Harman Kardon 75+ User manual

The Harman/Kardon
Model 75+
AM /Stereo FM
Multichannel Receiver
harman /kardon Instruction Manual
THE MUSIC COMPANY

INTRODUCTION
You are now the owner of an instrument unique in concept and design.
The Harman/Kardon Model 75+ multichannel receiver encompasses the best
of all forms of music reproduction. 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 hail. 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 75+ bears the heritage of the Harman/Kardon 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 new receiver. The Model 75+ 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
POLICY
We warrant this receiver to be free from defects in material and 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 $9warranty station, transportation prepaid, and which our
examination shall disclose to our satisfaction 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 warranty does not include any obligation as to:
a} repair or replacement of the accessory wooden enclosure due to damage
incurred after initial delivery,
b) transportation charges to and from the factory or an authorized warranty
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 original bill of sale fo either a 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 to any instrument which shall have been
repaired or altered in any way so as, in our judgment, to affect its stability or
reliability 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 special 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.
lf your problem cannot be resolved through our combined efforts, we may
wish to refer you to a local authorized repair agency or we may prefer to
authorize the return of your unit to the factory. In the event it must be returned,
on authorization form and proper packing instructions will be forwarded 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 liabilily
in connection with the sale of this instrument.

INSTALLATION
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.
An
auxiliary
AC
power
outlet
is
provided
on
the
rear
panel
of
your
receiver.
Any
accessory
equipment
(tape
recorder,
phonograph
record
player,
etc.)
may
be
connected
to
this
receptacle
and
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 75+ receiver employs five
protective fuses. All five are located on the rear panel.
The AC fuse labeled 3A-3AG Slo Blo 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 4.0 amperes of current in each channel. Under certain conditions, it
is possible to draw more than 4.0 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 ‘'CON-
NECTING THE SPEAKERS’’).
In the event of fuse failure, replace ONLY with the same fuse type used.
NEVER replace with a fuse of a higher rating. 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
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
75-4
connects
two
pairs
of
speaker
systems
for
the
front
channels,
and
another
two
pairs
for
the
back.
Any
pair
may
be
driven
independently
or
a
combination
of
two
pairs
may
be
driven,
as
selected
by
the
MAIN
and
REMOTE
Speaker
Switches.
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
75+
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.

FRONT SPEAKERS FRONT SPEAKERS FRONT SPEAKERS
L
R
| BACK SPEAKERS —> |
| LISTENER | | LISTENER | x
fs pe
BACK SPEAKERS
L R
—- | LISTENER | —>
Et
BACK SPEAKERS
FRONT SPEAKERS
FRONT SPEAKERS FRONT SPEAKERS
BACK SPEAKERS
| LISTENER |
Loe
BACK SPEAKERS
i ee
L BACK SPEAKERS R
| LISTENER | | LISTENER |
Fig. 1

QUADRIPHONIC OPERATION (See Fig. 2)
Refer to the introductory comments under the heading CONNECTING THE
SPEAKERS.
T:
2.
3.
i
Connect one length of lamp cord to the LEFT FRONT speaker.
Attach the other end of the lamp cord to the MAIN, FRONT screw terminals
marked LEFT + and — on the rear panel of your receiver.
Similarly connect another length of lamp cord to your RIGHT FRONT speaker.
Attach the other end of the lamp cord to the MAIN, FRONT terminals
marked RIGHT + and — on the rear panel of your receiver.
Connect a length of lamp cord to your LEFT BACK speaker.
Attach the other end of the lamp cord to the MAIN, BACK terminals marked
LEFT + and — on the rear panel of your receiver.
Connect another length of lamp cord to your RIGHT BACK speaker.
Attach the other end of the lamp cord to the MAIN, BACK terminals marked
RIGHT + and — on the rear panel of your receiver.
Repeat above steps to connect REMOTE speakers.
FRONT SPEAKERS
RIGHT
LEFT
ROPa AZOWN
CAUTION
CONNECT SPEAKERS
WITH CARE. AVOID
RIGHT
LEFT
BACK SPEAKERS
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.
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 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 STEREO POSITION FOR
DOUBLE POWER STEREO OPERATION.
STEREO SPEAKERS
LEFT
RIGHT
SPEAKERS 4-8—I6 OHMS
MAIN his \\ REMOTE
LEFT, ALRIGHT LEFT RIGHT +
fii
POHOKNKHVH OF
ao AzZODTA
CAUTION
CONNECT SPEAKERS
WITH CARE. AVOID
SHORTS
STEREO
FIG-3

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. |f 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. It
should be noted that it is not necessary to match the impedance of the speakers
to the receiver since the 75+ is a solid state instrument and can accommodate
all speakers ranging in impedance from 4 to 16 ohms without special trans-
formers.
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.
SWITCHES AND CONTROLS — REAR PANEL
STEREO/4-CH SWITCH
The
75+
receiver
is
shipped
with
the
STEREO/4-CH
switch
in
the
4-CH
mode.
A
special
safety
latch
is
fitted
next
to
the
switch
to
prevent
throwing
the
switch
accidentally
while
the
receiver
is
turned
on.
If you plan to use the 75+ 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 STEREO/4-CH SWITCH iS IN THE STEREO POSITION THE
BACK SPEAKERS ARE INOPERATIVE. IF YOU WISH TO USE THE RECEIVER
TO POWER ANY BACK SPEAKERS, FIRST TURN OFF THE RECEIVER.
REMOVE THE LATCH AND THROW THE STEREO/4-CH SWITCH TO
4-CH, REPLACE THE PROTECTIVE LATCH.
STEREO THRESHOLD CONTROL
This
rear
panel
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
an-
tenna) 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.
MUTING THRESHOLD CONTROL
This rear 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.
SWITCHES AND CONTROLS — FRONT PANEL
POWER SWITCH
The POWER switch performs the function as its name denotes. lt 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
75+
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 your 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 any or all of the speakers connected fo your main system,
this switch must be depressed.
When in the ‘‘'ON”’ position all 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
any
or
all
of
the
speakers
connected
to
your
remote
system,
this
switch
must
be
depressed.
When in the ““ON” position all 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.
lf
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 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.
To
reduce
interstation
noise,
throw
the
MUTING
switch
'‘ON’’.
To
defeat
the
circuit,
throw
the
switch
‘‘OFF’’.
HIGH CUT SWITCH
The
HIGH
CUT
filter
has
been
designed
to
reduce
the
high
frequency
response
of
your
receiver,
This
will
reduce
annoying
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
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
input
receptacles
will
play
your
mono,
stereo
and
SQ
records.
In
order
to
play
SQ
discs
in
4-CH
the
mode
switch
must
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 fo 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 75+
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 75+. (Refer to ‘‘Connecting a Stereo Record Player
with RCA Decoder”’).
Harman/Kardon intends to manufacture a decoder for use with the RCA
discrete system. 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
quad 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.
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
either
inner
or
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.
lf
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
1]
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
(one
LEFT
and
one
RIGHT)
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
ter-
minals
will
also
reproduce
stereo
in
each
pair.
In
the
STEREO
position,
the
mode
irdicator
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 2 4] 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 | 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.
INTEGRATED
AMPLIFIERS SPEAKERS
LEFT FRONT
LEFT BACK
RIGHT BACK
RIGHT FRONT
ENHANCED STEREO
This position should be used to enhance (convert) any stereo source into
spatially expanded sound. When playing any stereo source, if your 75+ 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 4 | mode indicator lights will be illuminated, denoting
stereo to 4-CH operation.
INTEGRATED
AMPLIFIERS SPEAKERS
4-CH DISCRETE
In order to utilize this position you MUST have a four channel source con-
nected to the system.
In this position 4 | 4] mode indicator lights will be illuminated denoting
4-CH to 4-CH operation,
INTEGRATED
AMPLIFIERS SPEAKERS
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 75+ 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, efc., 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.
LEFT & RIGHT FRONT
SPEAKER BALANCING
LF (BACK SPEAKERS OFF) pF
RIGHT FRONT & RIGHT BACK
BD SPEAKER BALANCING
(LEFT FRONT & BACK SPEAKERS OFF)
LEFT FRONT & LEFT BACK
SPEAKER BALANCING @@
{RIGHT FRONT & BACK SPEAKERS OFF)
LB LEFT & RIGHT BACK RB
SPEAKER BALANCING
(FRONT SPEAKERS OFF)

TUNING
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.
STEREO INDICATOR
A stereo indicator is located adjacent to the tuning meter and operates
in conjunction 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 the function selector switch in the STEREO FM position.
2. Tune to the station of your choice using your tuning 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.
TUNING METER
Your Receiver incorporates a D'Arsonval movement tuning meter for precise
and accurate tuning.
The FM balance 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 distor-
tion and optimum FM reception is when the pointer is resting at the ‘‘zero”
center position.
When used in the AM position, simply tune for maximum indication.
DIAL SCALE
The dial scale on your receiver is marked with three scales, namely, an
FM frequency scale (88-108 MHz), a logging scale (0-100), 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.
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 position of the function switch automatically introduces 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.

FRONT PANEL
AM FM MODE
TUNING
STEREO
DIAL DIAL
INDICATOR
TUNING
METER
INDICATOR
SCALE
SCALE
LIGHTS
KNOB
SOUND FIELD
BALANCE
90 100
FM 88 90 92 94 96 98 100A
ExT
MAIN DOLBYNR. CONTOUR HIGH CUT DISCRETE
FM FM/AUX
OO, coum, DISCRETE
‘
ILLUMINATED
PHONES
POWER
SWITCH
HEADPHONE
MAIN
TAPE
FM
LOW
FUNCTION
BASS
TREBLE
MODE
VOLUME
RECEPTACLES|
|SPEAKERS
MON-!
MUTING
CUT
SELECTOR
CONTROL
CONTROL
SELECTOR
CONTROL
SWITCH]
|
|SWITCH
SWITCH
SWITCH
SWITCH
SWITCH
EXT.
CONTOUR
INNER
KNOB
-
FRONT
CHANNEL
R.
SWITCH
OUTER
KNOB:
BACK
CHANNEL
TAPE
MON-2
SWITCH
10

REAR PANEL
300-~ LEAD TO
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AC POWER
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11

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:
Set
to
PHONO
position
Mode Switch:
Set to MONO position .
MONO
RECORD
PLAYER
[Poko DISCRETE
MAG PHONO/AUX
CONNECTING
A
STEREO
RECORD
PLAYER
Typical
Operating
Conditions
(Stereo
Record)
Function
Switch:
Set
to
PHONO
position
Mode
Switch:
Set
to
STEREO
position
Typical Operating Conditions (SQ Record)
Function Switch:
Mode Switch:
Set to PHONO position
Set to SQ MATRIX 1 or
SQ MATRIX 2 position
STEREO
RECORD
PLAYER
[Proto DISCRETE
MAG PHONOYAUX
12
CONNECTING
A
STEREO
RECORD
PLAYER
WITH
DECODER
Typical Operating Conditions
Set to DISCRETE PHONO/
AUX position
Function Switch:
Mode Switch: Set to 4-CH DISCRETE
position
DISCRETE
DECODER |
t ‘ INPUTS U
[Prono DISCRETE, DISCRETE
MAG PHONO/AUX FM/AUX

CONNECTING A STEREO TAPE RECORDER CONNECTING A 4-CHANNEL TAPE RECORDER
Typical Operating Conditions Typical Operating Conditions
To
Record
To
Record
Function
Switch:
Set
to
source
desired
Function
Switch:
Set
to
source
desired
To Playback/Monitor
To
Playback/Monitor
:
cing
we
Tape
Mon
1
Switch:
Set
fo
“‘IN”’
position
Tape
Mon
1
Switch:
Set
to
‘‘IN”’
position
Mode
Switch:
Set
to
4-CH
DISCRETE
Mode
Switch:
Set
to
STEREO
position
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
STEREO
TAPE
RECORDER
INPUTS.
LEFT
FRONT
RIGHT
LEFT
BACK
RIGHT

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:
NOTE: When using two tape recorders, attached as shown,
TAPE MON 2 will take precedence over TAPE MON 1
Set to “IN” position
TAPE
RECORDER
wrt td TAPE
DISCRETE. TAPE ouT
FM/AUX 'MONLL 1!
O
SECOND
STEREO
TAPE
RECORDER
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 fo ‘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
Set to DISCRETE PHONO/AUX position
Set to 4-CH DISCRETE
Function Switch:
Mode Switch:
OUTPUTS
SECOND
4-CH
TAPE
RECORDER
FIRST
4-CH
TAPE
RECORDER

TO CONNECT EXTERNAL DOLBY NR TO CONNECT FOR DISCRETE FM
To Operate
To Operate
Function Switch: Set to source desired Function Switch: Set to DISCRETE FM/AUX
position
Ext Dolby NR Switch: Set to ‘‘IN”’ position
Mode Switch: Set to 4-CH DISCRETE
Mode Switch: Set to STEREO position position
DISCRETE
FM
DECODER
DOLBY
NOISE
REDUCER
OUTPUTS
TAPE TAPE DOLBY / TAPE
OUT OUT MON2
OUT IN
© ol folol=
©)
BACK 4-CH FM OUT
RIGHT
O
15

SPECIAL APPLICATION
The versatility of the 75+ 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.
TAPE TAPE
br Our
SYSTEM |
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
16
OR ANY OTHER HIGH
LEVEL STEREO SOURCE
SYSTEM 2

SPECIFICATIONS
AMPLIFIER SECTION
Power Output:
Power Bandwith:
Total Harmonic Distortion:
Intermodulation Distortion:
Hum and Noise:
Damping Factor:
Frequency Response:
Square Wave Tilt:
Square Wave Rise Time:
Stability:
Phono Overload:
Bass and Treble Tone
Control Action:
45/45 watts, RMS, both channels driven simul-
taneously into 8 ohms, 20-20kHz at less than
0.5% THD at 120 volts, 50/60 Hertz AC. (In
special double power stereo mode)
Ax 18 watts, RMS into 8 ohms, 20-20kHz at less
than 0.5% 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 55/55
in stereo and 4x 23 in 4-CH)
From less than 10 to beyond 40kHz into 8 ohms,
all channels driven in stereo or 4-CH mode at
less than 0.5% THD.
Less than 0.5% at any power rating from 0.1
watt to full rated power. (Typically runs belcw
0.2% from 20-20kHz at full power output)
Less than 0.15% at rated output.
Better than 85dB below rated output (un-
weighted) in stereo or 4-CH mode.
40:1 at 4 and 8 ohms.
From below 4 Hertz to beyond 70kHz, £0.5dB
at normal power levels.
From below 1 Hertz to beyond 100kHz = 1.0dB
at normal power levels.
Less than 10% at 20 Hertz through phono pre-
amplifier and power amplifier simultaneously.
Better than 2 microseconds.
Absolutely stable with any type load.
Greater than 75 millivolts.
+12dB bass boost and cut at 50 Hertz.
+ dB treble boost and cut at 10kHz.
FM Sensitivity:
Ultimate Signal to Noise Ratio:
Capture Ratio:
Image Rejection:
Spurious Response Rejection:
Multiplex Separation:
Total Harmonic Distortion:
AM Rejection:
SCA Suppression:
AM Sensitivity:
Image Frequency Rejection:
IF Rejection:
Selectivity:
Dimensions:
TUNER SECTION
2.0 microvolts, |HF.
70db.
2.5dB.
— 50dB.
— 78aB.
35dB.
0.6% mono.
0.7% stereo.
— 50aB.
Totally inaudible.
200 microvolts/meter.
Better than 55cB.
Better than 55dB.
Better than 34dB.
GENERAL
1654” W x 15” D x 5”H (less knobs)