
on
1—4
and
record
entire
tape
(track
1);
reverse
reels
and
record
tape
again
(track
4);
reset
selector
to
3—2,
reverse
reels
and
record
for
the
third
time
(track
3);
reverse
reels
and
record
once
more
(track
2).
Mark
the
tape
reel
box
accordingly.
Monitoring the recording
With
the
Dual
TG
12
A
in
the
recording
mode,
the
recording
may
be
monitored
by
means
of
the
built-in
preamp
output
stage
and
Dual
speakers.
However,
when
recording
with
a
microphone,
we
suggest
using
monitoring
earphones
plugged
into
“SPKR“
@
to
avoid
acoustic
feedback.
Sound-with-Sound
recording
This is accomplished by recording 2 successive mono tracks (Selector
Track
Switch
@
in
position
1—4
for
the
first
recording
and
then
at
3—2).
For
simultaneous
playback,
set
the
selector
switch
to
position
00.
For
perfect
synchronization
of
both
recordings,
the
first
must
be
6

Operating the Recorder
13.
14.
15.
monitored
while
recording
the
second.
Insert
the
earphone
into
Playback
@
and
push
Multi-Playback
Button.
Use
the
inner
recording
level
knob
@
to
control
the
new
recording
and
the
outer
knob
(15)
for
the
playback
level
of
the
first
recording
as
heard
through
the
earphone.
Note:
The
Multi-Playback
Button
@
pops
up
automatically
when
Stop
@
is
pushed
down.
Sound-on-Sound
recording
In
sound-on-sound
recording,
the
existing
recording
on
track
1
can
be
intermixed
with
a
new
recording
on
track
3.
With
both
recordings
now
mixed
on
track
3,
track
1
can
be
erased
and
the
track
used
for
another
new
recording
to
which
the
previously
mixed
recording
is
then
added.
The
TG
12
A
can
do
this
repeatedly
with
no
loss
in
quality.
Make
sure
the
Track
Selector
Switch
@
always
shows
the
number
of
the
track
being
recorded.
You
can
monitor
the
new
recording
through
the
speakers,
although
with
microphone
recordings,
it
is
preferable
to
use
earphones
plugged
into
“SPKR“
@.
The
level
of
the
first
recording
—
to
which
a
second
is
to
be
added
—
is
now
controlled
with
the
outer
knob
@,
the
level
of
the
added
signal
controlled
with
the
inner
knob
@
and
also
by
the
Magic
Eye
of
the
recording
level
indicator
@.
.
Before
operating
the
recorder,
check
the
voltage
selector
on
the
back
to
see
that
it
matches
the
available
current.
(See
paragraph
2).
Turning on the recorder
The
on-off
switch
is
@.
A
few
seconds
after
it
is
turned
on,
ready-lights
®
and
®
will
indicate
when
recorder
is
ready
for
operation.

16.
17.
18.
19.
20.
Fast rewind
Push button “ s— * @.
Fast forward
Push button “ ——e “ @.
Starting the tape
Push
START
@
to
set
the
tape
in
motion
at
the
selected
speed.
Stopping the tape
Push
STOP
@
to
stop
the
tape
movement
without
cancelling
the
previous mode of operation. This button may also be used as an
“instant
stop“
during
recording
(e.
g.,
for
insertion
of
a
commercial).
Recording
To
prepare
for
recording,
push
STOP
@
and
at
the
same
time,
either
MICRO
®
or
RADIO
®.
Adjust
the
level
with
the
Record
Level
Control
®
or
®
until
the
light
bands
of
the
Recording
Level
Indicators
@
and
®
almost
touch
each
other
at
the
loudest
part
of
the
recording.
Actual
recording
begins
and
ends
when
START
@
and
STOP
@,
respectively, are pushed.
The
recording
can
be
monitored
through
the
built-in
speakers.
However,
when
recording
by
microphone,
it
is
preferable
to
monitor
through
earphones
so
as
to
eliminate
acoustic
feedback.
Playback
Level
Control
@
and
the
Tone
Control
Buttons
@
have
no
effect
on
the
signal
being
recorded.
a)
Microphone
recording
Push
MICRO
@.
“8

22.
23.
Volume
is
adjusted
by
turning
Playback
Level
Control
@.
The
desired
tone
for
both
channels
can
be
selected
by
the
Tone
Control
Buttons
@.
Various
tonal
effects
can
be
produced
by
pushing
a
combination
of
these
buttons.
b)
Playback
through
radio
or
amplifier
The
radio
(or
amplifier)
is
first
switched
to
tape
(phono)
repro-
duction.
Level
and
tone
are
also
controlled
with
the
radio
(or
amplifier),
since
the
output
stages
of
the
Dual
are
not
needed
in
this
case.
(See
paragraphs
5
and
6).
The
high
output
of
the
TG
12
A
—
about
1.5
V
/
18
K
—
permits
the
use
of
external
amplifiers
with
output
stages
of
even
very
low
sensitivity.
However,
when
using
external
amplifiers
requiring
low
level
inputs,
the
first
amplifying
stage
may
be
exceeded
and
cause
distortion.
In
this
latter
case,
consult
your
audio
dealer.
c)
Larger
speaker
systems
can
be
connected
to
SPKR
@
using
the
Dual’s
output
stages.
The
impedance
of
the
auxiliary
speaker
should
not
be
less
than
2
ohms.
Observe
polarity
to
avoid
mis-
match.
Erasing the tape
With
each
new
recording,
any
previous
signal
on
the
affected
track
is
erased
automatically.
To
erase
any
track
without
re-recording,
turn
the
Level
Controls
@
and
@
down
completely
while
running
the
tape
in
the
record
mode.
(A
faster
method
to
erase
a
complete
tape
is
to
use
a
bulk
erase,
available
at
your
audio
dealer.)
Using
the
TG
12
A
with
a
record
player
The
Dual
can
also
be
used
as an
amplifier
and
speaker
for
listening
to
stereo
and
mono
phonograph
records.
The
method
of
operation
is
the
same
as
in
recording
from
records
(see
paragraph
6).
Here
also,
the
Recording
Level
Indicators
@
and
®
will
indicate
maximum
listening
levels
without
distortion.
10°

Placement of Speakers
Listening area
24.
In
stereo
reproduction
at
home,
there
are
locations
with
more
or
less
favorable
acoustics,
just
as
in
the
original
concert
hall.
The
best
stereo
effect
is
obtained
at
a
point
that
forms
an
equilateral
triangle
with
the
line
between
the
two
speakers.
Depending
on
the
distance
between
the
speakers,
the
listening
room
will
offer
a
stereo
listening
area
as
indicated
by
the
shaded
portion
of
the
adjoining
illustration.
Within
this
area,
the
stereo
effect
corresponds
to
the
orchestra
seating
in
the
concerthall.
The
speakers,
therefore,
should
be
arranged
in
the
room
so
as
to
provide
the
largest
listening
area
for
optimum
stereo.
When
placing
the
speakers,
utilize
as
much
of
the
room
as
possible
without
creating
a
“hole
in
the
middle“.
Naturally,
in
a
relatively
small
room,
the
best
listening
area
will
be
correspondingly
closer
to
the
speakers.
In
each
case,
try
to
maintain
the
relationship
of
the
distance
from
listener
to
the
line
between
the
speakers
equalling
the
distance
between
the
speakers.
Recording
telephone
conversations
By
connecting
the
telephone
adapter
to
MICRO
®
or
@,
both
in-
coming
and
outgoing
telephone
calls
can
be
recorded.
Adding sound to film
Commercially
available
accessories
make
it
possible
to
add
sound
to
home
movies
and
slide
film
programs.
Instructions
for
these
techni-
ques
are
generally
provided
with
the
required
accessories.
(Photo-
graphic
magazines
frequently
carry
articles
on
synchronizing
back-
ground
music
and
narration
to
films.)
11

A few recording tips
Keep
the
distance
between
sound
source
and
microphone
constant
to
prevent
undesirable
volume
fluctuations.
If
you
are
not
using
a
microphone
stand, place the microphone on a soft surface to minimize vibrations.
When
recording
stereo,
make
a
few
preliminary
test
recordings
to
deter-
mine the best placement
of the microphones.
Make sure that the original
sound
is
not
completely
separated
into
right
and
left
channel
recordings
by
the
separate
microphones.
Instead,
try
to
achieve
a
balanced
response
over the entire breadth
of the event being recorded.
Both
recording
indicators
should
show
the
same
level
for
the
test
recor-
ding,
with
the
level
of
each
adjusted
for
any
imbalance
caused
by
the
room's
characteristics
or
the
microphone
locations.
If
you
notice
too
much
resonance,
try
moving
the
microphone
closer
to
the
speaker
(not
less
than
6",
however)
or
wrap
the
microphone
in
a
few
folds
of
soft
cloth.
With
the
proper
recording
level
determined,
note
the
setting
of
the
control
and
turn
it
back
to
zero
before
beginning
the
actual
recording.
Push
START
and
then
re-set
the
level
as
desired
so
that
the
noise
of
the
starting
action
will
not
be
recorded.
Follow
the
same
procedure
when
recording
from
records
to
avoid
picking
up
noises
from
the
lead-in
grooves.
When
taping
from
records,
first
locate
the
loudest
portion
to
be
recorded
and
set
the
level accordingly.
Editing and splicing tape
For
consistency
in
performance
characteristics,
it
is
advisable
to
use
the
same
kind
of
recording
tape.
Otherwise,
differences
in
level
may
be
audible
when
the
tapes
are
spliced.
Splicing
tape
is
a
simple
operation,
yet
requires
a
certain
amount
of
care
in
order
to
make
the
splice
inaudible
when
being
played.
The
ends
of
two
tapes
to
be
spliced
should
first
be
carefully
overlapped
with
the
coated
(dull)
side
facing
down,
then
cut
at
a
diagonal
with
a
razor
blade
or
a
non-magnetic
scissors.
12

Care and maintenance
Then
apply
a
short
(approx.
1“)
strip
of
splicing
tape.
The
edges
of
the
splicing
tape
should
not
extend
beyond
the
edge
of
the
magnetic
tape,
as
this
would
cause
the
tape
to
adhere
to
the
next
surface
on
the
reel
and
also
to
pick
up
dust.
If
you
notice
such
an
overlap,
trim
it off carefully.
To
locate
an
exact
location
on
the
tape
at
which
to
cut,
remove
the
cover
plate
to
make
the
tape
more
easily
accessible.
Then
play
the
tape
until
the
section
you
want
passes
the
playback
head
and
press
STOP
@.
By
rotating
the
tape
reels
back
and
forth
by
hand,
you
can
be
absolutely
certain, as
you
can
still
hear
the
signal.
Lift
the
tape
and
mark
it
on
the
glossy
side
with
a
grease
pencil
where
it
is
opposite
the
playback
head.
Repeat
this
procedure
to
find
the
end
of
the
section
of
tape
to
be
eliminated.
Then
overlap
the
two
marks,
cut
and
make
the
splice
as
described
above.
Splicing
can
be
done
without
special
equipment,
but
a
splicing
block
with
its
special
groove
to
hold
the
tape
will
make
the
task
much
easier.
The
Dual
TG
12
A
Tape
Recorder
is
a
precision
instrument
that
has
been
carefully
engineered
to
eliminate
any
need
for
maintenance
of
its
mechani-
cal
parts.
Any
adjustments
made
by
anyone
not
a
qualified
serviceman
will
probably
result
in
more
damage
than
improvement.
Lubrication
is
required
only
at
long
intervals
and
should
also
be
left
to
a
serviceman.
Care
of
tape
and
tape
transport
Today's
extremely
thin
tapes
require
that
the
mechanical
functions
of
a
recorder
(start,
stop
fast
forward
and
rewind)
place
no
undue
stresses
on
the
tape.
You
may
use
even
the
thinnest
of
these
tapes
with
complete
confidence
in
the
gentle
handling
they
will
receive
by
the
Dual.
13

Thin
tape
is
very
pliable
and
makes
good
contact
with
the
recording
head,
essential
for
optimum
reproduction
of
the
higher
frequencies.
The
slower
the
tape
speed
and
the
smaller
the
gap
of
the
recording
head,
the
more
important this contact between tape and tapehead becomes. Even tiny
dust
particles
or
imperfections
on
the
coated
surface
of
the
tape
cause
it
to
separate
from
the
head
at
the
gap.
Both
recording
and
reproduction
will
then
be
adversely
affected
by
fluctuations
in
output
level
and
falling
off
of
the
highs.
Therefore,
you
should
use
only
first
quality
tapes
with
even
edges
—
and
warp-free
reels.
Tapes
that
are
frequently
used
should
be
cleaned
occasionally
with
a
lint-free cloth (during fast forward or rewind). The capstan, tapeheads and
every
surface
contacting
the
tape
should
be
cleaned
regularly
(usually
after twenty hours of playing time). Either use a clean cloth dampened
with alcohol, or one of the special cleaning formulas available at your
audio dealer. These parts are readily accessible after lifting off the cover
plate.
A cotton-tipped swab stick will help remove any badly sticking particles.
Never use metal instruments. Moreover, magnetize tools (e. g., screw-
drivers)
must
not
come
into
contact
with
any
part
of
the
tape
drive
mechanism,
recording
head,
or
tape
itself.
Should
you
detect
hum
in
the
speaker
when
playing
an
erased
tape,
demagnetize
the
parts
shown
in
the
adjoining
illustration.
(Use
Dual
De-Magnetizer
KDW
203.)
Remove
the
tape
from
the
recorder
before
demagnetizing.
Modern
tapes
do
not
lose
their
magnetic
properties
even
under
conditions
of
severe
heat
and
cold.
However,
it
is
best
not
to
place
recorded
tapes
in
bright
sunlight.
Tapes
should
be
stored
in
the
reel
cans
made
for
this
purpose
and
kept
in
these
cans
whenever
not
being
used.
This
simple
effort
is
little
enough
to
preserve
the
results
of
your
recordings.
14

Accessories
for
TG
12
A
The
two
microphones
in
the
foreground
are
mono-
phonic
types.
One
for
each
channel
is
required
for
recording
in
stereo.
Dynamic
Directional
Microphone
MD
407
HN
Cardioid
type:
high
and
low
impedance.
Frequency
response
to
12
kc
B.-No.
54A-U3
Dynamic
Microphone
MD
601
HN
Omni-directional
type:
high
or
low
impedance.
Frequency
response
to
10
kc
B.-No.
54
A-U4
Dynamic
Stereo
Microphone
MDS
1
For
both
stereo
and
mono
recordings.
Connection
to
TG
12
A
requires
conductor
cable
TM
514
HN.
B.-No.
4 A-U2
Microphone Floor Stand ST 201
Telescopic extension column.
B.-No. 54A-U51
Patch
Cord
Fer
connection
to
radio
and
/
or
second
tape
recorder.
B.-No.
61
A-
U
50
15
Connection
Coupling
VS
35
For
connecting
patch
cord
(B.-No.
61
A-
U
50)
to
radios
with
3-prong
contact.
B.-No.
4019
/
11
Telephone
Adapter
For
recording
both
incoming
and
outgoing
telephone
conversations.
B.-No.
54
A
-
U
152
Cable
with
5
m
Extension
Cord
For
selective
connection
with
high
and
low
impedance
microphones.
Transmission
ratio
1
:
16.
B.-No.
54
A
-
U
82
Microphone
Extension
Cable
(5
m)
For
additional
extension
when
used
with
cable
B.-No.
54A-
U71.
B.-No.
54
A
-
U
72
Stereo
Earphones
HZS
14
H
High
impedance.
B.-No.
54
A
-
U
157
Mono
Earphones
HZS
13
High
impedance.
B.-No.
54
A
-
U
156.
For
monitoring
signal
during
recording.
Additional
accessories
upon
request.

Gebrüder
Steidinger
-
7742
St.Georgen/Schwarzwald
D
373
-
2.000
-
61
A-D
14
-
engl.
-
563
-
H
Printed
in
Germany