Harman kardon 100+ User manual

The

Harman/Kardon

Model

100+

AM

/Stereo

FM

Multichannel

Receiver

harman/ kardon

THE

MUSIC

COMPANY

Instruction Manual

INTRODUCTION

You

are

now

the

owner

of

an instrument unique in concept and design.

The

Harman/Kardon

Model

100

+ multichannel receiver encompasses the best

of

all

forms

of

music re1;>roduction.

It

may

be installed

as

a stereophonic re-

ceiver

capable

of

delivering

clean, articulate sound

at

moderate

power

levels,

or

as a

quadriphonic

receiver

that

can

fill

your

listening room with spacious,

three dimensional sound.

When

you listen

to

your

new

Harman/Kardon

multichannel receiver you

will

instantly recognize

that

something truly phenomenal

is

taking

place. The

sound, which

normally

emerges

from

the speaker boxes,

will

lose its boundaries

and

will

emanate

from

all

over

the room recreating the scope,

depth

and

breadth

of

the concert hall. The walls

of

your

listening room

will

seem

to

dis-

appear

and

you

will

find

yourself surrounded

by

a sound

field

that

has the

same

ambience

and

spaciousness which marks a live

performance.

Stereo-

phonic

balance

and

perspective will

be

retained,

but

now

there

will

be

the

addition

of

depth

which

will

project

you

into

the

middle

of

the hall. Applause,

for

example,

will

emerge

from

the

front,

sides

and

rear.

And

during

playback

of

a live concert

don't

be

too

startled

if

you

hear

someone

coughing

or

rustling

his

program

from

behind

you.

The 4-Channel medium

is

even more

dramatic

for

contemporary

music, espe-

cially

if

the music was

originally

written

for

four

channel

reproduction.

Sounds

bounce

back

and

forth

from

the corners

of

the room involving you completely

with the

performance.

It's a new

and

exhilarating

kind

of

sound

that

will

make

listening

to

music a

new

experience.

The

Model

100

+ bears the

heritage

of

the

Harman/Ka

rdon

trademark-

ultrawideband

frequency

response,

virtually

unmeasurable

distortion

and

all

of

the required conveniences

so

essential

for

the ultimate enjoyment

of

high

fidelity

reproduction.

We

urge

you

to

read

this manual

carefully

prior

to

installing

and

operat-

ing

your

receiver. The

Model

100

+

is

not a complicated instrument. How-

ever, there

are

certain aspects

of

its

operation

which should

be

understood

clearly

before

you install

and

operate

it.

Happy

listening!

WARRANTY

and

SERVICE

POLICY

We

warrant

this receiver

to

be

free from defects in

mc1teric1I

cmd

work-

manship

under

normal

use

and

service,

and

in

accordance

with the conditions

set

forth

below. Should a

defect

occur

within

the

period

specified,

and

pro•

vided

that

the

unit

is

returned

to

either

HARMAN/KARDON

or

an

authorized

HARMAN/KARDON

warranty

stc1tion,

transportation

prepaid,

and

which

our

examination

shall disclose to

our

sotisfoction

to

be

defective,

we

will,

for

a

period

of

two (2) years

from

date

of

purchase,

either

replace

or

repair

and

install

any

defective

parts

of

the receiver

free

of

charge.

EXCEPTIONS

This

warmnty

does

not

include

any

obligc,tion

as

to:

a)

repair

or

replacement

of

the accessory

wooden

enclosure

due

to

damage

incurred

after

initial

delivery.

b) trcmsportation charges

to

and

from

the

factory

or

an

authorized

wmrcmty

station.

REGISTRATION:

To

obtain

service

under

the terms

of

this

policy,

it

is

necessary

for

you

to

retain your

ORIGINAL

BILL

of

SALE.

The enclosed registration

card

will

NOT

be

considered

proof

of

purchase.

In the event

your

equipment requires service

during

the

warranty

period,

only

presentation

of

your

originc,I

bill

of

scile

to

either

c,

factory-authorized

repair

agency

or

the

factory,

itself, will insure your rights

under

the

policy,

as

outlined

in this manual.

This

warranty

is

not

applicable

lo

cmy

instrument which shall have been

repaired

or

altered

in

any

way

so

as, in

our

judgment,

to

affect

its

stability

or

relic1bility

or

has been subject

to

neglect, misuse, negligence,

or

accident;

or

which has

had

the serial

number

altered,

effaced

or

removed.

Neither

shall

this

warranty

apply

to

any

instrument which has been connected

other

than

in

accordance

with instructions furnished

by

us.

SERVICE

HARMAN/KARDON

has a

specic1I

customer service division

to

answer

all

questions

pertinent

to

the

installation

and

operation

of

your

unit. Please

feel

free

to

write

to

us

at

any

time

and

we shall

endeavor

to

offer

prompt

and

complete

advice.

If

your

problem

cannot

be

resolved through

our

combined efforts, we

may

wish

lo

refer

you

to

a local ciuthorized

repair

agency

or

we

may

prefer

to

authorize the return

of

your

unit

to

the

factory.

In the event

it

must

be

returned,

an

authorization

form

and

proper

packing

instructions

will

be

forwcirded

to

you. This

authorization

form

MUST

BE

RETURNED

with

your

unit.

UNDER

NO

CIRCUMSTANCES SHOULD YOUR UNIT

BE

SHIPPED

TO

THE

FACTORY WITHOUT

PRIOR

AUTHORIZATION.

This

warranty

is

in

lieu

of

all

other

warranties, expressed

or

implied,

and

of

all

other

obligations

or

liabilities

on our

part,

and

we

neither assume

nor

authorize

any

representative

or

other

person

to

assume

for

us

any

other

liability

in

connection

with

the sale

of

this instrument.

INST

ALLA

Tl

ON

VENTILATION

Although your new receiver rarely

develops

high

heat,

it

is

recommended

that

you

leave

the

back

of

the

cabinet

open.

If

this

is

not possible, provide

several

large

holes

or

slots

as

low

and

as

high up

in

the

cabinet

back

as

possible.

As

an

alternative, holes may

be

provided

in

the

sides, bottom

or

top

of

the

cabinet.

Remember

that

really effective ventilation requires provision

for

cool

air

to

enter

at

the

bottom

and

hot

air

to

leave

at

the

top.

A minimum

clearance

of

two (2) inches should

be

allowed

on

each

side

and

in

the

rear,

between

the

chassis

and

the

cabinet,

and

three

(3) inches

are

required

above

it.

Isolate

any

accessories

which might interfere with ventilation. For

example,

do

not

drape

plastic

or

rubber

covered

interconnecting

cables

over

the

equip-

ment.

POWER

REQUIREMENTS

Connect

the

AC line

cord

to

any

outlet furnishing

117

volts,

60

Hz

AC

current. The

voltage

may

vary

between

105

and

125

volts. Two auxiliary

AC

power

outlets

are

provided

on

the

rear

panel

of

your receiver,

one

being

live

at

all times (unswitched)

and

the

other

being

live only when

the

power

switch

is

on (switched). Any

accessory

equipment

(tape

recorder,

phonograph

record

player,

etc.) may

be

connected

to

these

receptacles.

Only

those

connected

to

the

switched

receptacle

will

be

controlled by

the

POWER switch on

the

front

panel.

FUSING

A fuse

is

a

safety

device used to

protect

the

receiver

against

possible

damage

due

to

overload

or

short circuits. The

100

+ receiver employs five

protective fuses.

All

five

are

located

on

the

rear

panel.

The

AC

fuse

labeled

4A-3AG

is

used to

protect

the

power

supply

of

the

entire

system. The

other

four fuses

labeled

4A-3AG

LEFT,

RIGHT,

FRONT

and

BACK,

protect

the

output

stages

of

the

receiver.

The

output

of

your receiver

has

been

designed

to

operate

with a

MAXI-

MUM

of

5.0

amperes

of

current

in

each

channel.

Under certain conditions, it

is

possible

to

draw

more

than

5.0

amperes

through

the

output

stage

which

would,

in

turn, blow

the

speaker

fuses.

This

could

be

caused

by using multiple

speaker

systems

where

the

total

impedance

falls

below

4 ohms. (See

SPEAKER

IMPEDANCE).

In

the

event

of

fuse failure,

replace

ONLY

with

the

same

fuse

type

used.

NEVER

replace

with a fuse

of

a

higher

roting. To

do

so

will

NOT

protect

your

receiver

and

could result

in

severe

damage

to

it

which

will

not

be

covered

under

the

warranty

policy.

SPEAKER

PLACEMENT

(See

Fig.

1)

The

speakers

will

be

referred

to

as

LEFT

and

RIGHT,

FRONT

and

BACK.

Placement

of

the

back

speakers

will

vary

with

your

room size,

seating

arrange-

ment

and

acoustics. At times,

it

may

be

advantageous

to

place

the

back

2

speakers

in

line with

the

listener,

either

aiming them

at

the

listener,

the

rear

of

the

room

or

against

the

side

wall.

It

has

been

acknowledged

that

omni-

directional

speakers

(i.e.

Harman/Kardon

HK50)

serve

well

as

back

speakers

in

a 4-CH

setup

because

they

do

not

beam

the

sound

at

the

listener. This gives

the

illusion

of

far

greater

airiness

and

comes closer to

the

sound

at

a live con-

cert.

We

have

illustrated several ways

of

arranging

the

back

speakers.

Some

experimentation

may

be

required

before

you

obtain

optimum sound dispersion

and

total surround

sound.

If you listen predominantly to classical music

it

is

recommended

to

reflect

the

back

speakers

off

the

walls,

or

aim them

away

from

the

listener. This

will

tend

to soften

the

sound

and

create

a more

natural

ambience.

If

you listen

predominantly

to

contemporary

music

it

may

be

advan-

tageous

to

place

the

back

speakers

in

the

corners

and

beam

them into

the

room.

CONNECTING

THE

SPEAKERS

Use

any

type

of

wire

to

connect

your

speakers

to your receiver. However,

it

should

be

pointed

out

that

the

heavier

the

wire,

the

lower

the

loss

of

power.

Ordinary

lamp

cord,

or

zip

cord

as

it

is

sometimes

called,

is

excellent

for

this

application

since

it

can

be

dressed

easily

around

the

molding

and

it

is

usually

heavy

enough

to

extend

great

lengths without

an

appreciable

loss

in

power.

Do

not drive tacks

or

staples

through

the

center

of

the

wire since this

can

result

in

a short circuit which would

either

cut

the

volume level

down

considerably

or

short out

the

sound completely.

It

is

permissible

to

use

approximately

50-60

feet

of

heavy

gauge

speaker

connecting wire for

each

speaker

without loss

of

volume.

CONNECT

YOUR

SPEAKERS

WITH

CARE,

AVOID SHORTS. DO NOT CON-

NECT

THE

SPEAKERS

WITH

THE

POWER

ON.

WORK

CAREFULLY

TRIMMING

ALL

LOOSE

WIRES

ON

THE

REAR

OF

THE

SPEAKERS

AND

RECEIVER.

THE

RE-

CEIVER

HAS

BEEN

DESIGNED TO

PREVENT

DAMAGE

FROM

MOMENTARY

ACCIDENTAL

SHORTING.

HOWEVER,

REPETITIVE

SHORTING CAN

DAMAGE

THE

OUTPUT

DEVICES.

The 1

00

+

has

provisions for two pairs

of

speaker

systems for

the

front

channels,

and

another

two pairs for

the

back.

Any

pair

may

be

driven inde-

pendently

or

a combination

of

two pairs may

be

driven,

as

selected

by

the

MAIN

and

REMOTE

Speaker

Switcl)es.

Connect

them to

the

receiver

as

instructed

in

the

diagrams

(Fig. 2

and

Fig. 3),

taking

care

not to confuse

the

FRONT

and

BACK,

LEFT

and

RIGHT

channels,

and

the

plus

and

minus polarities. Sufficient

care

should

be

taken

not to short circuit

the

plus

and

minus

leads.

SPEAKER

IMPEDANCE

Each

speaker

system

connected

to your 1

00

+ must possess

an

impedance

of

from 4 to

16

ohms. Should you wish

to

drive two pairs

of

speaker

systems

simultaneously, they should all

have

an

impedance

of

8 ohms

or

more.

It

should

be

noted

that

it

is

not

necessary

to match

the

impedance

of

the

speakers

to

the

receiver since

the

100

+

is

a solid

state

instrument

and

can

accommodate

all

speakers

ranging

in

impedance

from 4 to

16

ohms without

special

transformers.

A C E

FRONT SPEAKERS

ff

[f

FRONT SPEAKERS

ff

L R

~

BACK SPEAKERS

-E]

~

L

11-E

~II

LISTENER II LISTENER II II LISTENER

11

BACK SPEAKERS BACK SPEAKERS

B D F

~

FRONT

SPEAKERS

Cf

~

FRONT SeEA<ERS

Cf

~

FRONT SPEAKERS

Cf

BACK SPEAKERS

~

II LISTENER

11

~

II LISTENER II

-EJII

LISTENER 11~

BACK SPEAKERS L BACK SPEAKERS R

L R

FIG

I

3

QUADRIPHONIC

OPERATION

(See

Fig.

2)

Refer to the introductory comments under the heading CONNECTING

THE

SPEAKERS.

1. Connect one length

of

lamp cord to the

LEFT

FRONT

speaker.

2. Attach the other end

of

the lamp cord to the

MAIN,

FRONT

screw terminals

marked

LEFT

+ and -on the rear panel

of

your receiver.

3. Similarly connect another length

of

lamp cord to your RIGHT

FRONT

speaker.

4. Attach the other end

of

the lamp cord to the

MAIN,

FRONT

terminals

marked

RIGHT

+ and -on the rear panel

of

your receiver.

5. Connect a length

of

lamp cord to your

LEFT

BACK speaker.

6. Attach the other end

of

the lamp cord to the

MAIN,

BACK

terminals marked

LEFT

+ and -on the rear panel

of

your receiver.

7. Connect another length

of

lamp cord to your

RIGHT

BACK

speaker.

8. Attach the other end

of

the lamp cord to the

MAIN,

BACK terminals marked

RIGHT

+ and -on the rear panel

of

your receiver.

9. Repeat above steps to connect

REMOTE

speakers.

NOTE:

BE

CERTAIN

THAT

THE

STEREO/4-CH SWITCH

LOCATED

ON

THE

REAR

PANEL

OF

THE

RECEIVER

IS

SET

IN

THE

4-CH POSITION.

FRONT SPEAKERS

LEFT

RIGHT

[]

+

LEFT

RIGHT

BACK SPEAKERS

REMOTE

LE.FT

RIGHT

+ - - +

LErT

RI~

CAUTION

CONNECT SPEAKERS

WITH CARE.

AVOID

SHORTS.

4-CH

FIG-2

4

STEREO

OPERATION

(See

Fig.

3)

Refer to the introductory comments under the heading CONNECTING

THE

SPEAKERS.

1. Connect one length

of

lamp cord to the

LEFT

FRONT

speaker.

2. Attach the other end

of

the lamp cord to the

MAIN,

FRONT

terminals

marked

LEFT

+ and -on the rear panel

of

your

receiver.

3. Similarly connect another length

of

lamp cord to your

RIGHT

FRONT

speaker.

4. Attach the other end

of

the lamp cord to the

MAIN,

FRONT

terminals

marked

RIGHT

+ and -on the rear panel

of

your receiver.

5. Repeat above steps

lo

connect

REMOTE

speakers.

NOTE:

BE

CERTAIN

THAT

THE

STEREO/4-CH SWITCH LOCATED

ON

THE

REAR

PANEL

OF

THE

RECEIVER

IS.

SET

IN

THE

STEREO

POSITION

FOR

DOUBLE

POWER

STEREO

OPERATION. .

STEREO SPEAKERS

LEFT

RIGHT

REMOTE

LEFT

RIGHT

+ +

RIGHT LEFT

CAUTION

CONNECT SPEAKERS

WITH CARE.

AVOID

SHORTS

STEREO

FIG-3

+

RIGHT

SPEAKER

PHASING

For

maximum

enjoyment

of

multichannel

sound,

it

is

important

to

have

the

four

speaker

systems

in

phase.

The

phase

relationship

must

be

correct,

not

only

between

the

front

left

and

right

speaker

systems,

the

back

left

and

right

speaker

systems,

but

also

between

the

front

and

back

channels.

When

connecting

each

speaker

system

to

the

receiver,

be

certain

to

main-

tain

plus

and

minus

polarities.

If

your

speakers

do

not

have

a plus/minus

polarity

identification,

phasing

can

be

accomplished

by

the

following

procedure:

1.

After

connecting

your

speakers,

place

the

receiver

in

the

MONO

mode

of

operation

and

the

SOUND

FIELD

BALANCE

control

to

the

exact

top

center

position.

2. Play a

record,

tape

or

FM

broadcast

which

has

a

single

speaking

or

singing

voice,

or

a

solo

instrument.

3. The

voice

or

instrument

should

appear

to

be

emerging

from

an

area

some-

where

in

the

center

of

the

two

speakers.

If

the

voice

seems

to

come

from

both

speakers

independently,

the

speakers

are

out

of

phase.

4.

If

you

determine

that

your

speakers

are

out

of

phase,

merely

disconnect

the

leads

from only

one

of

the

speakers

and

reverse

them.

Your

stereo

system

will

now

be

in

phase.

This

completes

the

phasing

of

a

pair

of

speakers

for

stereo

operation.

Repeat

this

process

for

all

additional

pairs

of

speakers

in

your

system.

OPERATING

PROCEDURE

Every

control

on

this

receiver

serves

a

specific

and

useful

function

and

is

important

for

the

proper

operation

of

your

stereo

or

4-Channel

system.

Read

this

section

carefully

so

you

can

take

full

advantage

of

all

the

per-

formance

capabilities

of

this

receiver.

SWITCH-

REAR

PANEL

STEREO/

4-CH

SWITCH

The 100 +

receiver

is

shipped

with

the

STERE0/4-CH switch

in

the

4-CH

mode.

A

special

safety

latch

is

fitted

the

switch

to

prevent

throwing

the

switch

accidentally

while

the

receiver

is

turned

on.

If

you

plan

to

use

the

100

+

as

a DOUBLE-POWER

STEREO

receiver, first

turn off

the

unit,

remove

the

safety

latch

and

throw

the

STEREO/4-CH switch

to

STEREO.

NOTE: After

changing

position

of

this switch ALWAYS

replace

the

safety

latch.

The two

front

channels

now

have

the

capability

of

delivering

double

power

to

your

speakers.

·

NOTE: WHEN

THE

STERE0/4-CH SWITCH

IS

IN

THE

STEREO

POSITION

THE

BACK

SPEAKERS

ARE

INOPERATIVE.

IF

YOU WISH TO

USE

THE

RE-

CEIVER

TO POWER ANY

BACK

SPEAKERS,

FIRST

TURN

OFF

THE

RE-

CEIVER.

REMOVE

THE

LATCH

AND THROW

THE

STERE0/4-CH SWITCH

TO 4-CH.

REPLACE

THE

PROTECTIVE

LATCH.

SWITCHES

-BOTTOM

PANEL

MUTING

ADJUSTMENT

CONTROL

This

bottom

panel

control

adjusts

the

level

at

which muting

action

will

take

place.

Minimum muting

action

occurs

in

the

full

counterclockwise

position.

Maximum muting

is

achieved

in

the

full clockwise position.

The full clockwise position will

also

eliminate

stations

with

poor

trans-

mission quality. The

control

should

be

adjusted

to

the

point

where

you

receive

only

those

stations

which

meet

your

standards

of

broadcast

quality.

5

STEREO

THRESHOLD

CONTROL

This control

can

be

adjusted

to

determine

the

number

of

stereo

stations

the

tuner

will

reproduce

in

the

STEREO

FM

position

of

the

Function Switch.

In

the

full

counterclockwise

position,

the

automatic

switching circuits

have

maximum sensitivity

and

all

stereo

stations

within

the

range

of

the

tuner

will

be

reproduced.

However,

due

to

weak

signals

(or their

distance

from

your

antenna)

some

stations

will

contain

noise levels which

degrade

performance

when

reproduced

in

stereo.

In

order

to

reproduce

these

stations

monophonically

(when

in

the

STEREO

FM

position

of

the

Function Switch),

rotate

the

STEREO

THRESHOLD

control clockwise until only

good

quality

stereo

stations

are

reproduced.

SWITCHES

AND

CONTROLS

-

FRONT

PANEL

POWER

SWITCH

The POWER switch

performs

the

function

as

its

name

denotes.

It

supplies

power

to

the

receiver.

When

the

pushbutton

is

depressed

to

turn

the

set

ON

the

power

light will illuminate.

HEADPHONE

JACKS

The

stereo

or

4-CH

headphone

receptacles

located

on

the

front

panel

of

your

1

00

+

receiver

will

accept

any

type

of

headphone.

Stereo

phones

come

with a

single

plug which should

be

connected

to

the

FRONT

receptacle.

4-CH

phones

come

with

two

plugs.

Connect

the

front

plug

to

the

FRONT

receptacle

and

the

back

plug

to

the

BACK

receptacle.

The

headphone

receptacles

are

"ON"

at

all times.

To

listen only to yo,ur

phones

without

having

your

speakers

on,

merely

set

the

SPEAKER

switches on

the

front

row

of

pushbuttons

to

"OFF".

MAIN

SPEAKER

SWITCH

In

order

to

hear

the

speakers

connected

to

your

main system,

the

respective

FRONT

and

BACK

MAIN

speaker

switches must

be

depressed.

When

in

the

"ON"

position

the

speakers

connected

to

the

main system

are

"ON".

Should

you

desire

to

listen

to

stereo

or

4-CH

headphones

alone,

the

speakers

can

be

turned

off

at

your

discretion.

REMOTE

SPEAKER

SWITCH

In

order

to

hear

all

of

the

speakers

connected

to your

remote

system,

the

respective

FRONT

and

BACK

REMOTE

speaker

switches must

be

depressed.

When

in

the

"ON"

position

the

speakers

connected

to

the

remote system

are

"ON".

Should you

desire

to listen to

stereo

or

4-CH

headphones

alone,

the

speakers

can

be

turned

off

at

your discretion.

EXT

DOLBY NR/TAPE

MON

2 SWITCH

When

an

FM

station

broadcasts

a Dolby

encoded

program,

it may

be

decoded

by use

of

an

external

Dolby processor.

If

you use

an

external

proces-

sor,

the

Dolby switch when

depressed,

will

decode

an

encoded

program.

If

the

Dolby button

is

depressed

without

an

external

processor

connected,

you

will

get

zero

output

from your

speaker

system.

Dolby

IN

receptacles

may

be

used

as

a

2-channel

Tape

Monitor

provided

you

are

not using

the

Dolby Function.

TAPE

MON

1 SWITCH

If

your 4-CH

tape

recorder

has

a

special

monitoring

feature,

depressing

this switch

"IN"

will

permit you

to

monitor your

tapes

a split

second

after

they

are

recorded.

When

not

in

use this switch must

be

in

the

"OUT"

position,

otherwise

it

will

defeat

the output

of

the

receiver.

This

switch

and

associated

rear

panel

receptacles

can

also

be

used

as

an

additional

set

of

stereo

or

4-CH high level inputs.

CONTOUR SWITCH

One

of

the

limitations

of

human

hearing

is

its

tendency

to lose sensitivity

to

the

very low pitched sounds

as

the

program

sound level

is

reduced.

It

is

this characteristic (known

as

the Fletcher-Munson effect) which

causes

one

to

play

music

programs

at

high listening levels

in

order

to

experience

the

full rich

tone

available

from fine modern recordings.

The

Harman/Kardon

CONTOUR switch

compensates

for this effect,

thereby

eliminating high listening levels

as

a requisite for full enjoyment

of

reproduced

music. For warm, full-bodied

reproduction

at

low listening levels, throw

the

CONTOUR switch to

the

IN

position. At high levels,

the

CONTOUR switch

has

no effect.

FM

MUTING

SWITCH

The

purpose

of

the muting circuit

is

to

reduce

audible

noise when tuning

from station to station. Since very

weak

signals may

be

muted

at

the

same

time,

the

front

panel

FM

MUTING switch may

be

used to

defeat

the

muting

circuit on

weak

signals.

6

To

reduce

interstation noise, push

the

MUTING switch

"ON".

To

defeat

the

circuit, push

the

switch

"OFF".

To

adjust

muting levels

see

MUTING

ADJUSTMENT

CONTROL.

HIGH CUT SWITCH

The HIGH

CUT

filter

has

been

designed

to

reduce

the

high

frequency

response

of

your receiver.

This

will

reduce

arinoying

record

scratch,

tape

hiss,

FM

background

noise, etc.

LOW

CUT

SWITCH

At times,

record

changers,

turntables

and

even

some

FM

stations

produce

an

objectionable

low

frequency

signal

that

is

strong

enough

to

be

introduced

into

the

playback

system.

This

is

known

as

rumble

and

can

be

cancelled

out by

the

special

low

frequency

cut off filter network included

in

this receiver.

When-

ever

rumble

is

present

depress

the

LOW

CUT

switch.

FUNCTION SWITCH

This

switch selects

the

desired

program

source to

be

heard

through your

music system.

PHONO 1/PHONO 2

Use

these

positions for all mono,

stereo

or

SQ

matrix records.

Any

standard

stereo

record

player

can

play

SQ

matrix discs without

special

modifications. The

SQ

disc

is

completely

compatible

with

stereo

systems

and

can

be

played

on

any

quality

record

changer

or

manual

turntable

using a high

compliance

magnetic

pickup.

Your existing

record

player

connected

to

the

LEFT

and

RIGHT,

PHONO 1

or

PHONO 2 input

receptacles

will

play

your mono,

stereo

and

SQ

records.

In

order

to

play

SQ

discs

in

4-CH

the

mode

switch should

be

placed

in

either

the

SQ

matrix 1

or

SQ

matrix 2 positions.

STEREO

FM

This

is

the

normal listening position for all monophonic

or

stereophonic

FM

broadcasts.

In

this position

the

stereo

indicator

light

and

automatic

switch-

ing circuit built ino your receiver

are

operative.

For further

details

refer

to

paragraph

on "SELECTING MONOPHONIC OR

FM

STEREO

BROADCAST".

Should you receive a

weak

stereo

signal

whose

quality

has

been

degraded

by noise

or

poor

signal conditions,

and

you wish to listen to this

stereo

broad-

cast

monophonically, switch to

the

FM

position.

FM

In

this position you

can

listen to

stereophonic

broadcasts

monophonically

while monophonic

broadcasts

will

appear

unchanged.

DISCRETE

FM/

AUX

In

this position,

the

addition

of

an

accessory

4-CH

decoder

will permit

the

reception

of

discrete

FM.

This position,

when

not

being

used

for

discrete

FM,

may

be

used

as

an

additional

4-CH/

AUX

position.

As

soon

as

an

FM

broadcast

system has

been

selected,

Harman/Kardon

will

be

in

the

position

of

supplying

an

appropriate

decoder.

DISCRETE

PHONO/AUX

This

selects

the

four

discrete

phono/aux

receptacles

on

the

rear

panel

for

playback

through

your

system

(tape

recorder,

cartridge

player,

discrete

phono

system) with

appropriate

decoder.

This

quadriphonic

system

is

different

than

the

SQ

matrix

design

and

re-

quires a

special

decoder

between

your

phonograph

and

Harman/Kardon

1

00

+

receiver. Your

phonograph

should

employ

a high

compliance,

low tip-mass

phono

cartridge

capable

of

extending

in

frequency

response

to

beyond

45,000

Hertz to

play

back

the

CD-4 disc. The

special

decoder

should

be

connected

to

the

LEFT

and

RIGHT

FRONT/BACK

DISCRETE

PHONO/AUX

receptacles

located

on

the

rear

panel

of

the

1

00

+. (Refer to

"Connecting

a

Stereo

Record Player

with 1

00

+

Decoder").

Harman/Kardon

intends to

manufacture

a

decoder

for use with

discrete

systems. For

additional

information

on

this system

and

the

availability

of

the

Harman/Kardon

discrete

phono

decoder,

write to

our

Customer Service

Department.

AM

This

selects

the

AM

section

of

your receiver.

BASS

&

TREBLE

CONTROLS

These controls

are

employed

to

set

the

tonal

balance

of

your

stereo

or

4-CH system. The Bass control adjusts

the

low

frequencies,

either

strengthening

or

diminishing

the

intensity

of

these

sounds.

The Treble control adjusts

the

higher

frequencies

in

the

same

manner

-

either

strengthening

or

diminishing

the

sound.

In

most instances

these

controls will

be

set

to

the

"flat"

or

center

position.

If

bass

or

treble

adjustment

is

necessary,

do

not

rotate

these

controls to their

maximum settings. This

may

introduce

distortion

especially

if your

speakers

cannot

handle

the

power

of

the

boosted

sound.

These controls should

be

used

sparingly

and

with

the

knowledge

that

live music

is

neither

excessively

sharp

or

boomy.

7

You

may

adjust

both

the

BASS

and

TREBLE

for front

and

back

pairs

of

speakers

simultaneously

or

individually. The inner knobs

adjust

the

front

speakers

and

the

outer

knobs,

the

back

speakers.

In

order

to

adjust

both pairs, turn

both inner

and

outer

knob.

In

order

to

adjust

front

or

back

only, hold

one

knob

while adjusting

the

other.

MODE

SWITCH

This switch allows you to

select

the

proper

mode

of

operation

for

the

various

sources

available.

MONO

In

this position, all

program

sources will

be

reproduced

in

the

monophonic

mode.

If

an

external

monophonic

source

(one channel)

is

used

it

MUST

be

con-

nected

to

the

appropriate

LEFT

FRONT

input

receptacles

in

order

to

reproduce

sound

in

all

speakers.

The D

mode

indicator

light will

be

illuminated indicating a

monophonic

mode

of

operation.

STEREO

In

this position, all

stereophonic

program

sources

will

be

reproduced

in

the

STEREO

mode.

All

pairs

of

speakers

connected

to

the

FRONT terminals will

reproduce

stereo

program

material.

With

the

STEREO/4-CH

REAR

PANEL

SWITCH

in

4-CH position,

speakers

connected

to

the

BACK

terminals will

also

reproduce

stereo

in

each

pair.

In

the

STEREO

position,

the

~

mode

indicator

light will

be

illuminated

indicating a

stereophonic

mode

of

operation.

SQ

MATRIX

1

/2

These positions

may

be

used

to

reproduce

all

SQ

program

material.

In

the

SQ

MATRIX

1

and

SQ

MATRIX

2 positions

the

D

~

D

mode

indicator

lights will

be

illuminated.

These lights

denote

the

methods

used from

the

source

material to

the

recording,

to

reproduction.

The

SQ

MATRIX

2 position

performs

the

same

function

as

the

SQ

MATRIX

1 position

except

that

it

changes

the

relationship

of

separation

between

the

LEFT

and

RIGHT

and

FRONT

and

BACK

speakers.

When

in this position

the

separation

between

LEFT

and

RIGHT

will

be

partially

reduced

from

that

obtained

in

the

normal

SQ

MATRIX

1 position

and

the

separation

between

FRONT

and

BACK

will

be

slightly

increased.

When

reproducing

full

orchestral material,

the

mode

selector should

be

in

the

SQ MATRIX 1 position.

When

reproducing

individual instruments

or

soloists

the

mode

selector

switch should

be

in

the

SQ MATRIX 2 position.

ENHANCED

STEREO

This position should

be

used

to

enhance

(convert)

any

stereo

source

into

spatially

expanded

sound.

When

playing

any

stereo

source, if your

100

+

has

been

installed utilizing four

or

eight

speakers,

the

sound

will

emerge

from

each

speaker

filling

the

room with sound

that

is

almost

as

exciting

as

authentic

4-CH.

It

may also

be

used

to

spatially

enhance

a

monophonic

source.

In

this position

the

~

D

mode

indicator

lights

will

be

illuminated,

noting

stereo

to

4-CH

operation.

4-CH

DISCRETE

In

order

to utilize this position you

MUST

have

a four

channel

source con-

nected

to

the

system.

In

this position D

II

mode

indicator

lights will

be

illuminated

denoting

4-CH to 4-CH

operation.

VOLUME

CONTROL

THE

VOLUME

control adjusts

the

signal

level

of

any

program

material

connected

to your receiver.

It

is

a four section control which simultaneously

adjusts all

channels,

and

its close tracking specifications insure

that

the

relative

volume level

of

each

channel

will

be

identical.

SOUND

FIELD

BALANCE

Your

100

+

incorporates

a unique four

channel

continuously

variable

balance

control.

The

nature

of

stereo

or

4-CH reproduction

is

such

that

it

requires identical

channels

to

attain

the

highest

degree

of

faithfulness

and

spatial

distribution.

Any variation

in

the

efficiency

of

any

channel

as

compared

to

the

others

will

disturb this relationship. Since

there

may

be

slight

differences

between

program

material, room acoustics, etc., your receiver includes a control to

balance

all

channels.

Sufficient

range

is

covered

by

this control to permit

rebalancing

of

the

overall system even

in

cases

where

major

unbalance

exists.

This

control

may

be

set

anywhere

within its

range

to

attain

system

balance.

It

does

not

necessarily

have

to

be

set

in

the

exact

center

position.

When

the

BALANCE

control

is

properly

set,

the

apparent

sound source

will lie

in

a

broad

area

between

all

speakers.

8

LEFT

a RIGHT

FRONT

SPEAKER BALANCING

LF

(BACK SPEAKERS

OFF)

RF

Ci] •

[iJ

LEFT~~~~~:

~XO:~ti~~-

(RIGHT FRONT aBACK SPEAKERS OFF)

..._

RIGHT FRONT a

RIGHT

BACK

..,,

SPEAKER BALANCING

(LEFT FRONT aBACK SPEAKERS OFF)

~

LB

TUNING

LEFT

a RIGHT BACK

SPEAKER BALANCING

(FRONT SPEAKERS

OFF)

The tuning knob,

located

on

the

right

side

of

the

receiver

is

used

to

select

the

desired

station

when

your FUNCTION switch

is

in

the

FM,

STEREO

FM,

or

AM

position.

SELECTING

MONOPHONIC

OR

FM

STEREO

BROADCAST

Under

normal use for all

FM

broadcasts

the

function selector switch should

be

placed

in

the

STEREO

FM

position.

Your receiver

is

equipped

with a

stereo

sensing circuit which will auto-

matically

determine

whether

your unit

is

receiving monophonic

or

stereophonic

broadcasts,

and

then automatically

adjust

the

mode

of

operation.

If

the

station

is

transmitting

stereo,

your receiver will automatically switch

on

the

multiplex section

and

you will

hear

the

broadcast

in

full

stereo.

Should

the

station

conclude

broadcasting

in

stereo,

your receiver

will

automatically

switch

back

to monophonic reception.

Should you receive a

weak

stereo

signal

whose

quality

has

been

degraded

by

noise

or

poor

signal conditions,

and

you wish to listen to this

stereo

broad-

cast

monophonically,

place

the

function selector switch

in

the

FM

position.

TUNING

METERS

Your Receiver

incorporates

two D'Arsonval movement tuning meters for

precise

and

accurate

tuning.

The

FM

tuning meter

is

designed

to

operate

on a

null

or

"zero"

center

principle. Therefore,

the

meter

pointer

should

always

be

at

the

dead

center

position

of

your

meter

dial

for optimum listening

performance.

To

accomplish

this,

rotate

your tuning knob slowly,

in

one

direction

towards

the

station

of

your choice.

As

you tune through

the

station you will notice

the

pointer

swinging

from

the

left

or

right

past

the

zero

center.

THE

CORRECT

POINT for minimum

distortion

and

optimum

FM

reception

is

when

the

pointer

is

resting

at

the

"zero"

center

position.

The

signal

strength meter shows the level

of

the incoming signal.

When

used

in

the

FM

position you should

operate

in

conjunction with

the

FM

tuning

meter

and

tune for maximum indication on

the

signal strength meter

as

well

as

a

"zero"

null on

the

tuning meter.

When

used

in

the

AM

position you simply tune for maximum indication.

STEREO

INDICATOR

A

stereo

indicator

is

located

adiacent

to

the

FM

tuning meter

and

operates

in

coniunction with

the

STEREO

FM

position

of

the

Function switch. The indica-

tor visually shows

the

reproduction

of

FM

stereo

through your receiver.

To

tune for

FM

stereo

proceed

as

follows:

1. Place tile function selector switch

in

the

STEREO

FM

position.

2. Tune to

the

station

of

your choice using your quieting meter for precise

and

accurate

tuning. Your

stereo

indicator

will

now

show

if

you

are

tuned

to a

stereo

program.

If

the

indicator

is

off,

the

program

you

are

listening to

is

being

broadcast

monophonically.

DIAL

SCALE

The dial

scale

on your receiver

is

marked

with

three

scales, namely,

an

FM

frequency

scale

(88-108

MHz), a logging

scale

(0-1 0),

and

an

AM

frequency

scale.

Since most

FM

stations

operate

at

frequencies

which

are

not

whole num-

bers

(such

as

96

MHz

as

compared

to

96.3

MHz), ideally,

each

megahertz

division

on

the

frequency

scale

should

be

divided

into

10

parts

to

enable

the

user to

pinpoint

the

location

of

the

station. This would

require

a

dial

scale

which would

be

longer

than

the

front

panel.

9

The

logging

scale

which

is

divided

into

100

equal

parts

provides a

means

of

finding your favorite station,

once

you

have

noted

its position

on

the

logging

scale.

For

example,

in

New

York City, WQXR

operates

at

96.3

MHz. After

locating this station through

the

use

of

the

frequency

scale

(between

96

and

98

MHz), you find

that

the

pointer

may fall

on

4.2

on

the

logging

scale.

Make

a

note

of

this setting. For future tuning to WQXR simply

set

the

pointer

to

4.2

on

the

logging

scale.

EQUALIZATION

In

order

to

achieve

good

reproduction

of

the

wide

range

of

frequencies

in

music

and

to

make

necessary

adjustment

for

the

limitations

of

the

recording

technique,

record

manufacturers

have

found it

necessary

to modify

the

actual

frequency

response

of

the

music while

it

is

being

recorded.

Thus, to

avoid

overcutting

and

consequent

distortion, a

measured

and

deliberate

reduction

is

effected

in

low

frequency

response

by

selecting a

"turnover

frequency"

and

recording

attenuated

response

below

that

point.

To

assure

optimum signal

to

noise

at

the

high

frequency

end

when

the

record

is

played

at

home, the highs

are

deliberately

exaggerated

during

the

recording

process. A

measured

and

deliberate

boost

is

affected

above

a certain frequency.

This

combination

of

deliberate

exaggeration

at

the

low

and

high

ends

of

the

frequency

spectrum

can

be

expressed

in

a

recording

curve.

When

the

record

is

played

a mirror

image

of

that

curve should

be

available

so

that

the

ideal

"flat"

response

may

be

achieved.

The PHONO 1

/PHONO

2 positions

of

the

function switch automatically in-

troduces

the

proper

equalization.

HUM AND

NOISE

In

any

high fidelity installation, hum may

be

caused

by

the

interconnection

of

a

record

player,

tuner

and

amplifier,

as

a result

of

the

cables

and

different

grounds.

If

hum

is

experienced

with your receiver,

disconnect

everything but

the

speakers

from

the

receiver.

If

hum

persists, reverse the

AC

line

cord.

Plug

in

the

record

player

and

if hum

appears,

reverse

the

record

player

power

plug

and

connect

a single

lead

from

the

record

player

chassis to

the

ground

post

on

the

rear

of

the

receiver chassis.

Connect

your

other

devices

in

this

manner.

CAUTION:

Hum

may

also

be

induced

by

defective

connecting

cables

or

by

running

these

cables

too

close to a strong

AC

field.

ILLUMINATED

POWER

1----M-i-..-i

SWITCH

SIGNAL

STRENGTH

METER

REMOTE

SPEAKERS

SWITCHES

AM

54

FM

88

EXT.

CONTOUR

DOLBY

N.

R.

SWITCH

TAPE

MON-2

SWITCH

FRONT PANEL

60

HIGH

CUT

SWITCH

10

140

160

106

108

TUNING

KNOB

KHZ

MHZ

INNER

KNOB·

FRONT

CHANNEL

OUTER

KNOB·

REAR

CHANNEL

•

SOUND

FIELD

BALANCE

• •

SOUND

FIELD

BALANCE

CONTROL

30O-'"'-LEAD

TO

EXTERNAL

ANTENNA

PH0,10

DISCRETE

TAPE

OUT OUT

AM

G~NO

INPUTS~

~A~TPUJfPE

I 2

PHONO,tij.lX

FM/AUX

MON

I I 2

'"'

[°'

°']

i

OJ

FRONT(t) (t) (t)

RIGHT~~

~ ~

~

GROUND

SCREW

REAR

PANEL

AM

LOOPSTICK

ANTENNA

DOLBY/T

MON

2

OUT

IN

LEFT

F

(±)

RIGHT

@@@

4-CH

FM

OUT

SPEAKER

FUSES

CAUTION

HIGH

VOLTAGE

INSIDE

THIS

UNIT

HAS

NO

USER

SERVICEABLE

PARTS

COVER

SHOULD

BE

REMOVED

BY

QUALIFIED

TECHNICIAN

ONLY.

MAIN

REMOTE

SPEAKERS

4-

8-

16

OHMS

I

+

LEFT

RIGH\

+LEFT_

_

RIGH\

ijl®

0 0 0 0

®I®

0 0 0 0

@I~

~I®

0 0 0 0

®I®

0 0 0 0

®I~

+LEFT

FUSE

-3

-

RIGHT+

+ LEFT

RIGHT+

117VAC

I

17VAC

-CH

(t)

®

CAUTO-l

FOR

CONTINl.£0

TION.AGAIIIST

FIRE

HAZARD

ONLY

WITH

SAME

TYPE

4A

200W 300W

D D D

11

SWITCHED

AUXILIARY

AC

POWER

OUTLET

TYPICAL

APPLICATIONS

The following

drawings

show

connections

of

various

types

of

accessory

equipment.

With

each

drawing

a

"typical"

application

is

described.

Refer

to

paragraph

"MODE SWITCH"

for

information

and

explanation.

CONNECTING A

MONO

RECORD

PLAYER

Typical

Operating

Conditions

Function Switch:

Mode

Switch:

Set

to

PHONO

1 position

Set

to

MONO

position

PHONO PHONO

IVtONO

RECORD

PLAYER

LEFT~

1 0

FRONT(±)

(±)

RIGHT

O 0

CONNECTING ONE

OR

TWO

STEREO

RECORD

PLAYERS

Typical

Operating

Conditions

(Stereo

Record)

Function Switch:

Set

to

PH

ONO

1

or

PHONO

2 position

Mode

Switch:

Set

to

STEREO

position

Typical

Operating

Conditions

(SQ

Record)

Function Switch:

Set

to

PHONO

1

or

PHONO

2 position

Mode

Switch:

Set

to

SQ

MATRIX

1

or

FIRST

STEREO

RECORD

PLAYER

I2

SQ

MATRIX

2 position

SECOND

STEREO

RECORD

PLAYER

CONNECTING A

STEREO

RECORD

PLAYER

WITH

DECODER

Typical

Operating

Conditions

Function Switch:

Mode

Switch:

STEREO

RECORD

PLAYER

Set

to

DISCRETE

PHONO/

AUX

position

Set

to

4-CH

DISCRETE

position

PHONO

2

LEFT 0

FRONT

~

RIGHT

0

CONNECTING A

STEREO

TAPE

RECORDER

Typical

Operating

Conditions

To

Record

Function Switch: Set to source

desired

To

Playback/Monitor

Tape

Mon 1 Switch: Set

to

"IN"

position

Mode

Switch: Set to

STEREO

position

STEREO

TAPE

RECORDER

LEFT

FRONT

RIGHT

LEFT

BACK

RIGHT

13

CONNECTING A 4-CHANNEL

TAPE

RECORDER

Typical

Operating

Conditions

To

Record

Function Switch:

Set

to source

desired

To

Playback/Monitor

Tape

Mon 1 Switch: Set to

"IN"

position

Mode

Switch:

Set

to

4-CH

DISCRETE

position

NOTE:

In

order

to

make

a 4-CH recording, it

is

necessary

to

have

a 4

channel

source con-

nected

to the

recorder.

4-CH

TAPE

RECORDER

LEFT

FRONT

(±)

RIGHT

LEFT

BACK~

RIGHT

0

CONNECTING TWO

STEREO

TAPE

RECORDERS

Typical

Operating

Conditions

To

Record on

Tape

Recorder # 1

Function Switch:

Set

to

source

desired

To

Playback/Monitor

from

Tape

Recorder # 1

Tape

Mon 1 Switch:

Set

to

"IN"

position

Mode

Switch:

Set

to

STEREO

position

To

Record on

Tape

Recorder

#2

Function Switch:

Set

to

source

desired

To

Playback/Monitor

from

Tape

Recorder

#2

Tape

Mon 2 Switch:

Set

to

"IN"

position

Mode

Switch:

Set

to

STEREO

position

To

Record from

Tape

Recorder # 1

to

Tape

Recorder

#2

Tape

Mon 1 Switch:

Set

to

"IN"

position

NOTE:

When

using two

tape

recorders,

attached

as

shown,

TAPE

MON 2 will

take

precedence

over

TAPE

MON 1

FIRST

STEREO

TAPE

RECORDER

LEFT

FRONT

RIGHT

LEFT

BACK

RIGHT

0

0 0 0 0

0 0 0 0 ®

SECOND

STEREO

TAPE

RECORDER

14

CONNECTING TWO 4-CHANNEL

TAPE

RECORDERS

Typical

Operating

Conditions

To

Record on

Tape

Recorder # 1

Function Switch:

Set

to source

desired

To

Playback/Monitor

from

Tape

Recorder # 1

Tape

Mon 1 Switch:

Set

to

"IN"

position

Mode

Switch:

Set

to 4-CH

DISCRETE

position

To

Record on

Tape

Recorder

#2

Function Switch:

Set

to source

desired

To

Playback

from

Tape

Recorder

#2

Function Switch:

Set

to

DISCRETE

PHONO/

AUX position

Mode

Switch:

Set

to 4-CH

DISCRETE

position

OUTPUTS

INPUTS

·•oUT~UTS.}/•·i·l~~.••·I•··•+·•

....

-1-+-1-..J

BACK

FRONT

BACK

FRONT

RLRLRLLR

SECOND

4-CH

TAPE

RECORDER

FIRST

4-CH

TAPE

RECORDER

TO

CONNECT

EXTERNAL

DOLBY

NR

To

Operate

Function Switch:

Set

to

source

desired

Ext

Dolby

NR

Switch:

Set

to

"IN"

position

Mode

Switch:

Set

to

STEREO

position

FM

NOISE

REDUCER

15

TO

CONNECT

FOR

DISCRETE

FM

To

Operate

Function Switch:

Mode

Switch:

0

0 (f)

Set

to

DISCRETE

FM/AUX

position

Set

to

4-CH

DISCRETE

position

DISCRETE

FM

DECODER

SPECIAL

APPLICATION

The versatility

of

the

100

+

receiver

permits

the

utilization

of

2

completely

separate

stereo

systems

reproducing

different

program

material.

Typical Example

System # 1 -

Connect

left

and

right

speakers

to

the

front left

and

right

speaker

terminals.

System # 2 -

Connect

left

and

right

speakers

to

the

back

left

and

right

speaker

terminals.

Connect

a

pair

of

patch

cords

from

the

front

tape

out

receptacles

to

the

front

tape

monitor

receptacles.

Connect

a

stereo

tape

recorder

output

to

the

back

tape

monitor re-

ceptacles.

Mode

switch

to

4-CH Discrete position.

With

the

tape

monitor 1 switch

depressed,

System # 1 will

reproduce

any

source

selected

by

the

function switch. System # 2

will

reproduce

the

output

of

the

tape

recorder.

FRONT L

1,7,

Roo

BACK

~

SYSTEM I

TAPE

MON.

OUT

I I

R

L

The volume control should

be

used

to

set

the

overall level.

The

sound

field

Balance

control should

be

used

to

alter

the

levels

of

the

separate

systems.

The

front

and

back

Tone controls

will

function

separately

for

each

system.

The

Stereo

4-CH

rear

panel

switch must

be

in

the

4-CH position.

SERVICE

If

this instrument should

not

perform

properly

during

the

first

two

(2)

years

after

date

of

purchase,

contact

the

factory

for instructions. The

factory

has

many

authorized

warranty

service

stations

in

the

United

States.

To

aid

us

in

selecting

a

service

station

convenient

to

you,

it

would

be

helpful

if

you

would

indicate

which

major

city

is

closest

to

your

home.

Please

write

our

Customer

Service

Department,

Harman/Kardon,

Incorporated,

Plainview,

New

York

11803.

Be

sure

to include

the

model

and

serial

number

of

the

unit. A

brief

description

of

your

other

components

is

often

of

help

in

answering

your

questions.

DO NOT

return this instrument

to

Harman/Kardon

without first receiving

authorization.

STEREO TAPE

RECORDER

OR

ANY

OTHER

HIGH

LEVEL

STEREO SOURCE

16

L R

FRONT

BACK

SPEAKERS

R

L

SYSTEM 2

SPECIFICATIONS

AMPLIFIER

SECTION

Power

Output:

57.5/

57.5

watts,

RMS,

both channels driven si-

multaneously into 8 ohms, 20-20kHz

at

less

than

0.5

¼

THD

at

1

20

volts,

50/

60

Hertz AC.

(In

special

double

power

stereo

mode)

4x

24

watts,

RMS

into 8 ohms, 20-20kHz

at

less

than

0.5¼

THD

at

120

volts,

50/60

Hertz AC.

ALL

FOUR

CHANNELS

DRIVEN

SIMULTANE-

OUSLY.

(Power measurements

made

by

the

most strin-

gent

and

conservative

standards.

If

measured

by competitive

standards,

power

would

be

68/68

in

stereo

and

4x

35

in

4-CH)

Power

Bandwith:

From less

than

10

to

beyond

40kHz into 8 ohms,

all channels driven

in

stereo

or

4-CH

mode

at

less

than

0.5¼

THD.

Total Harmonic Distortion:

Less

than

0.5

¼

at

any

power

rating from 0.1

watt

to full

rated

power. (Typically runs

below

0.2

¼ from 20-20kHz

at

full

power

output)

Intermodulation

Distortion:

Less

than

0.15

¼

at

rated

output.

Hum

and

Noise: Better than 85dB below

rated

output (un-

weighted)

in

stereo

or 4-CH mode.

Damping

Factor:

40:

1

at

4

and

8 ohms.

Frequency Response: From below 4 Hertz to

beyond

70kHz, ± 0.5dB

at

normal

power

levels.

From below 1 Hertz

to

beyond

100kHz ± l .0dB

at

normal

power

levels.

Square

Wave

Tilt:

Less

than

10 ¼

at

20

Hertz.

Square

Wave

Rise Time: Better than 2 microseconds.

Stability: Absolutely

stable

with

any

type

load.

Phono

Overload:

Greater

than

75

+ millivolts.

Bass

and

Treble Tone ± 12dB

bass

boost

and

cut

at

50

Hertz.

Control Action: ± 12dB

treble

boost

and

cut

at

10kHz.

TUNER

SECTION

FM

Sensitivity:

1.9

microvolts,

IHF.

Ultimate

Signal

to

Noise Ratio: 70dB.

Capture

Ratio: 2.2dB.

Image

Rejection:

-50dB.

Spurious Response Rejection:

-80dB.

Multiplex

Separation:

35dB

at

1 kHz.

Total

Harmonic

Distortion:

0.5

¼

MONO

0.6¼

STEREO

AM

Rejection:

-55dB.

SCA Suppression: Totally inaudible.

AM

Sensitivity:

200

microvolts/meter.

Image

Frequency Rejection: Better

than

55dB.

IF Rejection: Better

than

55dB.

Selectivity: Better than 34dB.

GENERAL

Dimensions:

18

¾"

W x

15

¼"

D x

5"

H (less knobs)

Harman Kardon 100+ User manual

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